Transcribed by Nan
iON 10:24
Okay, that’s good. All right. Do you wanna talk about the Mae Brussell effect a little bit to help ’em? We’ve scared ’em all to death. They don’t like us anymore, Bob. We’ve run ’em all off. You gotta bring ’em back, bring ’em back home and explain the — please, please do go into the Mae Brussell effect and how that’s having an effect on the affect of what Mae Brussell actually did.
Bob 10:51
We posted that. That’s been posted.
iON 10:54
But they still don’t know what the fuck you’re talkin’ about. I don’t know what we’ll do.
Bob 10:59
Well, I don’t know what to say about it. I’m still working on it.
iON 11:03
See? See? See? Y’all listen now.
Jack 11:06
I’ve never heard Bob say that ever.
iON 11:09
You goddamn skippy. You goddamn skippy. That’s exactly goddamn right. Somebody better wake up. Y’all better wake the fuck up. This feudin’, fightin’, fuckin’ thing is over with now. When Bob gets quiet, y’all better fuckin’ run now. Everything’s alright till Bob lays it down. Yeah. Fuck around and find out, you’ll see. Yeah. Mm-hm. Yeah, just sayin’.
Bob 11:35
Have you heard, Bert? Have you heard that item? It’s on iONandBob.
Bert 11:41
Yeah, I actually maybe have some words that I got from it. One moment.
Bob 11:49
Well, let me see. I can grab, I could go over there and play a minute of it, the beginning. It says something at the very beginning.
iON 11:55
Just say some words. Just say your words. We don’t wanna hear what you said about what you said. We wanna hear you. We wanna hear you, Bob. We’re tryin’ to, we’re tryin’ to reel you in. We’re tryin’ to reel you in cuz you all gotta realize if Bob ain’t talkin’, y’all ain’t got no — he can’t correct your questions. If he’s not talkin’, he can’t correct your answers.
Bob 11:55
Listen to this. iON explained the Mae Brussell effect. Okay, just a second. Bring up the sound here.
[Recording from ion_mae-Brussell_effect_29apr2023]
Chad 0:01
So, iON, how does the Mae Brussell effect relate to the new cloud?
iON 0:05
Okay. It allows the same way Mae Brussell — alright, you gotta be, you gotta be aware Mae Brussell would do her quote, "research." She really didn’t, but she said she did. Okay. And she laid out her medium, her medium where she looked at every newspaper and see whatever word every newspaper said about everything. And then she’d chart it; basically, clipped it out, put it in a little section, put it in a file folder and built a file, an END file, like the, like the Warren Commission. They laid out — every day she laid out the Warren Commission of the state of the State of what was going on regarding whatever it was; from Madeleine Albright, well, that was a little after her time, but before that. Between Marilyn Monroe, and the Kennedys, and all that bullshit, all the way to Henry Kissinger. See, she laid it all out and how it connected, and the aliens and the ups and the downs and the Jews and the who’s Jews and the Nazis and the Neo-Nazis and old Nazis and the past Nazis and, and how, how the Hapsburgs really took over and the whole nine yards. She’d lay all that — [chuckles] Bob’s laughin’. He’s got his [indistinct]. He’s laughin’, he’s laughin’. She lays all, she lays all that out. And then she comes back forth with this one-sentence pronouncement of this is the state as we know it; and she’d put it on her tape record and then she’d know next Wednesday what we said last Tuesday from the cassette. So that break of time allowed that break of time to allow the digestion or digestibility of this bit of information. That’s kind of exactly what’s going on here right now except there’s no predication to say that’s bullshit or that’s okay, or that’s right or that’s not. Mae always laid out enough way, she gave herself enough "ground," mystery landscape, enough "ground" to be mostly correct. Nothing she said was a straight-out blatant lie; it might not be perfect, it may not be perfect, but it was close enough that there’s, that there’s a Walter Winchell, there’s a Hedda Hopper, there’s a Hedda Hopper, there’s a Abigail Van Buren in there somewhere so you’re gonna get enough to get somethin’ that’s gonna stick. That’s how she did it. And that’s what they’re doing now. It’s what’s happening is the actual Brussell effect that’s laying out just enough that you can say, "Well, yeah, it’s not that bad. Okay. Yeah, crime is pretty bad. Yeah, crime is bad, that’s right. So, we’re gonna go ahead and we’re gonna get rid of the police and then — what? Get rid of the police? Why would you get rid of the police? What’s gonna happen?" They’re gonna start — everybody’s killin’ everybody for some’um, for shits and giggles; see how fun it is? And so you go into this level or degree of decline. That’s what Mae Brussell talked about more than anything else was the age and stage of decline; it ain’t never gonna be like it used to be. It’s over. The jig is up. The fat lady’s on the stage. It’s over, you’re through. And that was back before she got her cervical cancer cancer.
