Ready twenty seventh day of March twenty twenty six, allegedly according to that thing we call a calendar, and this is the live o'celly effect. Anyway, I know we're competing with other live shows, and some of them are on video and all that good stuff. So you're probably catching
the podcast later on. But if you are hearing us live just after eight pm Eastern, about eight oh five pm Eastern here on the twenty seventh day of March twenty twenty six, we're live, and that means you can call in at three one nine five two seven five zero one six. And I got to tell you my energy is low. I've had a rough week. We didn't put out anything really except I did my three hours on Monday morning, which I'm trying to do is best I can. Was a weird experience. We had a guest
on AM week up. I did have plans for shows this week, but you know what, other things took precedence, so I had to do a few things. I had an evaluation for traumatic brain injury, etc. So you know what, it was a weird week that along with physical therapy, along with quite frankly nobody's well that interested in the shows I do, So what am I supposed to do at this point? You know, the people that support this show, they participate in the Friday night show a little bit,
and that's all that's left. Even Larry Hancock doesn't get that much of a response out of you guys, and we're blessed to have him every other week for whatever it is he chooses to analyze anyway, it is what it is, and if I see some kind of support tonight, I'll put out a Saturday news show this week, for sure. But I don't know what else to do. I got bills coming up, I got little support. I'm about to be fifty four years old. I mean, you know, I want to try this for at least one more year,
but I'm not sure if I should give up. And I'm just speaking out loud for the first time about this, but I don't want to do that. Hell, I'd love to find a format in which I could at least serve a good and solid purpose, but nobody wants a divergent analysis. You want either Fox News or you want the liberal crap, and you don't want to hear anything else. And the liberal crap, I mean, I Chase those people away a long time ago. Despite what Jimmy James thinks.
He thinks I only listened to liberal news. And that's why when I said, are we getting you know, the general we in the world last week? Are we getting it? I had to stop him from yelling at me all of you listened to is crap news because he doesn't understand I listened to his garbage along with the other garbage, and then I do independent research and he's typical by
the way of what I got left here. So anyways, between that, my friend b Pete, Mike Swanson, what I can count the other two of you on one hand. Three maybe, But I know everybody's getting squeezed and it sucks, and his whole thing sucks. This whole situation we find ourselves in and the pain is about to actually set in, But nobody wants to hear my analysis or tell you about it, or tell you about the hopeful fact that maybe McDonald's will lower its prices in this coming month.
You know, not because I'm a big fan of McDonald's, but because it's an indicator in the economy. It's sort of like that pizza thing around DC. It's got ramifications outside of itself. But again, you don't want this sort of content, So anyway, open lines three one nine five two seven five zero one six. I'm not even gonna argue anymore. Whatever nonsense, stupid thing or ill informed whatever, Just come on say it, do it. I'd love to
hear from some different people. I know a couple other people listen to the show, but I don't know if anybody's catching us live. I really don't anymore outside of what Jimmy Danny one guy in Florida, you know, did all my good callers die? Is that? Is that where we're at now? Anyway, that's how I feel this week. I don't know how you guys feel, but you can call in three one nine five two seven five zero one six if you even want to bother or you're
listening on a Friday night. Three one nine five two seven five zero one six. This is the way to ocelli iff that goes when I'm in a really great mood. Plus you know I get evaluated nicely. That always helps. But three one nine five two seven five zero one six, and there you go. Be Pete, how's your week been? I know we talked about pollen right before going live. And I know that sucks because I talked to my daughter and she told me how the pollen was killing her.
And she doesn't live too far from you. But you know, what else is up besides pollen? Or by the way, tell us about the pollen. Whatever you want, be pete, it's you know, please speak up, say something, do something.
Well. I you know, everybody deals with it when it comes springtime. But for some reason down here in the South, it seems like every growing thing puts out five times each day during the month of March and April. But first of the week, I was helping somebody clear out an area behind their garage that had grown up for about ten twelve years. And it was small trees in that and I went to cut a tree, probably I don't know, twenty five foot high inches around in the trunk.
I cut the tree and as it dropped, the outline of the tree in yellow stayed in one place, and the tree dropped, and then the wind caught it and blew it all back towards me. It was this year. I don't know if it was because of the lack of rain in the winter. I don't know what's causing the pollen outbreak as bad as it is, but it is really terrible, and thank god we're supposed to get rained tonight starting about eleven o'clock until tomorrow morning and
washed this crap away because it's been hell. I took a mode yesterday. Had a bunch of leaves in the backyard that I didn't get up the fell over the wintertime, so I went ahead and mounched them with a mower, and when I got done, I spent fifteen minutes with an air compressor trying to blow the pollen off of me. It's really bad this year, more so than ever. So I'm in hacking and stuffed up and sneezing, and I hit a sneezing spell yesterday for about ten minutes straight.
