Special Edition: Gary Leggiere: The Face on Mars, Beyond a Trick of Light and Shadow

We've had planetary scientists here, We've had image specialists, and we've had research investigators, some who have spent portions of their entire lives studying the planet Mars and making determinations that not only are there archaeological ruins, there could be

a partial atmosphere that supports life. Now, when we say things like this, when we present this material, it runs in the face of what's being presented now by NASA, which is looking for microbes, spending billions of dollars with these rovers, and rovers have cameras on them, they have other scientific equipment for testing, and NASA would like us to believe that there's nothing on Mars other than the remains of a very rudimentary microbe life, single cell organisms

that lived on the surface or in what was water at one time. And you know, that's fine for that scenario, But the truth of the man is they've known that there are ruins on Mars. When they launched the Viking satellite program, they imaged a variety of areas, and they continue to image areas that show that there are not

only temples, pyramids and unusual large reliefs. And when I say unusual, some of these release are miles across by miles long, and it also looks like that they were built for to be observed from outside of the atmosphere of the planet. But there's a lot that we have discovered since we began reporting on Mars. We've had doctor John Brandenberg on there, who wrote a book called Death on Mars, who believes that there were a number of nuclear wars on the planet, one that may have destroyed

the atmosphere and eventually killed off the remaining life. And today we are presenting another look at the planet with an image specialist has done extensive imagery of Sidonia where this face is, but has also reported back that the evidence that we have discovered is being manipulated by NASA.

And what that means is, as they continue to image the planet Mars, they are altering the feed so that when the public looks at this imagery, what they're getting is modifications, areas that are completely wided out or removed, and distortions. Now, why would they distort images? Why don't they just come clean and show us what they have

found on the planet. Well, remember, in nineteen sixty, NASA, as it was becoming NASA, actually it was still the Department of Defense, but NASA was in place, requisitioned a study by the Brookies Institute of the United States asking what would happen if the public was told that there's evidence of an alien civilization on the planet Mars. And what came back to them was a document, And remember

this is nineteen sixty, over sixty years ago. The document came back and revealed that, according to their analysis, the Americans or the planet Earth as a whole, would be traumatized, religions being affected, people committing suicide, institutions failing, people losing faith not only in the church but in the institutions of government. And to this day they still adhere to that outdated document and what we are getting is heavy,

heavy censoring. And I've mentioned a little bit about the censoring of imagery, but even in the face of likely skeleton remains, archaeological ruins and great evidence of civilization on the planet, they still prefer to keep this from us. Now. I have mentioned this very very quite recently, that this discovery of an alien civilization is part of our destiny,

part of our evolution. And when we discover and when it is released to us that there is a civilization or there was a civilization on Mars, we immediately evolve where we understand that we're not the only ones in our cosmos. The big lie is over. And it also allows us to consider other civilizations, living civilizations, which also brings up the question of uapiece unidentified unidentified aerial phenomenon, which is used to be UFOs unidentified flying objects. Who's

behind those crafts? Why are those civilizations observing us? And this is typically outside of the United States. When these crafts land and the beings inside them come out and communicate, that's a whole different animal, a whole different story, a whole different level of awareness that we need to understand. And it's my belief that when we become more comfortable that we're not the only ones in our cosmos in the universe, it's a growth it's a huge growth factor.

It's an important, needed, and beneficial growth factor. So this is why when we start with an ancient civilization, it's not such a traumatic situation. It's not such a traumatic bit of news. Now, one of the things I've run across with a lot of my listeners and a lot of people on our social media is people deny and are afraid to know that there's a there are ruins of a civilization on Mars. Not only are they fearful, they're angry because possibly it changes the perception of their life.

Or more importantly, they don't want to know that. They want to continue thinking that we are the only beings in our cosmos and there's nothing else. Well, that's just not right. That's not right at all. And our ancestors knew that, and we need to know that because we need to move beyond our current paradigm into the next dimension, into the next century as space travelers, and when you're a space traveler, you're going to run into other civilizations. And this is what this is why Mars is an

important first step into our evolution. So today's program is the Face on Mars beyond mere tricks of light and shadow, and my guest is image specialist Gary Legier. Discovery New Artifacts is very exciting. And there's a new museum in Cairo, of all places, that has just opened. It's the Grand Egyptian Museum. I've been waiting almost eight years for it to open, and let me tell you, the statuary by

itself is worth the price of admission. We're talking over one hundred thousand artifacts on display from all parts of Egypt. And this is a fabulous museum. This is cliff from Earth Ancients and our seventh annual Grand Egyptian Tour is April twenty eight through May tenth. We have a handful of seats left. Come out and join us. It is going to be an amazing tour take in all things ancient Egypt. We are gonna see the megalists. We're gonna go to places that are off the beaten paths to

see huge statuary, temples and even the pyramids. For all the details, go to Earth Ancients dot com forward slash Tours and you will see not only the itinerary, but some of the fabulous hotels and other sites that we will visit. This is not to be missed. April twenty eight through May tenth. Come out and join me. For more information, go to Earth Ancients dot com forward slash Tours.

It's been a while since we've talked about Mars. Mars is one of my favorite topics, simply because there's great evidence of archaeological ruins, there is evidence of in some places, active life, and as we'll hear today, what we're hearing from NASA is just not only faults, but it's deceiving and it's just sad that we have to deal with this professional organization who is not necessarily well. I guess you could say they are lying to us because we're

not getting the real story. My returning guests is Gary Lazier. We've had Gary on the program a few times in the past, but he is presenting a new book. It's called The Face on Mars Beyond Mere Tricks of Light and Shadow.

is the one we've had on the show before. So hey, Gary, Welcome to Earth Ancients, and congratulations on this book.

Richard Hogland, the Monuments of Mars that was more than twenty years, and some other people that would you know, touch base on the face and stuff, but no stronger, no stronger case than Hogland's and with the compiled help he had with that again, Carloto, Brandon Burgo of this that would have done that subject was more than twenty years. So you know, we've had a lot of things happen and a lot of data that we have gained and

garnered over that time until now. Because remember back then, as big as controversies and fanfare and whatnot, it was only due to a simple minimal amount of imagery they had access at that time, mainly the Viking data and the Global Surveyor was just coming into play, and no

real efforts since then. Really Hoakland, you know, would put out on the Enterprise mission a lot of good articles about the face at that time, still challenging NASA, but no further books or efforts of that type of caliber which laid out as you know, a lot of information, right, scientific information from those fields of science. So but I came at it like, well, you know, you know, doing

the more revelation. You know, I've been connected to many of these individuals, some have become friends and stuff and whatnot and colleagues. But to me, that's not the issue.