Chad 3:08
Wow. So that also sounds kinda like Sam Drucker who would catch what’s going on and make his own little –
iON 3:14
Yeah.
Chad 3:14
– little file and –
iON 3:15
Correct.
Chad 3:15
– write down one sentence.
iON 3:18
Correct. But he had, he had, he had a pickle barrel, too. He had a pickle barrel. Yeah, in the store. You stick your head in there and grab you a big ol’ pickle. It’s good. It’s great. It was all you want.
—–
Bob 15:49
[Recording stops] Okay, you got that?
iON 15:58
Now, who has a good question? No, no, who has a valid question about the "Brussell effect" based on those little handful of wordy words? We wish Bob would do this, but Bob’s like, "Fuck it. I don’t care.” He’s like I already did Mae Brussell. I already read “The New York Times.” [laughs] I already know I’m not gonna read “The Washington Post.” It’s okay. [chuckles] It’s all good. We’re just tryin’ to find some — we’re just seeing if we can find a little Ezra Pound to soothe this savage beast, that’s all we can hope for now, a little Ezra Pound. Might get Bob Carr back, that might be fun, Bob. You can do some "God Man, Con Man." That might be fun. Interesting, huh? Alright, who’s got what? Let’s go. Back to the flour mill, pappy.
Jack 16:13
Bob, is there any way you could play it again and turn it up a little bit?
Bob 17:00
No, no, just go to the — it’s right on the front page of iONandBob.
—–
[more from recording: ion_mae_brussell_effect_29apr2023]
Chad 3:29
What is the frequency of the Mae Brussell effect?
iON 3:32
6.382 hertz.
Chad 3:38
Okay. Hertz, not megahertz.
iON 3:41
Not megahertz. No. No, no, no. No, ’cause see, you have to, you have to have a, you have to have a — you have the distance between the tactile and the visceral. Megahertz would be visceral rather than tactile. Hertz would be tactile.
Chad 4:01
So, we’re talking tactility here. Okay.
iON 4:04
Always. Always. "Well, hell! I woke up this morning." Did you? How do you know? "Well, I sort of got up and I had to go pee. Okay, so I stood up and I had to go pee, so I went and emptied my bladder." So, did you go? Okay. How did that feel? "Okay. Well, it went out all right. I was good. I felt comfortable once I emptied my bladder. It was good." And then you’re like, "Well, damn, I’m sort of hungry. Let’s go get some grits and gravy." Or whatever it is that you eat. You should eat better than you do sometimes ’cause you eat trash sometimes, but you should eat better. Anyway, past that, and you eat some’um and then you go get busy with doin’ whatcha gonna do. And so you fit into your body. And if you have a pain, that’s when you notice it. If you have an ache and you look and you go, "Goddamn, I need a haircut." And you do need a haircut by the way. "I need a haircut ’cause it’s different than it was." See? Never is it the same. And so you’re gauging…
Bob 4:06
Hey, iON.
iON 4:59
Hey, Bob.
Bob 5:01
You said — you talked about the seven- or eight-day delay in getting a Mae Brussell cassette.
iON 5:07
Yeah.