And then once we start getting some regular rain and April comes in, this stuff all goes away. So you know, it's just two months of living hell we got to put up with here in the South. I know it's everywhere, but it just seems like here in the South we have much a more concentrated amount of it every year.
But other than that, it's been a very successful week and I'm trying to figure out how I can go online at one o'clock in the afternoon today and order a mower belt for a guy that wants me to get his mower back in condition to run and have it here tomorrow morning by nine o'clock. But if I mail a letter, it may take two weeks to get
to wherever the hell it's going. It's just amazing. I don't know where this Amazon delivery facility is, but they just gave me a notice thirty minutes ago that my product's already shipped and it's supposed to be here by nine am. Okay, get a letter. If I'd live six blocks from downtown, if I send a letter or my water bill payment in that's six blocks, it takes almost a week and a half two weeks to get there. It's amazing.
Well, see, this is why the Post Office is crying and wants to raise prices, and they want to put a temporary eight percent raise on everything right now.
But people they're talking about going up to almost what a ninety five cent for a first class stamp.
Yeah, right, But this is the problem that people don't don't want to get right, and especially since the guy was brought in under Trump and stayed all the way through Biden. I think he might even still be there. He might not. I don't know. The Postmaster General who really was there to try and set things up to be privatized. He amplified the problem with Amazon. See Amazon uses the USPS IS, you know, better systems in order to make things travel. Then Amazon augments it with gigwork.
So they pay like Amazon drivers to make some deliveries for a day or whatever. Okay, and you got to scan them in, scan them out. That's how you get paid. But they're picking them up from postal facilities. So this is the problem. You got speed because Amazon adds on just a little bit to this good deal they have with the post Office. They're paying a better rate because
of the massive volume. Like basically, if it wasn't for Amazon right now, the post Office would be out of business because a whole lot of what they're doing is sending packages around. Now when it comes to mail people, there's all kinds of crazy happening, and like we have stuff that they market delivered and it's not delivered. We have stuff that has disappeared, We got stuff being ripped open.
And it's not just a local problem, you know, because I go and I find out around the country from people that I know that you know, actually have things coming in and out of their houses because most people don't even bother with the regular mail anymore. They're they're doing most business and most other things that are important without mail, right unless they get a birthday card. And who the euse ends a birthday card anymore, you know what I'm saying. So it's not a priority. Your your
letter is not a priority. Your stamp's not a priority. Amazon is, and a whole lot of other companies are
doing the same thing. These drop shippers, you know, they basically have warehouses that are positioned and then they use the most expedient method that the Post Office has so guaranteed there's a couple of you know, Amazon warehouses that are stocked with stuff and have robots and a few people in there that have to move around and you know, get things out quickly and this and that and packaging fast. And that's why they were peeing in bottles because their
bathroom brakes could get them fired and all that. So there's probably a couple of those around North Carolina. They shove it into the ups through the priority system, which could have up to two delivery setups every single day going from place to place as opposed to the one that your leto traveled through. And then if that's not quick enough, if it's going to take till the next day for the post office to grab at, Amazon will dispatch gig workers. Hey, you want to go earn ten bucks,
here you go. You want to go earn five bucks, here you go. And they package them together so that you know, just your package isn't what they got paid for. They got a you know, a boatload of packages in the back of their suv, their van, their car, whatever. They got twenty thirty packages that they pick up in one shot that goes to one neighborhood and it's done. So they've used the infrastructure. You know, they've used the
infrastructure and then simultaneously, you know, augmented it. And that's what a whole lot of these things have done. Right. You know, if you if you buych some them through eBay, you're going through the regular post office. Yeah go ahead.
Yeah, Well, I was gonna say, your guy, because we I remember I was discussing to Joy back when Trump was in his first term. He left in March of last year, and we had an interim for a few months, and the new one is David Steiner. He's been there since July fourteenth of last year, so we do have a new Postmaster General.
Okay, that is a whole lot of long term damage from the joy though, because that guy.
Well, part of the damage that was done was the post Office branching into other stuff, you know, twenty years ago when they started selling you know, they've always sold stamps to collectors, and a few people that I've known over the years have been stamp collectors and are really
into it. But the Post Office really started getting into marketing, selling coffee cups and collector stamps and collector envelopes and collector stationary all this, I mean, rain gear and umbrellas, and it's like, dude, you're here to deliver the mail, not turn it into a commercial target store, which started
some of their problems. They've had problems with the postal unions trying to keep up with the you know, increase in pay and costs, and then trying to you know, being fraught at every turn for trying to automize, to automatize a lot of stuff. It's just it's been a downward spiral. You know, when ups and FedEx started, they didn't really see it as competition. But when they found out that they could do it more economical and faster than that really started putting the Post Office in a hurt,
you know. And then and then we have you look at the years that they were sponsoring Lance Armstrong while he was cheating at the bicycle race for seven you know championships. It's just crazy our government, I don't know. The Post Office to me is emblematic of what's wrong with our government. They've gotten too big, they've gotten too slow, they've gotten too expensive to do what it is that they're mandated to do. And it's been an ongoing problem.