The issue is the data, and the data is what counts because over the years up until now, since those books were written, we have multiple sources and multiple imagery showing that this thing not only never disappeared according to the NASA's original life from Viking that was, you know, gone a few hours later, it's still there in every

single image. We have multiple views, multiple spectrums or resolutions also, and the best resolution one that we got up there now is as you know, the Mores reconnaissance orbit has two cameras on it, the high rise camera and also the CTX camera camera, which is abbreviated for context. So the context camera would look down, you know, take its imagery and then that's why they call it context whatever they see in that, and the high rise zooms in on what the context is seeing and it'll do its

thing right. So that's good. That's a twofold they should have thought it that long ago, but it is what it is. And over time, you know, we've gotten so many amounts from Mars honesty, even Mars expressed grace less with a couple we'll get into that later.

let's talk about this. How you open the book. You get into the actual history of earthman's interest in Mars, which I think is great, and talk about your feelings and why you decided to bring that up, because you talk about Kepler and Newton presenting observations of the nearby planetary systems, and that kind of got us interested in local planets, didn't it.

Did multiple drawings of that mapping the planet over time to each observation that he was able to get good glimpses of it, he would draw it out, and it looked like geometric network patterns, which he believed, or canals for a dying civilization, for which with seasonal changes or periodic planetary changes, the waters collected at the top and south at the north and south would as they melt, they would fill in and irrigate through this canal network

of which he believed those lines represent. Now, because being so far away, yeah, it would be common sense to think something like that, But I believe that what he is seeing is actually the geometric sculpting of the entire planet. I'd come across with a different tooth in this too. Get ready, everybody, eke. I believe that Mars, as crazy as it sounds, has been artistically vaulted on an entire planetary scale before the whoopie doos, which means cataclysmic events, natural or otherwise, it.

It's really an amazing deald In theory when you consider the things of what we're gonna look at, and when we detail of the face itself, because the face is artistically sculpted. It's not eroded, it's not collapsed, it's not created by windblown sheep and none of that. The whole thing has artistry, ornate artistry which not only makes the face, but the area aren't around the face, and continuing on and on and on. Now do they happen to use natural features in order to do some of this sculpting.

That's possible. I don't know much. We need boots on the ground to really determine these things. But like you said, a lot as crazy as this theory of mind sounds. I doubt they would be looking for that right away, though I do predict they'll be able to see that upon going there, because there's no softening or obfuscation that

could be done. And I believe each member that goes would have to be breathed because you don't want to have a lot of heart attacks before you get there of what there they expect.

where my my processing skills will null and void. Really, back then I was going off of whatever NASA, and now I produce views which we'll get into later that showed a detail of what I would see near the face originally from ninety eight onward. That the details continue on the surface artistically, not like as a chaot chaotic, unnatural looking thing, but the lines geometries. Think of like

remember Charlotte's web. Think think of a Charlotte Web type character that's able to do mastery beautiful ordinate images and their webs, and then an image within an image, whether the image as they overlay with different things and at different times and maybe angles of the sun or times of the seasons or times of the year, various details can peek through from various levels. Does that make sense.

It's really extreme, And I know we don't have to go on that tangent, but I just want to throw that out there because this is what they're really seeing. And so for after all this time, nothing has just proven my crazy claim, if anything is. But I accept that people find that hard to accept and see. But that's okay. In time and as my skills get better to reveal these details on these service in these images than the more clarity that they like to provide for us,

it will become known. And as you mentioned, Sidonia and how NASA really loves to steer clear from this place as much as possible, even answering about it. They're not allowed to talk about it. They're not allowed to even mention that there's any hints of artificiality or extraterrestrial intelligence. And this goes back to the original story of when it was discovered. Many like Hogland presented in his book how it was like Tobias Ow and naming it head.

Oh my god, look at that. But that's also a cover story from a source I cannot name who had told me that how we really got the original image of the face of why we even get to see it now is because the Soviets back then, in the Viking days, we were still in the Cold War, remember yeah, and they were breaches, you know, they were in like you know, Colonel Corso Stephen said they had to have a nut file compartmentalized places because they were really probing

not just for our you know, Cold War issues of trying to find about weapons and stuff. They really wanted to know about Roswell and they really were interested in Mars so some So the long story short there of what I was told again by an unnamed person that the Soviets back then had received the xerox picture of what they had found, the face, and they touted it around the world.

And what has happened since then you have international space agencies of Mars, even existential enemies at Mars making progress, making a space a place that's obviously a war fighting domain potentially as well as a place to be able to not just change the nation, but to change the world and or to control the world.

channels I can't access anymore with millions of us. Surprisingly, from nineteen fifty two it had Peter Graves called Planet Mars. Wait, red Planet Mars or Planet Mars. I think it was red Planet Mars, but either way, isn't it. At the beginning it was like they're observing Mars and it would show the ice caps at the top and the canals, and then as the water melted, then it was black and white. Now mind you, but you could tell in the canals. He's like, well, now they're shiny. Why is

it shiny? Well, because it are melting water. Therefore, the sun's reflections. And again that was built on what was theorized and pretty much accepted as the most possible means, based on, like you said, the limitations of lulls observations to build and theorize the civilization around them. That made that feasible. But the mariner, you know, probes obviously shot that down in a lot. But I'm sure that they see what I described, that those patterns didn't go away.

They're part of a much bigger, artistical, ornate network that they will never want to admit. And the cliff I told others there too of a time that if NASA is speeding the mare is after all them months, I'm sure they must have a camera facing forward because as they record all that data, they could even speed it up so they would see those patterns. But as you're going there, the patterns would be changing, they would shifting. As it gets bigger and bigger, you would still see

the patterns changing and shifting. And that's the theory. Again, I can't prove it, but if I'm NASA's sign, if I thought of it, you know, that would be great to study those canals and learn that they're not only not canals they had to come up with another excuse. Oh, you see, it just looks like a moon or whatever. You know, there was totally distrust. But yet if they were looking for that real question by doing what I said, they would see Oh and we could never let no

one know this. It's a little intelligent. They would see that the planet was sculted. Even with its bombardments and issues that have happened over the years, you still have the main artistical imprint in its foundations. Does that make sense? Yea.

about the twenties, thirties, forties. Well, well, they finally sent something up in the sixties, right to go to Mars, the Mariner missions, so you had a quite a few decades there to build up this this societal concept of what the potentially expect from Mars is fascinating, right, and the are we alone question, you know, was bound and it was pretty much accepted. And when you know, they were many people were disillusioned and hurt because when they

said at the Mariner that there was nothing there. But it was always a goal to go to Mars. I don't think just because of Lowell's findings. I've also put in the book about Nicola Tesla with the recorded the recording and the receiving of messages, he believes he was

communicating with Mars. So there's a lot of factors. And because of those decades of Lowell in the societal mindset what to expect, obviously the government had interests to go check it out, you know, so that was going to be on the board, uh to look at.