Bob 5:08
So, what is the delay of the — we’re just hearing about the bombing of Crimea today. How fast[?] is the action that’s spinning that started like the Mae Brussell broadcast…
iON 5:20
It went — it started behind, behind it. That’s kinda like what we used to say when everything with Trump was a conspiracy theory. We said what’s the difference between the truth and a conspiracy theory, and they said, oh, about six months. Well, now it’s about three weeks. They have decided, they decided that Hunter Biden really did have a laptop! He had a laptop! He had one.
Bob 5:43
Yeah, so they had to distract. They have to distract from that. They had to go to a Crimea bombing.
iON 5:48
Correct. Correct.
Bob 5:49
And that delay is the Mae Brussell effect. It’s accurate, but it’s gonna take awhile to show up.
iON 5:55
That’s correct. And then, and then, and then they’re gonna overcome it and then they’re gonna expose it, and then it’s like everybody’s laughing. Even the Democrats are comin’ back and said, "Well, you know, that’s [indistinct], mole-headed motherfuckin’ son of a whore bitch. If he’s that bad, put his bitch ass in jail! Put Hunter Biden in jail and shut the fuck up about it. If it’s that bad, go ahead and do some’um!" But then they don’t. See? And the DOJ won’t touch it. And then the Department of Justice won’t see about it. And then, and then, and then the M-S-A-C-I-A, E-I-E-I-O. Nobody will touch it ’cause it’s Biden, bitchin’. Bitchin’ Biden. So, it’s like "uh oh."
Bob 6:33
See, that’s the impact. None of these Mike "Lydell" little pillow efforts will go anywhere. Well, what about Sidney Powell? Did she figure out how to crack that impasse that the icon of the [indistinct] –
iON 6:46
Yeah. Yeah, yeah, yeah.
Bob 6:46
– is gonna possess?
iON 6:47
Sure. Sure, she has already. She’s taken the high road. She comes back to it’s "Good News Friday, Defending the Republic." Of "Good News Friday." She tells you the good things that happened and how pleasant things are, and who got their, who got some’um stuck up what — who got a hot poker up their butt this week and how it felt when it was goin’ up their butt, and it’s gonna — you know, just the normal stuff. She kinda goes with it. She’s tryin’ to slow down ’cause she won, and she’s winning, and she knows. When you know, you don’t have to be lambastic. Shut the fuck up. Shut the fuck up and go kumbaya till it goes kumba-damn gone. See? She knows.
Bob 7:26
Like me. I shut the fuck up and I don’t tell nothin’.
iON 7:30
Yeah, and he don’t say nothin’ — he don’t even take — he’s got this, he’s running this whole world, this whole Solar Government, and he don’t even take notes anymore. [Bob laughs] He don’t take a note! Not a note. He just laid up, he just laid up, got Carolyn laid out up there. It’s the craziest thing ever. It’s insane. It’s insane, but they livin’, so I guess that’s all that matters, but yeah, it’s pretty — hey, Bob’s pretty much through, y’all, [Bob chuckles] so, just so you know. He’s just waitin’, he’s just sittin’ on the levee, waitin’ on the Robert E. Lee. [laughs]
Bob 8:00
Just waitin’ for the [indistinct/overtalk]
iON 8:02
That’s it, that’s it, that’s it. Okay.
Chad 8:06
This Mae Brussell effect, the delay of Mae Brussell effect and tactility which you’re first referencing, reminds me of the differential that you’ve been talking about.
iON 8:16
That’s right. That’s right.
Chad 8:17
This differential, is that what sets the delay?
iON 8:19
Ask Bob. Ask Bob what the differential is on his Chart.
Chad 8:23
Bob, where’s the differential on your Chart?
iON 8:25
On his Chart. On his Chart.
Bob 8:28
The line between each quadrant. You know, [inaudible] –
iON 8:32
The Orpheus. The Orpheus.
