Ochelli Effect 19-24-2025 Friday Night Call-in with B Pete Part 1

the twenty fourth day of October twenty twenty five. Right, if you're hearing me live right then and there in the Eastern time zone, you can call in and become part of this whatever it becomes. Okay, three one nine five two seven five zero one six three one nine five two seven five zero one. I even put out announcements about this ahead of time, and went live at seven thirty, ready to roll, and did a short podcast,

and I was ready to go. I was signing off two minutes before my time, and I thought I was all said. All I had to do was make a new link for be Pete to join me, and then turn on the phones and We're good to go. Nope, anyway, That's that kind of sums up my week, though. Every time I try and do something, complications getting away, delay it,

destroy it, or absolutely cancel it. And that just seems to be the way things are going, whether it's a piece of work, whether it's money I'm supposed to get, whether it's you know, the things that are supposed to go my way, a piece of technology. Hell, yesterday and my son comes to me and says, I can't get my TV screen on because we don't have TV, but he does have a PlayStation, and lo and behold the big TV that we hardly ever use. That he pretty much just has to himself out there in the living

room is no longer working. So I don't know what to tell you. Technology turning against me, the software turning against me? Am I paranoid? Or does the world really hate me? Perhaps it's just God who hates me. I

don't know. I'm thinking out loud about all these things at the moment, and I'm trying to do some good and get ready cause a month from today I'm going to be on my way home, hopefully, you know, in one piece and everything from Dallas, Okay, and I don't even know how I'm going to handle buying a razor and even to have a couple of packs of cigarettes while I go away. I don't even know how I'm

doing that. So you know, I do have a ride there, and I've got a room to crash in, but everything else is going to be on the hustle that weekend, got to tell you, and I'm looking forward to it in a way. But also I'm going to be working my ass off and I'll keep to myself until afterwards how I think things are going to go. But I swear I should write it in a sealed envelope so that I can, you know, show people that I'm able to predict the future. Oh. Also, next week on Friday,

before we go live, okay, on this show. On Friday Night, we're going to do a special and there should be a lot of JFK people calling in next Friday night before I do this show, and we're gonna, you know, like say, starting at about five pm Eastern. It's the plan right now, We're gonna have all the presenters that we can gather call in and on Halloween tell you what it is they're going to be talking about. At the Lancer conference, and also, god knows this, a couple

other things we might schedule along the way. So between five pm and eight pm Eastern next Friday, that's what we'll be doing on here, and I've got some other interesting live plans for next week. We'll definitely hear from Larry Hancock again. I'm hoping to hear from Mike Swanson and maybe some first time guests. I don't know how it's gonna go for this young man who is eighteen and wanted to come on and begin a retro radio kind

of thing with us. We might have that announcement coming up soon and perhaps a nervous breakdown or two for me along the way. I don't know, so, b Pete, how has your week been? Before I get into any other housekeeping duties and updating people on anything else, how's things going your neck of the woods.

It allowed us to keep doing the phone calls. But it's worked fine, of course, and it was an hour ahead of time I was set up. I looked at it, it was fine, everything was cool, and then it logged me out for no reason. It hasn't logged me out for like the past month and a half, and it logged me out, and I'm like, okay, I try to sign back in. And I don't know about you, but I've been having trouble with like all of a sudden, things don't accept my passwords and I've been using the

same passwords on some of these things for years. I don't know. Is it just me or you know what? What do you think.

change things or destroy things. It's crazy. Somebody logged into my Pinterest account weirdly this week from South Carolina for no reason. Yeah, and I'm like, why are you in my Pinterest account? Yeah? Like, what good is that going to do? I don't do any business through there. I mean, do you even do business on Pinterest? Is that a thing? I don't even know?

by the way, I've got some kind of crazy. Can you hear the sirens and stuff in the background.

and it doesn't get done. Complications keep coming up and changing it on me. But anyway, let's see what Jimmy James has on his mind. Uh, and anybody else who wants to join us here for this tonight. You become the show, right You tell us what you want to talk about, and that's where we'll go best we can. Anyway. Three one nine five two seven, five zero one six call in to talk to me, or Bet Pete or hey one of the other callers if you feel like it. Three one nine five two seven five zero one six.

And I think I got I should have. I clicked on it. I clicked on Jimmy, let's see, come on, what is It's the Uncooperative app Day. There we go, Jimmy. You should be on now.