But he claimed that he was receiving the signals from Mars and stuff, and that even by the electrical experiments he was doing, he was proposing that we could also use that to send craft to Mars womb by jettison using that worldwide and maybe maybe you could, maybe you could, and you know, we have a dismantled, degradated system of what Tesla was actually doing that was perfected in the past.

I mean, you're the pyramid man. I think certainly you could have stoot and a tune to well, if what he was doing in the pyramids maybe connected to something like that, the volume of power may be big enough to actually send craft to Mars or beyond. You're talking pyramids on other planets.

was actually stated in those communications. Uh, but the government may know, you know, they everyone, you know, John Trump, they all grabbed that stuff up. Hopefully that's a blessing. We'll find out how Cliff. But uh, because it is something to which we don't have to worry about all these problems. Our fossil fuels and everything creates free energy. But not only free energy, it gives us the energy to thrive and also expand away from Earth. Because these

are concepts that could be utilized on multiple planets. Maybe that's why we have pyramids on Mars and supposedly potentially on other places, but Mars is our prime target where we know for sure this pyramidal things, you know, And that gets right into this subject of what this book is stemming forth on regards to the face of Mars. Because from around Tesla's time, he was not the only

one receiving communications. There was a professor Todd and Jenkins who also it was like the first fax machine as it was toy'll be able to make a graphic representation of signals that they would receive. They believe that they were receiving signals from space also from what I hear also really about Mars, because Mores was an issue. They

knew what Tesla was saying. So they built a thing to receive signals and it would, you know, show its blips and dots and maybe in time someone learning to decode and understand what all that represents, you know, But that was the first early stages, and at the time it was best then to do so because the world was not that filled with radio static and stuff like that.

to appreciate what you just said. They needed radio silence, all right, So there was times of the year and they would even had the governments, the US government made sure that there was radio silence for a few minutes, not just in this country but around the world when they did this experiment and it was receiving signals that I can find it here and in those signals, you know, I'm sure it just to get it more downloaded as data.

You know. I'm sure they didn't know how to read it or if it's said anything, but they would look for, you know, obvious patterns and stuff like that like what they do today. Again, they're probably better at it now. Uh, I don't want to dead air. I'm trying to find the thing.

with that that drawing. It kind of looked like that. I'm riding chance. I see this. I know I got it here because I put it in the book. So I keep all my files for the book in the file.

any potential archaeological implications or handiwork of intelligence. And you know what, I'm really getting frustrated. Now, don't worry about it.

and shadow. This is an in depth look at not only the Face on Mars, but the city known as Sidonia and the archaeological ruins that are almost visible to the naked eye. Let's talk about what was the purpose of Mariner nine, because I'm not familiar with the various early missions.

able to get funds. They were a new agency and they had to do start doing exploration missions, which is where you brought up before the call for the show about Brookings and how what Brookings laid out on what how it should be handled, where they specifically mentioned that upon the future excavation uh explorations UH, that they would find alien artifacts on the moon, Mars, and Venus. Those

three was specifically mentioned. And that's incredible because that's like, well a knowledge, like well, what would make you think that, well, we could alude back to the Todd and Jenkins whatever they really know, because once that data was acquired, it was taken away. It was the questioned you can understand that. Then we had other hints out a face like the best one is nineteen fifty eight Jack Kirby's comic The Face of Mars. You know where astronauts go there, they

land on Mars, they climb in the face. Brennan falls through the eye of the face and he as he's falling, he experiences a virtual holographic history of what went on there beings that were there, a war that was unleashed upon Mars and that they had struck I guess the planet they were at war with, which is what the asteroid belt now, and that those surviving beings came and did to Mars, decimated it. That was really interesting because

that's nineteen fifty eight and it's given us potential. You know, that they destroyed the planet. They blew up the planet. Now, whether Mors was a moon of it or not, that might have some differences, but certainly it was a planet

much greater size than what Mars is and whatever. It's a bit but people like to say and thing that maybe Mars was once a moon a satellite of this large planet, which you know, our Earth is supposedly the top of If you go, you have people talking about Samerians and Anonochy befores So that's how that ties in.

the program, open it again. Maybe that's an issue. It's a new program, so I but it's it's easier to use feasible for doing shows and such. Open with photos and that's just a simple photo program. All right, got it? All right? Now let me go to share again. So again, sorry for the editing work. When you request for ailing, No, I don't want to have a companion share. Oh all right. Do you see that now?

alert it is for what nineteen seventy six missions of the Viking orbitors and landers, there was two missions Viking one Viking two, both orbiters, both had landers, both landed, and two different spots of the planet, which happened to be also the zones where doctor Brandon burg projets that the nukes went off. What a coincidence they go to both sides four thousand miles apart from each other. That

makes you really wonder what they knew when Cliff. But anyway, but yes, so this is a frame thirty five A seventy two from the Viking in nineteen seventy six, the famous face.

We have this big ancient alien movement of everything on Earth that we can't explain as the result of alien intervention. This is more of an ancient alien should be. It should be an ancient alien focus because these are obvious archaeological ruins.

black white? What's what's that? It's on the tip of my tongue binary, you know, in order to for the images and the data to be transposed, and it would be you know, transform into the pictures and the visual data. All right, So I don't know the ins and outs. Again, that's the where the scientists like Arlotto and Oakland, I come up to this book, like you noticed, with a different approach. So, but this is from nineteen seventy sixth

of you that has showed us. And to the left of the faces, you know, that's what Oakland and others had so much focus and worked on and on called the city and the city square. And there's the face casting is his shadow? Now this even then because of the shadow, you know, this thing is huge.

wind or destroyed. And even in this image clip, I mean, if you can look out, look at the artistic markings of the face, follow it away on the surrounding artscape. That's what I call it. I don't call it the landscape that's not sand. But looking at that, you can see all those like patterns. Do you see that in the image?

his study. I've been studying this face, matching up data points. The point you make I have heard before from many, But that's because many people and I'm not saying this to be sarcastic or anything from them not studying it. Does that make sense to really know something every nook and cranny. It's not gonna happen in ten minutes with

someone that's not really familiar. But when you study this for so many years and so much time, and then with other image data again from lower resolution, even lower resolution, to what we have here to like you mentioned high rise imagery and stuff like that, these details are there, but I would say more obfuscated now, well, I mean harder to see. They make it harder to see. They try to make it look as natural as possible by so relief, by overcontrasting, so it's harder to bring out details.