I know there were a lot of problems when Trump put his guy in there, but he's just another one that's had nothing but a bunch of problems.
But if you're going to aim to privatize and see that's the thing, I think it's a big distraction. The merchandising thing, I think that's barely even relevant because it wasn't all that costly the crap they pulled, you know, because they already had printing, they already manufactured stuff. It's sort of like, you know, the vehicles. Oh, the vehicles are a waste. They're not. They're the most efficient thing possible.
The people are sometimes a wasteoid I see that. You know, even the postmaster doesn't seem to be so bright half the time. But I mean it's it's a mess because of this problem not keeping up with things. They they and here's the they participated in their own destruction. Like I told you you got Amazon utilizing their infrastructure. Well guess who else has utilized their infrastructure a little bit?
UPS doesn't deliver everywhere. See, this is the drawback to your UPS, your FedEx, right, and yeah, sure there is a place for both the private and the public enterprise here. But what's happened is it's not about efficiency. I mean, police, they can upgrade and make anything efficient they want, regardless of you know, people resisting because it's going to cost jobs.
That's not a big deal. I don't know why that's not getting done because every time I look at those arguments, there are convoluted political footballs there that don't really speak to the reality of the situation. You know, the infrastructure that is existent, even if it is the forty year old or fifty year old infrastructure and hasn't been updated, should still outpace your UPS facilities. UPS has had to make cuts and drawbacks and everything else. Every time an
economic wave changes. UPS must adjust. The Post Office doesn't have to. And at certain points they should have been able to make a surplus and at other points not. And then here's the thing. They don't need to make a profit. There's the issue. You got to keep them flush, not you know, profit making. And the joy is a private you know, is a private mailing guy. And so you mean to tell me the private mailing guy couldn't do it. The government employees can't do it. Everybody they
put in there can't do it. So it is obviously a bureaucratic issue. It's obviously an inability to move along with the times. You know, they have all the scanners now and everything else. But as I was trying to explain with them, you know, scanning things and claiming they delivered things and everything else, you obviously got people beating the system. You know, they're punching out and saying they
did their work when they didn't do it. And they're getting away with it because guess what, there's some cheap tracking stuff that could be used in order to track the trucks and the mail and everything else that they're not using, you know. So there these are idiotic upgrades not being made well, and idiotic upgrades being got too well.
Another thing that you got too is this contract delivery for postman. It's been it's probably been twenty years since I lived somewhere that had an actual mailman that worked for the Post Office to deliver the mail. Since then, it's been these contract deliverers that are driving around in private vehicles because I've been living, you know, out in the counties, in rural areas, and you don't have regular
mailmen out there anymore. They're all contract delivery guys. They're driving their own cars and getting paid so much a mile to getting paid so much an hour. And they're closing facilities. I know where when you were here in Kinston, Kenson used to be a major mail facility, but then they shifted to Greenville and to newbern and pulled it away. They closed post offices in pink Hill, they closed post offices in Albertson, they closed post offices and seven Springs.
Everything got sent to Lagrange. You know, they tried, they tried redesigning the system, and getting rid of some waste, and it just slowed the process down and slowed it down to where now you know that We just had a Supreme Court hearing about mail in ballots and a couple of the justices were arguing, well, why are we allowing so much time after election day? We have certain things in government where they say election day, this day,
that day, it being that day. Some states allow damn near twenty one days to a month after election day to receive mail in ballots and with a slow as the mail services gotten, you know, Florida, three hours after election is done, they can tell you who won.
See but but there you have it?
What is it?
But there you have it?
It takes what three weeks?
When you know how many mail in ballots are supposed to show up, you can make a prediction, right, I mean, you know, if there's not enough mail in ballots to close the gap, then there isn't. But the fact is, like you just said, because of the post Office, you have to allow extra time because there is slippage in this. I've bet people mail me things and they show up way later than they ever imagined, you know, And I've mailed stuff to them. I've had things disappear trying to
mail them to Jimmy James. That's a whole other weird thing, you know what I'm saying.
I have no Yeah, I've had places. Yeah tell me. Look, if you're going to send this by mail, you need to do it two and a half weeks before it's due, just to ensure that he gets here before the due date. Yeah, you know things like that. Yeah, it's crazy.