And some people claim that it was shut down because of the the press is connection to the CIA is what it was. And it would be like way too obvious that they had, you know, too many inside sources. You know, after a while you say, oh gee, look at all these inside sources. You got to say, is your organization possibly inside of that organization? And that's part of the problem there. And the Mary Meyer thing is like some people have made it into a major, huge deal.

I said it was also part of the I Howard Hunt deal, right, because it was like, oh, this was part of the big motivation. They easily got Corden Meyer because he was pissed, you know, about this relationship that they were carrying on with. And you know, the sources, the beginning sources for this are messy, is what the problem is. And then yeah, you got Ben Bradley, who's told this story about going and collecting stuff. Right, He's been in a couple of key places, you know, collecting

people's notes. Ben Bradley, by the way, and yeah, I think it's suspicious. I don't know what to make of all of it, because at the end of the day, I don't see cord Meyer being involved in this, but Angleton having gone after him and all that. Yeah, that was kind of one of those things I think, was it the was it the guy who wrote the biography on Angleton, like what was it called like the Paranoid

Guy or something about him being paranoid? Right was he wrote a whole thing about it, and it featured a picture of like the urn being carried, you know, in a funeral procession on the front cover. You know which book I'm talking about, Jimmy.

dug much. And some people have sworn by it, I mean, sort of like they do with the you know, Dorothy Kilgallon's coming up again right as as something that needs to be talked about and looked at right away again and again, you know, because she supposedly had you know, that last interview with Jack Ruby and all this, But even in the you you ought to visit those zoom calls on Thursday nights. Sometimes you know that Jimmy the

JFK Zoom calls. You ought to just listen to the cross talk between certain people that are not necessarily big names, but they go in a lot of wild directions. Boy. And I mean they were really in a lot of crazy directions last night. It was it was kind of strange. I mean I was going to talk and decided not to, uh because they were all on Zubruder, film alteration and all kinds of things. And I'm like, wow, uh yeah, yes, this is where it's because Mantic.

and and the autopsy photos. But now he's moved on to you know really uh, I guess you know, being the the Zabruder film alteration camp guy uh mantic is now And I was going to invite him on here, even though I disagree with that. Yeah, go ahead.

not great. I know, some people have like made it in this big legend like he had this, you know, wonderful command of the language, and I don't think he was that great about it. It seems to me as though he had a very rudimentary sort of grip on it, even after living there. That's what it appears to me, you know. But again I wasn't in his presence, so it's difficult to know. But Marina kind of supported that idea when at last I spoke to her many years

ago that his Russian wasn't that great. You know, if you were patient with him, you could understand what he was trying to get at. But it wasn't you know, precise, let's say his Russian. But anyway, and that's the whole thing too, with the whole you know, translation and what's going on, and people are going after more. The community is getting weirder and weirder by the by the minute.

I got to tell you too, I'm gonna hold my comments until after the conference really about this whole thing, because man, I got I got some things to say, and I'm really just trying to be diplomatic at this point, but it ain't easy. By the way, Jimmy, did you happen to catch that what do they call it? The Seiphered History podcast? That I did?

link in the room. But they started, you know, really to grill me on the films. Was that.

that's that's no good. You know, what people are talking about here and this, and that they're looking at a bad cop I mean, come on, you know, stuff like that, And and I gave them the context, you know, for what we actually have in our possession and what we're looking at. Literally, you know, here's the best copy of it. But these are copies. They're not the original, you know, and stuff like that, and even asked me about the Patsy Pascal film, which is a rare question from these guys.

Nobody ever asked about that film. But it is one of the ones that wasn't, you know, part of the Groden collection for the longest time. It wasn't part of it at all, So a lot of people never saw it because you know, you got to give credit where credits due. Grodin his release of that bulk of films has now been like the place where everybody lifts them

and uses them online and everything. They pretty much you've got to trace it back to him as to where they got these films that they're studying most of them, you know, even Sipruder. If you're looking at a stabilized the Pruder film, you know, Dimes to Donuts. I'm telling you right now, it's probably something that originated with Groden, you know. So you got to consider that when you're looking at how many generations away from the original copy

and everything else. It's just remarkable the way that people misunderstand and take and read these things like they find what they want to find in the films, you know, so spent a couple a couple of hours. I think that podcast might ended up being an hour and a half or two hours, but there was a good five and a half six hours worth of stuff that should have been recorded when we're going over to films.