I'm going to show you some examples of that everybody, because it's the truth. And as far as I see again, I'm not trying to have a big head or nothing. I'm the only one that's been showing the actual relief details on the face and around the face out of pretty amongst all the Mars researchers.

to make it like it's it's a detriment our. It's our fault that we see a face. Oh, you're a bad person, not because you know, it just comes naturally. You're a naturally bad person. Because it's a defect that that's making you see a face, you know, I mean, ridiculous assumptions. Is one and most part of the story about how we got that image to the Russians. From

the same person. He also told me that if NASA was told they're scientists and everything and they're geologists there and that's all I'll say, were to even hint at an alien intelligence or a face or anything, that not only would they lose their jobs and whatnot, and that NDASA signed NASA would lose their funding. There would be no public NASA this day. That was never changed.

made a lot of money going. I had doctor guild Livin on my show to Marson revelation a few times in the pass before he died. God rest his soul. We're going to get vindication from yet everybody, I promise, But uh, he even told me it was. It was basically a scam. They put things on there, like the light detection experiments, so they came to him. They blackballed

them because it detected life. And never since they had never on any mission since Yeah, and this is his words, have they decided or allowed him to his proposals or anyone's proposals to put on light detection experiments, only experiments and the millions and billions to look for possible signs a possible past life, never to find out to replicate. Now though he said, though you've got both sites of the landers, replicable test showing consists the results indicating positive

s lines of life. What more replication would you want? But yes, with better tools and the things that we have now, it makes more sense to reaffirm those experiments. NASA would not do it. The last proposal he had sent to them, they didn't bother open it. They sent it back to him in a cab. Now, how the disgraceful? Now, so they wanted this thing, that's the question. But he told me that it was all about the money. They put these experiments on board, saying, yeah, we're going to

look for life. Why Cliff, because they didn't expect the fun I did. They knew that we're not gonna find it. Anyway, let's do this. They wanted it to make it on a bison tental year, which made it even greater. They wanted, you know, during the summer of seventy six, people eating their hot dogs, they only had quarters made the bison

tendel will remember that. I mean, you had so many things and tho it Behold, that's the year they get the detections of the radio uh, radioactive isotopes for nuclear weapons that can only come from nuclear weapons or a supernova, which ain't a supernova because mores would there be there'll be no mores to study let alone this can.

I'm sorry it in the road, but let me finishes about uh about the gill because we found what that year, the radio isotopic of zen On one twenty xen On one twenty nine, brandon Burg's model and showing nuclear weapons. It found the face. It had a trifecta because then they discovered the life. Boom, that's it. Case closed. They were mad. They were mad that now they knew that more money was coming in. They want these questions solved,

and no answeren's Viking. They took so long that they waited until the late nineties to send the Mars Observer, which got what it disappeared at a precisely six pm where it went black everybody. But then they sent Global surveyor basically using the sum of attained the same quality camera except some lowered prices or experiments, and then we got further imageries of Sidonia and everything. None. Now a clip checked this one out. This one is abously.

valuable for any data I processes from the raw. So everything you're seeing in this image, there's not a peg artifacts, there's.

led me worldwide to my dairy. Now, this one is the second image of nineteen seventy six that was found by Greg Molinar and T. Pietro Vince d Pietro, remember after thirty five a seventy two, the one with the shadow. They said, oh, they took an image a few hours later. It shows that the face disappeared or so longer there they were lying. They found an image when they looked, were able to look at the time when they did that. This image was taken actually later, I think in the

same month or a couple months away. This is title seven. The first one was thirty five. A's orbit thirty five, so this is seventy eight thirteen. This was orbit seventy, so not far away from each other. They were able to image the thing again without the shadow. Yeah, okay, and it looks They found that in an this labeled file. It was label it was placed in a different file and they discovered this which they after themselves. D Pietro

Molnar the TNM pyramid, that's how it's named. I'm about to do a video in fact called the Pyramids of Mars King of the Morrison Pyramids, the DNM pyramid. I'll send you a link to that when I'm done with that. But you know, it a cool shape from shading of it, it's pretty wild from a Mars recard.

a pier pyramid, pyramids at four slides. Yeah, but what you know here on earth? But how do you know even here on earth that may be destroyed or somewhere else out there, you can still make pyramids out of various geometrical shapes. Even Carl Sagan said that you look for the geometry. That's how you look for previous civilizations

techno signatures. Right, it was Naturing doing this. Well. This was right between the second and under those little cluster of features here that was called the city square, and next to a third it's right right next to a three pronged domus type structure. It's pretty cool with pointing those tips of pointy.

city the city square people. And how if you go from the city square, a little cluster here all the way it goes straight to the face through like the mouth of something connected to it. You know, and there's geometry, cerahedral geometry. Richard Hogland had turned it, and you know you see those mathematical, scientific layouts of many of these structures. I again, I come at it with a different approach to add on to the continued research of where they left off.

new book called The Face on Mars. Gary has been imaging and studying planet Mars for over two decades and has collected the great archive of photographs that you can see in his book, which is now available on Amazon. As an image specialist, have you found symbology what we would consider numbers or anything that's kind of like, hey, this is city X, or this is a this is we want to identify this area for those who are flying over.

because it's so opten. They had to make such a counter reaction from to make it so obvious that they would mock you, like the UFO crowd mock you, shame you call you names, Well, call me whatever you want, man. But I go by the data and you can see this this symbology boom. There's a little bit better processed

image of it. Now go to a more extreme processed image of it, you know, And I'm like, okay, each of these is valuable now because especially for comparative analysis with higher res imagery, I like to try to bring out the details as best as possible, to show the data points. If that makes sense to I can match up with the newer resolutions that might make it harder and to confirm some of the features we see in low resolution. But if you have data points, yes, and

you could, that's the confirmation. So that being said, there you go, Cliff, you brought that up, the famous cat box.