Bob 8:33
– quadrant. That line.
iON 8:34
– the tetradic. The Orpheus.
Bob 8:35
The line.
iON 8:36
Orpheus!
Bob 8:36
The visual line.
iON 8:36
Orpheus. Orpheus. Consciousness. Orpheus. Tetrad.
Bob 8:43
No, no. The line at each — the lines themselves are the intervals.
iON 8:49
Well, but — no, Bob. He’s not asking that. He knows that Electric Kool-Aid, Electric Kool-Aid is the point. He’s tryin’ to bring that into “Staying Alive!!” into the Battle of the Harvest Moon. He’s trying to connect those, and Bob’s saying that the lines are the difference. And we say but you have to connect the line. Otherwise, you get lost in the, in the Rhyee. You’ll never get past Rhyee then.
Bob 9:14
Interval is lines and spaces.
iON 9:13
Otherwise, you’ll never get past Rhyee, otherwise. And that’s all right if that’s as far as you go.
Bob 9:22
That’s all right. [chuckles] That’s all right [indistinct] don’t get there.
iON 9:27
But there’s more. But there’s more to that than that.
Chad 9:31
Okay, but this differential that sets the delay between something happening and the Mae Brussell effect causing it to be reported later, you’re saying that that’s in each line of the Chart?
iON 9:42
Not a delay. Not a delay. It’s not a delay, it just takes you that long to catch it. See, if you were the one recording Mae Brussell on the cassette recording, you had it right then. The delay is the time it takes to get to you. That’s why we were saying that it was, it was in the, in the osmic.
Bob 10:01
Yeah, could be in Carmel in that area and listen to the broadcast and get it right away.
iON 10:06
Right.
Bob 10:06
But if you’re not at the headquarters, you’re gonna be delayed.
Chad 10:10
Okay, iON, let me know if this relates to something I heard 2016, August 14th to Bart. "Spirograph doesn’t lie, it has no reason to. It doesn’t tell the truth or lie; it just sets what is. How tight or loose the pitch or yaw is, is up to the spirograph." So, is that spirograph the differential between something happening and you finding out about it?
iON 10:35
It’s an example of it. It’s an example of it. It’s an example of it because you have a spirograph. You know how you got the cardboard, and you lay the little circle with the little Spacely Sprocket, and you take the little pen and you stick it down into, through the paper onto your piece of paper into your cardboard. All right, then you get different wheels that fit inside of that spirograph, and it’s got holes in it. You get different colored pens — or back in the day, they had those ink pens that had different colors. You just pitch one in red, and green, and blue. You remember those little pens? They were so cool. You can have different stems in them that could do different colors. All right. So what happens then is that would spin and you can make one circle and it would make one arcing revolution. But if you keep spinning, you make multiple, multiple, multiple, multiple, multiple passes, and sometimes in different colors, and you make a graph, a spirograph, depending on how many times you turn it. And so what you’re asking is if that’s always the same? It is, but it depends on how many times you turn it. Correct? How complex the swirl. How complex, how tight the composition is. And that’s what happens in basically a normal news feed today. You know who Walter Cronkite is?
Chad 11:52
Yes, I do.
iON 11:53
All right. He would do the news, and it would be an hour, sometimes 30 minutes, but it would be an hour. And he’d come on, and he’d tell you everything that’s goin’ on, and you’d know. Well, there is now 24-hour news, goes all the time, all the time, all the time. I mean 24/7, and not really a lot of repeats. And they’re reportin’ everything, everything, everything. So, if you look at the difference, the spirograph is spinning so many times now that you gettin’ lost in the arcing field. The arcan field. Arcan field. So, it gets lost in space. That’s what’s happening now. They’ve taken the regular Walter Cronkite broadcast and they’ve now made it 24/7, never-ending. It feeds — the story changes as they’re telling the damn story. And that’s the perfect, most perfect example of the Mae Brussell effect. It’s feeding itself. It’s feeding itself.
[other subjects follow on recording]