I had literally had a physical possessional one, and they were rough, really bad copies. You know, there was practically no color in them, so all the color was gone, even though it was a color print, you know, which tells you that this is, you know, not not a solid job. They didn't they didn't take the time to

you know, reproduce this thing well. And I don't know where it was done, but there was a mass of them done, and then they were distributed on the college campuses after that, and I don't know if copies were made of those copies, but by the time I got mine, I mean literally, it was like almost like no color was being projected anymore, Like you couldn't You could see it on the film, but it was vague, you know,

the color and everything. So it was And it's funny if you take a look at that and you overlay it on you know, good color like slide from say the McMillan version of it, which was put on the CD rom Did you ever see that, by the way, Jimmy, the McMillan version of the film.

the Zubruter film. Have you ever been aware of that that there was like a CD ROMs study of the Subruter film for computers like in the nineties.

do better. They made a few mistakes, but if you look at the McMillan version and you're able to take like say one of those a slide even from that one of the crappy Garrison versions, you know, you can overlay it and you can see that it definitely hasn't been altered in between then and then. So what I'm saying is that the film that you know was gotten from time Life and then bootlegged is the same film

that they produced. You know, maybe they did it at the end of the eighties, but they definitely distributed in the nineties. The McMillan maybe you could look that up real quick, b PTE. The DVD ROM or CD ROM of the Zapruder film. It was kind of a unique thing and I'm pretty sure it was. Yeah, it was released by McMillan. I know that, and somewhere in my

archive of crap. I definitely have one still, you know, because it is a solid study aid still even I would say, if you can get a computer that will run as.

show next week. We'll see if I can arrange that. He wanted to come on this week, but like, he wanted to do it at an odd time of day, and I was not ready for him immediately, so because we would have done it in the morning, and anybody who knows me knows morning is not my time of day. And it just I was like, yeah, maybe we're better off doing it next week. And he's like, you know what, yes, because I'm not as busy and I want to come on next week. So we'll see if we can get mantic on to explain.

your eighty different ways. But here's one of the guys that, Yeah, I'm sure, we're literally working with on the Lancer conference and we're actually due for a conference call.

have a razor, buy cigarettes throughout the weekend if you can. Coffee. Coffee is something I'm gonna need, just saying, because I plan to be working all weekend on the Lancer conference, which again is the twenty first to the twenty third next month and less than a month from now, I expect to be on my way home. So you know, we're ticking right on up to it, and I'm a little nervous. Ken, I gotta be honest with you, because I got no funds. I'm kind of going there like

on a shoe string, and I'm taking a ride. And full disclosure, Ken is supposed to be giving me a ride there. I hope that plan is still in place because I don't have an alternative to get in there. Okay, So Ken and I are going on a road trip to Lancer, probably what on the twentieth or something, a day or two before the conference, because we'll have to start get there twelve hours, right, Yeah, it's that area, right, Yeah, So latest will leave probably is like Thursday morning or something.

If we're gonna leave early, you know, I mean, if we're gonna leave early on Thursday with that, yeah, right, that would be the latest time we'd leave is Thursday morning. So we'd probably leave on the twentieth that latest, and then yeah, on the twenty fourth here, I expect to be either home or on the way back, so you know, and you're you're also bringing me home, right, I didn't

even ask yes, Okay, yes, thank god? Because the blind guy can't rent a car and get here no matter how much money I have, even if I had money, So I'm kind of depending on you Ken, you know, don't strand me. Okay, anyways, all jokes aside. Uh, yeah, Mantic is definitely making waves and being mentioned in a lot of places. And like I said, uh, you know, has continued to publish on the Sabbruder film now And I heard a lot of conversation about it last night, and I was kind of like, oh, man, are we

still doing this? But anyway, go ahead and say what you got to say about it or want to say about anything. Go ahead, Okay, Well, so.

levels so we can understand this. Okay, Okay, November twenty nine is the date right of the Life magazine where they print Depending on which version you have, they print what between four and six I think, like frames from the Subbruder film. I don't have it in front of me, but I know I have copies behind me, big colored.