face at all. Why remember when you go into planets at the time when Mar's uh Mars uh not Observer Global Surveyor got there, and what other missions do they go there? And there's a process called aerobraking, and then you look at circles of planet as you gradually lower to the orbit and height above the planet, you want

to be in the position in right. So during aerobreaking, almost towards the end, they looked at Siddonia from a side view so far away at an angle to try to use to mislead the public that what they're seeing shows is not a face at all because it looks like crap. Is kind of hard, but be honest, So what you're saying is you see a face even though it looks like crap.

gives it away. Why didn't they couldn't they just go over it directly and show us how much crap it looks like? Because it still looks like a face even at this position and what I see, I could still see a mouth, I see an eye, I see a forehead, I see a chim that just looks retarded by because it's not a slant. You know, they don't tell you that. They wanted you to believe this is how it is looking down. Obviously there was an uproar, all right. So

there's that. Now there's the there's the what theyugh rectified image of the same image.

scan lines running through it. When they released it, it was even more what's that word contrasted? The white was cut. Where you see whites, you can't see none of the details. I mean, it was worse than this. I'm sparing your people, you know, so, but this is much better version. Okay, but it still looks off they you know, because of the angle. They weren't wanting to really tell people. They wanted you to well, they didn't want you to read.

But if you read it and follow the mission and how that image was taken, you'd be like, oh, okay, you know it was way to decide we need more data, That's what we would say, right, Okay, so there you go. We have speeches and it's not to be. It's not to be. I processed this one from the raw data itself, the Saint NASA's image of what they gave you.

And you could I know that because I literally traced over it. It took me months and months to trace over every nook and cranny of this and then when I seen it to accept it, get beyond my own paradigm shift of what I had to change even as I was doing it. But once it all came in the view, I said that whole thing is artificial, and the art scape set it sits on.

It ain't going to come from one image. You got to confirm things that you think, you see, things that are there, and then make it make more sense by continuing study it by the more data we get.

I showed you without casting that shadow. Now, doctor Carlotto did this to show what I just described to you all on how they took this image of the face to begin with, because it's at a side angle view, and the better to describe that is by doctor Carlotto shifting the view of the Viking phase so you could better understand what I just described that they imaged it out of view, you know what I mean, that's how they took it. They weren't nowhere near overhead. They were

way over yonder looking at it. Hey, you know, let's try to make this not look like a face and how people were right over it. Crap, but anyway, but at the Corlado put this best representation together, which is really cool. Now this two years after this escapade, right, two years after, three years after we finally get a with them getting the image right above the face. You know, so this is what it is.

two thousand and one Space Odyssey. Everything symbolic. Now I had the processes from the raw and I could and I have processed it better. They give it out where the details you see like where are white? You know, it's like more contrasted as hard as it's softened. You don't get the CDR escape around it too well. And if you do, it's it's often it's like it's hard to You got to study it. That's why I said, there's no way to really learn to face or not

to face unless you closely study it. You in comparative analysis with multiple other images and uh, in order to confirm that that seventy six face is this face now the most that they have tried to do, Cliff, which we're gonna show. I show that because the busting this is a little bit better processing job. I just wanted to show you the difference.

not natural, This isn't sand and dirt. I don't see any erosion because it's all part of the art. There might be a couple of little crumblies, but this thing is fairly in pressing in shape as well as the art escape as sits on, despite craters here and there. In fact, many craters are also. I questioned it it could be craters at all, because they seem to be fused in the art scapes of or after the accident happened, it was modified again to fit it into the artscapes,

which brings implications there too. Someone must have been there to try to do a fix up. I don't know that these are just questions at the top of my head of notes I made I'm just.

they see geometry. I see the art. As an artist, I see the art, and I've had several tattoo artists. I've helped them to see this too, and it flipped them out. Now, the so, like the eye you mentioned, the eye isn't this feature is not flat everyone. That's what I'm trying to tell you. NASA sorphans is to try to make it look as flat as possible. Therefore, it's a shape issue. That's why they had to look

at it at a s form slide angle. Despite the details, the relief, they'll try to off you skates some they want to make try to make this look as flat as natural as possible, and yet it is not as contrere. But uh, the data is out, at least the red data. You can peer through that. But they know many aren't going to do that. Many don't know how to do that, and they make it nearly impossible for anyone to even trying. And you know, but I did. You know I did, And whether I'm.

When I'm at that point, I believe I could, And I go to the next step, which is this to bring out more right, and then I go to the next step, bring out even more and like you just said, that's a little better. It's the same image, but you just said this is a little better. Now. So now these different examples, you get to see the things that NASA is really trying to hide, because why am I doing this? Why is it me that is doing this the show everyone else they should give me the damn job,

but they won't. I'm a feeler, you know, But think about it. You bring up very good points and it's very important. That's why over the years, remember all these images we have now with a face Cliff and everyone trip trip a year or two or three or four goes why trip drip drip drip. You know, now the

drinds are starting to happen more so. But it's like, that's why it took me twenty years, since two thousand and one, they've released this, since ninety eight when it first started for me now to be able to come up with the idea because I don't see no one

else doing it. To compile this book together, utilizing all the images of the face and the various different views and the show what we have now of the face it's basically a compendium of the continued research into the face at a different approach, not like the scientifics of Hoagland, Porlado and all that. They again, they only had a minimal amount of imagery. Think about if they started working with all the modern imagery like I do in this book now to go by to show this is not

closed at all. Now, so, like you said, that's two thousand and one. That's a little better. Now here's a Mars odisy view.

but notice Cliff why I also want to focus. Remember I said, no other image imagers taking a picture of the face casting a shadow, except mores expressed and a much lower resolution, smaller looking we More's odysty took a great image with the shadow just starting to come off. See got there at the corner. The shadow is just starting to come off. And guess what I did a shape from shading up. Oh I SHOs show you that,

damn it. But anyway, uh maybe but anyway, or I might make a video of it, but either way showing that it has contours. You just said that like you're seeing details that other Moras Odyssey images were not really showing you. But also at the same time, this isn't showing some of the details of some of even other

these Moras Odyssey images. If because the tricks a light and shadow instead of negative way, it's a positive way because this face was sculpted using the mastery of tricks and light and shadow and of the sun, whether it's position of day and the sky, a position of season, position of epoch forrobably now but uh, it's really incredible. The detail shows. I knew you would focus on the eye,

but not only are I notice the mouth. No matter what image they give us, they always want us knowing that people always just focus on the eye and what the mouth. You can even whether you contrast the most, you can't not get rid of the eye or the mouth. So that's why they obviouscate it, which means what. This thing is not flat, That mouth is open, and it's a beautifully sculpted head though, I'll tell you that. I that's genius to show the lid. It's a master of art.

Moore's express. Now it's basically the same type of resolution, but there is a stereo camera. But here's one difference. Look at all those details. Remember what I said about seeing the rscapes. Look at this, Look at these details. Look at that. What's NASA's camera missing. I mean I could see the points. I could see that it's there in EU since especially when you learn the service, learn how to see it, learn what you're looking at, and then when you compare it to moors express, it brings

it out more moresbout the tattoo. That's so express brings out the tattoo. And ess what do you see? What do you think of the same as compared to honysty.

And resolution and everything and position of which of what, uh of where the camera took it, but a different time of day. Now here's what I get when I merged the two together. This is what you get when I merged the Mars honesty, this one with this one, we get this one obviously bringing them both together. What is your opinion, Cliff.

no erosion. That's great, not even standing dirt. If anything, this that image should have been your help bring out that heavy metal. Yeah, very cool.

off from the bottom right. You see that? Yeah, So that's that's why that's there, because in this you obviously don't see it, but here you do. So that's why it's important because you have details being seen here that are not so easily seen in here. But when you merge them, like you said, it changes the perspective and it and it validates what each image actually has to show, like when you say that look that could have been

distorted a fake. But when you match images and comparative analysis and especially through overlaying and doing what needs to be done to fuse it correctly, you bring out what each image has the show. I mean, so you might know the better term astronomers call is stacking, you know. But this is more complex than just stacking an image, you know, because you got to match up as much detail as possible to bring out what each image shows. To bring out the details that's really harder to see.

So we have a cheat. To me, I call it a cheat in a loophole because now I how to hone in on the details to reveal them.

point you're gonna show the real original face. You're gonna get a knock on your door.

Mars reconnaissance or over of context image we have, Cliff. Now, at this time we have about fifteen the side fifteen or seventeen context image use of the face from various positions you know, natter which means directly overhead off, nator means you know, not overhead, so that could be anywhere, but you know, and different lighting conditions. So this this

particular one who was released in twenty twelve. And now this is where photoclinometry, which is what doctor Mercolado uses and knows of and made the shape from shading program. That's a form of photoclinometry. This image out of all the other ones we have except maybe two, which comes to where I call the Goldilocks zone is the only image that gives us a true rendering of the accurate shape of the face. To do correct shape from shading with now, because the thing with shape from shading, it's

all on light position. You have to have it and what I call the Goldielock zone light position, even though if it's overhead the sun acts as that Goldilocks position to where you can zoom in on an image and you can see christ detail looks great, But if you run it through shape from shading, it was more ridiculous than Nasaso's why because it's not at the right Goldilocks zone spart. You need the right zone area to get

an accurate rendering of anything. The Pyramids of Geeza, the Eiffel Tower, cliftunning looking up at the sky as Google camera looks down on him. What are you doing near that pyramids on? You know what I'm saying. So this is a great detailed image, Nator, pretty much, Nator. Now notice both eyes pulding us the other eye, yeah, the other side and face it has a pupil, I mean, and notice this eye as a pupil. You know that this was centered because it's not just solely one face.

You mentioned that earlier about symbology, Well, that's the greatest techno center. It's a symbol. This geometric designing, in this artistic designing, there's weapresent pations of things we're familiar with hominids and what Well, we're gonna look at that soon and get the answer to that. So let's go on. In two thousand and one, with the two thousand and

one release, NASA made it. They yeah, using a hit piece release in two thousand and seven, they used the two thousand and one image to make a hit piece once and for all, to put the case of the face to bed. They killed it. They wanted to myrderalize it, and they it was no longer ever officially since two thousand and seven. Did you know this, Cliff and others? It was never officially anymore called officially the Face of Mars.

It ended in this hit piece from two thousand and seven, okay, which they used the full face image of two thousand and one as its odyssey to bring that deception to us. Why do I say deceven? Okay, here's two thousand and seven. It gives us something to where people looked at it not a word. Crickets, you said, you gotta be kidding me. This show's not just offfu scation, a deliberate withholding of

image data. Because remember, if this is the two thousand and one full face image, how did they release it to us? Did it look like this? In two thousand and one we looked at that image? Did you see it looking like this? Cliff? No, you see it black and white? Yeah, where'd the color image come from? It came out from Graybeard, Mike Maddlon's draw to use it as a hit piece and to tease us, which I'm going to do a data quality act and a foyer.

He never released this image in nineteen, I mean in two thousand and one with the black and white version. He did.

No other image This image has never been released by Mike Malon Mailan Space Science Systems until two thousand and seven, would a hit piece along with Moore's Express images, More's Express not saying nothing, then also putting out big release of their site of their More's Express image, Like we just looked at in this hit piece where NASA revealed this color image and no one said anything about it,

you know what they're all focused on instead? What oh, before we get there and there's a point he said, look, look, what'd you say that it looks too What would you say, Well, we're exposed there you go, bring out the collar, bring out the detail better. It makes more sense, all right, But balloom does it. They can't have us seeing the face like this? What was just a mountain? It's a massive, it's a hill. It's a even a new a new a new human deficiency. That's hard fault. It's a mimotolith.

They don't know what to call this thing. But yet the colors, how do you explain the colors for a hill, a mountain, a massive or anything else. Look at you ornate beauty. It looks metallic. It looks metallic. And if it's metallic, now we know how this thing could survive from a round for maybe a few hundred million years.

Why didn't they send them the rovers here? Think about it now, you people know, think for yourselves, or pack them and smoke them, let the hand of brainwash and go off, and then you'll be like, holy crap, now this is what everyone focused on. Cliff, I'll just do that for that hit piece. According to them, a true shape, a true three D shaping on the face, what it really looks like, and it is ridiculous. People didn't want

to even want to notice the color. Again, I'm the only one, the only researcher, not a whole one of the whole team, and we were all connected, no one. They're all focusing on that bump. Oh that bump. Well there is a bump, but it's not where it is and it's not what that represents this image. Remember they used for a hit piece to put it to Bet to kill the discussion officially ever again even being considered

being considered or talked about as valid. They made it as like a gravestone and the faces laying down in his gray dead. They killed it and they would yet teasing us. Here's some color data, but U sheep will notice that you'll focus on the gravestone, which is the bump. That's how I come to I know how they think. But notice how soft and everything. But like you said, it doesn't look what was that word again that you

use for the color image? It looks on their process or whatever it was you said, it just doesn't look right. Well here it is, and they but yet look in this you can still see colors pinks, purples, you know, but you're like, I got to bring it out more. That's why what I had to do in this obviously, are you saying that it's not easy to do. It's not easy to do.

say anything. They just put out their data. Let people download it. There's ZIP and it was all in control of Mike Malon and Nassa. Oh this pro is a face is not a face. Look at it. Look at it. There's a hill. But yet no one's mentioning her color. And someone said it's MOR's express color. I said, no, it's not because you can. First off, I know Mars Global Surveyor and Moore's Express. Mars Express has red, red, blue, green color filters for the camera. Mars Global Surveyor has CMYK.