the first thing. And these are the bruter frames were literally half a page apiece, okay, on the magazine in color, very nicely printed really, And they have one version where you have frame three thirteen that got out, and one version that doesn't contain frame three thirteen, okay, which is the head explosion frame, to put it in layman's terms, all right, And those numbers come from the FBI, the

number of frames, et cetera. Okay, So again without getting lost in the details, that thing has a publication date of the twenty ninth, sure of November, right, So if it was published on the twenty ninth, that means that it was printed ahead of the twenty ninth. It was shipped okay to subscribers and everything else. Usually, you know, a normal magazine, they ship it a little bit ahead

of the date that it says on the cover. So what you're saying is that in a week's time, okay, from the twenty second, when the event occurs, to the twenty ninth. This would be the maximum amount of time you have to release this magazine fully printed, ready to go, so that means retrieve it, get the film, reproduce it so that it's usable transfer it over. And this is

not in the age of digital any damn thing. So you have to deep in mind that there was a very small window, okay where this could have been done. So you have a film that has to be in the possession obviously of Time Life and their various agents, which then inserts Robert Groden into the equation retroactively, because later on he gets hold of a mechanics copy okay, from one of the places that was hired to do

some of the work for Life magazine. Okay, just let me know when I make a mistake, can I appreciate it? So here's the thing. You have one week where it's even possible for them to take and start putting frames out. That's one two all of this.

The other major contention that I keep hearing from like everybody, is, oh, they removed frames. Okay, this concept of removing frames to change the speed, to change the direction of the head, snap, to do all these different things. Okay, forget about their goals and what it is they were trying to achieve,

all right, because here's the bottom line. The public doesn't necessarily understand film to begin with, and certainly there is now an even bigger problem because of the difference in technology from then to now and even all of the in betweens. Okay, here's the problem, though, If you literally pluck frames from a film of that time period, you do not get the expected effects that people think. It's not like pulling pages out of a flip book and

rearranging them. It doesn't work that way. So this is why they need to introduce all of these other intricacies of the optical printer and how state of the art cutting edge stuff. And here's the thing. I will concede that there was cutting edge technology in the hands of many people, whether it's in Hollywood or at the CIA or whatever else. But I promise we're generations ahead of what the general public knew about. So I don't even want to, you know, get into the muck on that argument.

Here's the thing, though, if you just pull frames out of that film as quickly as you would have to before it was viewed by many people, uh who before it was viewed by people in the government uh and outside of the government. Because remember, the FBI walked away with a copy. According to the story that I know, the FBI walked away with a copy. Okay, the time Life people walked away with a copy, and then there was a third copy at least that it's a little confusing, but I think, yeah, go ahead.

I think it's eighteen if I'm not mistaken. Volume eighteen I think contains the Prince of the film.

and you pull the elements apart and literally do which. Yes, indeed, there was a lot of like Hollywood magic where people did some wild things with films before the days of photoshop, et cetera. Okay, before George Lucas had to invent editing programs, okay, which he did. He invented stuff in order to shoot Star Wars, Okay, long before those days, they had lots

of wild magic. Some stuff they did literally with like razor blades and clear tape I'm not kidding, where they literally would take somebody and cut them carefully out of a frame and place them in a place where they couldn't possibly be and stuff like that. Okay. They used to do some of that stuff by hand.

there's a lot of stuff to it. There's whole, probably whole college curriculum that could be run on the different techniques and magic that was used in order to accomplish certain things from an audio and video perspective in Hollywood alone, not to mention that there were independent technologies developed in some other places that didn't necessarily make it to be screens. But either way, all of these things did end up coming together and where do you bring the best ideas

to where the most money can be made. So that of course means Hollywood attracted and collected these methodologies, but it also means that when it came time to make propaganda as opposed to doing what they had to do in early newsreels, which by the way, we know now that certain historical events, okay that were supposedly captured on camera are recreations and productions that were created by news

corporation people in order to show a film. I mean, coincidentally, you got a guy that's there on the particular day that the Americans invaded an island, and they've got a perfectly clear picture of exactly how they invaded an island. Okay, yeah, yeah, no, that's not what happened. They didn't happen to have three cameras set up before the surprise attack occurred. Okay, use your head about that stuff. But at the time people saw it and it was like here's news were actually

showing you news. So there is stuff that was done in the news media, so to speak, of the time. Even though there wasn't TV, there was newsreels, you know, before that, And so in movie theaters people saw movie magic presented to them as historical footage, as things happening in real life. You know, sometimes they did actually shoot historical events, you know, a speech somewhere, something that occurred,

the aftermath of a riot, whatever. They did get those things sometimes, but a bunch of them, we find out later were fabricated. So the idea that somebody could create historical footage is also plausible, but when you try to

assemble this thing, it becomes problematic. So on the simplest of levels, a lot of the techniques that are being discussed about how alteration occurred have problems with who has possession of the film, how they rounded it all back up, with none of the odd copies really getting out anywhere except what three guys on the planet have said they've seen the completely altered version. I've seen some unusual versions of the film myself, which contained more stuff than what