What we're seeing here is from CMYK, not red green blue, And in the CMYK image, you're I was able to various other color images like We're gone, I'm chaos, other areas to bring out the colors. Wow, it made it such a life, such vivid, beautiful compared it was even looking worse than what you see here at least. Yeah, you can see some colors trying to come through, and those images I worked on, but I knew there was there was there because again I focus on relief, and

I always said that the colors would help reveal the tattoo. Now, so this is what they gave out as part of the hit piece. It's not a face. Now they say that's the true shape, and many people ever since then believe that is the true shape because why would not. Why look, there's a shape of the first Okay, is it really all right? Well, here's my more better color process view of it. You know, still looks ridiculous, but it looks moreful and making sense. And this does at.

face Sience systems. Yeah, two thousand and six. Well that's when they're more Express image of the face was taken, but they saved it to use out of the public hit piece because they had to work together with NASA dominant and control. That's why I believe More's Express had to be lower resolution too, because without NASA and the US they wouldn't have had a successful mission. So they had a total line. So they were allowed to put that off and not say nothing. But NASA has the dominant.

Say so this was two thousand was from a video, So there you go. Boom boom boom. Now that's what they gave a show comparison. Now let's look at the true shape of the face. What they're off you, skating from you all. And what it took me to reveal using real science, using photoclinometry, and what they were using was mola crap pola. And think of it as like a wire frame image, right like like they used it

in my computer games not long ago, splash screens. They make the wire frame and splash the image on it. Never mind the details, never mind the relief, but it all becomes part of the wire frame that you have set up for it. Right, So you can morph that thing to look like a pyramid. You can make it look flat, you can make it look like a crater. You put that data on that model, that's gonna be the shape of the true shape. Are you following me so far? Yeah?

and it just makes the ridiculousness stand out even more. Now, Wow, when you considered a true shape, look at the difference on the very What a big difference The work below is you the work below, Well, it's from the processed image from this Yeah, the only image they ever gave us where we could get an accurate shape of the face or shape from shading.

what better source in doctor Mark Carlatto. Right, So there you go, this is Carlino's program, and with the right image, the right position, we're able to get a correct view. Why at NASA doing that with this? They're deliberately obvious skating to change the shape. Remember why look at it from one distance? Has to be because it a shape they don't want us seeing the face Legler. Even from the slide, people might say they see a mountain, but then they look at it, they're like, you know what

that looks like? The sorry profoil of a freaky face. Yeah, and that's what it is. And that's how it really looks. It does not look at all what they tried to pull on us in two thousand and seven. So when Cliff you mentioned earlier about putting someone in handcuffs, get this guy who manipulated this shape and it has real in two thousand and seven, it's what we should be seeing. This is what NASA is really seeing. Oh my God, it is scary. It's too scary. It's too scary. This

looks more comfortable. It leaves it to the mind. Well since theys, well, it don't look like a face like that, you know, I mean above maybe I can see somebody like this. But why would NASA alive now? But I'll take their word for it, fools, because look how about it now? Does it break your paradigm? That's a change? And Cliff, would you agree not? At least at least it makes more sense to the details we see from above? And well it makes more sense than this.

I didn't just do this and put it out overnight money for months and confirm that I'm seeing the data points before I said this is it, and believe it or not, there aren't some who aren't vocal. There's one who kind of is vocal, but too afraid to bring it out in the open. And they disagree because they've been too brainwashed by this. And also they really didn't know what they were looking at anyway, no effects, but that's the reality. So you see, that's safe. Here we go.

You wanted other views. That's the other side of face. So what you see and look, notice you can still see the pupil in the eye, the open mouth from a side view where side views a concern profile. That's how it looks on this side. Yeah, and obviously it debunks NASA's pretty color view there. Same thing here you could tell WHOA then you're telling me NASA is telling us the truth everything you just said even before the show, Cliff and on it, you were completely right about NASA.

They're deliberately going out of their way and that's what it. They said, crimes against humanity. So I support your thesis on that, and I think you should do a paper on that. Cliff, I think us slide on into it. Yeah, because it's a crime against humanity. We all have a right to know. You said to yourself. So but either way either so that's what let's let's continue around other perspective views. Do you do? Uh? Does does Maelan have a.

is crap polar. That's why the chapter in the book Richard Oldland was cool and uh provided for me to contribute to the book to describe about that mola crapola how it has not show the real shape or let alone size of the face or any details. You got to get the book The Faces of Mars Beyond Metrix of the Latent Shadow to read it and or go to Enterprise Mission archives as how to make them, uh, how to make them face out of a molar hill? Know how to make a mountain out of a molehill?

And he was right, how to make him out and out of a molar hill. Mola crap pola they wanted. They use mola to deceive us, though we cannot give us the true shape or any details as the basis to say, this is the true shape. But you got shape from shadow photoclinometry, something really scientific. Yeah, we get that. Yeah, and we got that right. And now we're spinning it because the animation spins around. I just grab certain frames

just spinning around, just to show you example. And compared to how it would look from the real true shape of the face, which one makes it looks like in most sense the one on the bottom, it might be more scary. Throw some nuts, every one, because this is what NASA is really they're looking down at. This is

what they're keeping us from. This is why you have international spacecraft that we had to also help get the Mars too, because the cats out of the bag, like Cliffs said, since the Soviets, so there had to be a policy and the means of bringing the world together, not just the US thing. And this one world to order is doomed. Good good, good olding trunk. Keep doing it, you know, won't piss me off.

you can see carved features around the face. They all are escaped like little cells, like like dragon scale was like you know, and then the magnificent geometrical layouts and of the art, the only art.

But they they're not no longer considered a scientific agency. Not a science agency, never a straight answer. There's so many acronyms, you know that and euphemisms. This stands for when you know, when we're faced with something like this, where it takes someone like me, no matter what you think, Yeah, I studied that. I learned how to do what I need to do to reveal what NASA will not reveal to you. This is the reality, what they're really looking at.

You think that if they showed us this in nineteen ninety eight, as I'm showing here now, you know why they didn't want to look down at it, and you know they wanted to try to make it look as smooth as possible. They were trying to adde the shape of the face to make it look as flat as possible.

Do you think you want to run next door and you know, go stamp your neighbors, steal their shit and they all set the world on fire because we have this left there? Or does it make you feel more inspired like we used to be, Cliff, growing up with store trep that gave us the vision. That can't help get NASA get money for space for what, only for them to lie and control it and hide it from us. That's why I agree with Oh, that's another point I want to bring up, Cliff, know it is Google Earth.

They use Molla data too. Where's the big bump on the forehead, They still change the shape, that's Mulla data. How NASA presents it to the world and yet as far from the truth because it's deception. They don't want to show us what it really looks like.

you all in twenty twenty six at this point. And you know, and there's a book on it called The Faces of the Mars Beyond Mere Tricks of Light and Shadow. I would appreciate you all getting it. It's my first book. The next one is going to start being made. The Pyramids and Mores Oasis of the damns. But so check that out. This is how Google Earth presents it. It's really disgusting, you know, and you know, and social intelligence.

This is those my intebligence, more than what NASA showed in two thousand and seven, because Cliff, Cliff, I didn't know that. You know, the erosion is so bad. It's changing shape, you know, over a couple of years now. So there's again side views just to compare and show you that this is deliberate on their end. I'm deliberate on my end showing you the truth to call them out. They're cold busted and I'm gonna have freedom of information acts going, believe me something starting this year too. So

again there's a you know, another view. And notice here, Cliff, what's amazing. I believe that there's a purpose s position because of the mouth being opened at certain times or angles and positions. Look what we see between the mouth on the other side, on the ground away from the face, what is that thing sticking up? Pointy thing? And as it turns, it matches up directly with the lines of the face, the car tours of the face. As it turns.

It's deliberate, it's deliberate, and I could show that video wise, then you do understand that better. But I just wanted to say it to make note. So this thing's fascinating and it looks then it looks kind of scary. It definitely makes more sense than now Massive presenting it, because at least now it makes a little bit more sense. And then it should make more sense because why are you seeing it now through me? And they're avoiding at all courts to show this. Yeah, and this is we're

almost done here. This is all like the second to last image we got from high Rise. This is how Massive presents it. Wow, they give it to the world. Remember is your money you pay for this. That's why I want down a quality act, because why they're giving us crapolay we pay them. We should be seeing what they're able to see. They're obvious skating. Look at this, there's the ie, there's the mouth. Oh yeah, you see

subtle details smoothed out everywhere. That's nice. But if you don't know what you're looking at at the first glance, like you said, who the hell's gonna see what I do? Right, Cliff, you brought that up early. It's a great point. I should have put that in a book. But anyway, my next one, and I'll even throw your name in front of quote. Now, this is how they give it out. Here's the true version by process from the raw.

bewilders you. What about everything else that sits on I'm crazy, right, No, this is what they're looking at and what they're steering away from. Yeah, not just in this area, by the way. So here's an upright view of it of that same image. Okay, that was the second the last image. We got one release to us a few weeks back, and the previous one that was released to us this is that one.

So again we have like fifteen or seventeen different images, and every single one is released like this to the public. Oh so what do I do? I go to the row I still haven't found anyone here to China, England and Russia wherever no one else is processing these images apparently, I would love to if you could do it, people, please show it. I one colloberative, discussion, colloperative, you know, maybe even work to reveal what's there? Am I wrong?

Prove me wrong? The data is only because I could prove me wrong, and maybe you could help me even bring out more with skills you might have that I'm lacking to get through every little thing that I believe, Like Cliffs even said, layers of different things to bring out what we should be able to see easily. But it's pretty amazing, though, what did you a Greek cliff? You've done? You would expect this from NASA, right, not me? Yeah? Well me in my lifetime.

these images we have presented. If you would rather see it up close and personal, now you can go to the Facebook page. Go to Earth Ancient's Facebook and Gary's presenting. I think he's going to give us at least ten images that you can see. Plus he's throwing in a video I believe, right, Yeah.

You know, if you all, thank you very much. Cliff, you rock.

And it's amazing because he's able to remove the photoshop application that NASA has put on and extract a lot more detail, which is very I mean, Mark Carlotto can do that to a degree, but Gary's been practicing a lot longer, and it's it's a lot of work because sometimes you take a portion of the face off or some of the Sidonia region and you can't get it back. It's just amazing that they're doing this, you know, they do it with a lot of portions of the planet.

I have a photograph that was leaked that I talked about. It's by a lake. It's Atlantis Chaos portion of Mars, and there's a city by the lake, and it's so revealing. You can actually see roads and buildings and steeples and things like that. It's really really strange. I always joke that I've had it for about four or five years. When I show it to an archaeologist, they go, well, how much have they excavated? And I don't tell them it's Mars. They tell them it's a place on Earth.

And when I say that, I say it's Mars. They quiet, They get very quiet all of a sudden, which is fascinating. So I fully expect that when NASA is outed, and they can be added by China, or they can be added by Russia or by India. All three of those countries have very active space programs, although I'm not familiar with a rover that is active with Russia or with India.

Those are extremely expensive. The rovers that America has there are a couple of billion each, I mean billion with a bee, and I don't think I don't think other people other than China and America can afford it. So but when you see rover footage, I mean, they're doing everything they can to keep that thing away from ruins, but they bump into them all the time. So this is a real problem. This is a serious, serious problem

of this cover up, and I fully expect. I mean, I can't imagine the administration of NASA keeping their jobs when they're outed, when they are showing photographs of ruins, and Manassa goes, well, we didn't know they were there. I mean, they're going to be humiliated, and rightly so. We're spending our tax dollars on their joke of an experiment to let us think that there's only microbes and bits and places where there's a little bit of water.

There's entire forests that we didn't even talk about today on Mars that have been documented. So anyhow, I hope you enjoyed that. Remember to go to Facebook, go to Earth Anxious and see the footage of the presentation. All right, that's it for this program. I want to think my guest today, Gary Lazier, coming to us from Colorado as always, the team of Gail Tour, Mark Foster, and Feya Pavar. You guys rock all right, take care of you well, and we will talk to you again really soon.