we usually get shown. But just like I told you know, what do you call it? My goodness, Gail, you know, Gail nick Jackson, just like I told her about who the hell was the cheerleader on your grandfather's film. She almost fell over because she was like, hardly anybody knows about that. I'm like, yeah, I've actually seen something that was closer to the original than most people, because we had to go find these things down, and indeed people have had them at certain points, and now they seem

to have vanished. So there is a hall of mirrors here regarding providence, regarding who had possession, regarding who got copies, regarding where the originals may or may not be. Even there is a good question, a good solid question about the original that is in the hands of the National Archives. Ken, because you know the indicators on the film, they tell

you where something was printed, where it was developed. Okay, things like this and according to my understanding, we've got problems with the numbers on the sprocket holes there when it comes to the supposed Zubruter film. Okay, so I find it questionable, and I think we should clarify these things, But to go all the way into the land of it's been reproduced, the back of his head's blacked out, and all these other things, I think this is all

based on fundamental misunderstandings of a few things. One, the way that film works, Okay, the way that film actually works to begin with, if you're not trying to tamper with it and how it works. I think these people don't understand any of that in most cases, and if they do have a rudimentary understanding of that, they're lacking

a knowledge in what I'll just call opkins. There are certain things that are ocur optically when photographing that don't necessarily look exactly like real life, but are artifacts of various effects. Different light that comes in, reflections that come from a source you don't even see on the camera. Various things happen. The darkening of the back of JFK's head, for instance, big thing they wave about is problematic because it does to the naked eye look pretty strange and suspicious.

But having familiarized myself with the anomalies in many different films, when you have organic light and various things that can redirect it, refract it, and reflect it that are being photographed, okay, you can come up with a great many explanations for that. I mean even the backyard photos which somebody got very angry at me about recently, where they said, well, those

shadows are impossible. I said, well, it so happens. I have a friend who went to that address on that calendar day, okay, because if you go there on the same calendar day, you should ostensibly have the sun in the same position, which helps with half shadows wind up falling. By the way, right, I've had somebody go there and stand on the exact correct spot when they were, you know, remodeling and ripping down the steps. In fact, that person took one of the steps home as a souvenir that

you see. You see a pair of set of steps on the left hand side of the photo. Right anyway, stood in the spot where Oswald is and stood there not with a gun, but stood there with the club from their car there used to be this thing called a club you put on your steering wheel. It's supposed

to prevent theft anyway. Oh right, he stood there with the club in his hands, holding it in an orientation similar to the gun, just to see if the shadows off of the head and this and that, and he was of a similar height, let's say, to Oswald, similar not exact, And you get a general idea that those seemingly insanely differential shadows that had to be from different sources and all that. Guess what, they for the most part, can be reproduced in that position at the right time

of day. Okay, on the right day, you can reproduce all those The shadow argument is gone if you do that, and he did it. Yeah, So I'm just saying that there are ways to go about this to be precise and attract certain things down the back of the head thing. I believe it's an anomaly, and I believe there's an explanation for it. I don't have confidence enough to tell you exactly how it goes step by step, but I've found plausible explanations from people who understand the optics, who

understands how the lens in that camera works. Okay, et cetera, et cetera. And they also understand how light sources shift around and change things and create things. With those understandings in hand, I've had people walk me through and I see an explanation that is reasonable for the back of the head being blacked out. Now, I know that sounds crazy to some people, but it is what I see. Now. Do I say we shouldn't explore this, No, but here

we go. It's one of these things where you were saying, Ken, I wanted to lay that out as simply as possible. Though the two big things, the back of the head thing where it's blacked out, where people scream about it and they remove frames to take out this or that, or to change the speed or change the direction. Almost every single thing they're saying you could accomplish by taking out frames cannot even be accomplished. By taking out frames,

you would get a wholly different looking thing, right. And also, these are people who have also not seen an unstabilized version of that film, which is another issue. The stabilization creates certain effects in the film, and it's you know, it's a benefit, but it does change the way the film was actually originally shot. Just a bit, and I've seen a shaky version. It really does change what it

is you're seeing on the screen. And I know I'm not one hundred percent qualified there because of my bad eyesight, but here's the thing. I pay a lot of attention to what little eyesight I have. So I'm telling you now that there is a perspective shift here that is also something that you know, ninety nine percent of the public has I guaranteed never even seen. So none of us have actually seen the original first of all, and