So if you try and apply that to voting, I mean that's some because you're making people vote way in advance and others. Okay, I was just gonna get to Danny in California, but he was on the line. But this is some bs because people are disappearing, you know, just not participating with mail and stuff because it's like
can I avoid the mail? You know. So I don't know if there needs to be a proper public and private partnership here, because the rural thing you're describing sounds logical to me, you know, like they're doing the right thing, but they're probably not doing it the right way with those private contractors because in a rural area where you have a reduced population, yeah, it kind of makes sense to hire an independent driver and not have a full
fledged facility, but you could have sort of a way station, you know what I mean where you know, it's a small building, it's a shack whatever. It takes care of a county, you know what I mean. And it's not, you know, not much bigger than one of the I mean, please, there's plenty of these strip mall areas that are available
that nobody's using for commerce. I'm sure there could be an arrangement made, you know, or listen, we used to build a whole gas station convenience stores, real cheap, prefabricated. Somebody wanted to design that that would be worth an investment to create, like a universal kind of mail hub that could be mostly automated. Problem you've got, yeah, go ahead.
Another problem you've got. That's like some of the like Amazon ups places like that. Like if you have a post office box here where I live, if you have a post office box, those some of those companies will not deliver to your physical address right because you've got a post office box, correct. But here, something can come into our post office from one of those company. He gets sent from there thirty miles away to a processing center, even though it was in this town in these city limits.
He gets sent thirty miles away as soon as he gets there to be reprocessed to be sent out to be delivered. So you put in another day to two days in there on top of that where something gets shuffled around and then eventually it winds right back up where it was two days ago. But it couldn't be delivered from the local office. It had to be delivered from the distribution office, which is thirty miles down the road. It's just it's confusing the way the mail system works
in some areas. I just don't understand it well.
Because again it's got to be based on population, and you have to be flexible so that when the population shoot.
Because those contract drivers, those contract drivers pick up their stuff from the distribution center thirty miles down the road, not from the local.
Post office, we'll be seen.
So that's why they have to once it HiT's here, it gets sent to Greenville. They have to go to Greenville to get what gets delivered here instead of it coming out of the local office six walks away.
See. But that's why I mentioned public and private partnership, because all you got to do is create like a closet space in any one of those local post offices, right and simply rent it to UPS. It doesn't have to be massive. But UPS has like a drop off module,
you know what I'm saying. It's sort of like a almost like a video store when you add a night drop, you know, and you could set it up so that Amazon can basically drop stuff off, right, I mean through a lock box, let's just say, or something like that where they got to have a key card, right, and they open it up and boom, they just you know, unload, or they have an automated palid jack that comes and grabs a palid worth of stuff and throws it in there.
Now you have a UPS one, you have a Federal Express one, and these are only a little tiny like storage at the post office. The post office doesn't even have to be involved. They can just charge a little bit of rent, right, and then your local guys that go to pick stuff up, I mean, please, with smartphone technology, they're using a smartphone to get there to get their gig probably, so they use the same smartphone to scan a QR code. Boom. I can open it up today,
and here's what I'm supposed to take. You know what, I mean, I don't think it's that difficult to automate that and set it up and have it so that you have a central mailing hub that covers the public and the private, and like I said, just charge you PS and Federal Express some rent. I mean, if you rent you know, fifty thousand closets across the country, it'll add up. There's a revenue stream right there. I mean, I'm just saying this is a revenue stream without involving
new people. And these private companies can install their damn technology, so you know, they can even do the renovations. Maybe, I mean, or maybe there is something that already exists in a post office, because it looks to me like there's wasted space at a lot of post offices. Have you noticed that, like physically.
Well, yeah, a lot of them. It depends on how many boxes they actually have rented out compared to how many they have. A lot of those boxes are sitting there drawing cob webs, you know, or town I live in, eight hundred people, you know, I doubt that half of those post office boxes are rented. I mean, it's convenient for some people to have their stuff go to a
post office box. No well, you don't have to worry about checks getting stolen as much as somebody just pulling one out of your mailbox when you're not home and things like that. But you know, our town of eight hundred people, I would think our post office could be more phisient than it is. It's not that huge. It's the demand is not there, you know, to make it
a problem. But you know Amazon. I used to talk bad about Amazon, especially when they got in the NFL or on Thursdays pulled off a broadcast TV that really kissed me off. So I bought my membership. But I'm gonna be honest with you for what it takes me to travel thirty miles down the road to go to Walmart, or to go to Low's, or to go somewhere. I'll give you an example. I needed chainsaw replacement chain for a chainsaw. I got a Loa's where I bought the
chainsaw replacement is twenty five dollars. I go on Amazon, I could get two for fifteen bucks. Oregon Chains the number one chain manufacturer in the US, to an excellent piece of equipment, and I had them the next day. The very next day, by ten o'clock in the morning. You know, it's just amazing what Amazon can do. So me, I do my shopping online Now. It costs one hundred and thirty bucks for a membership, but I haven't paid shipping in any order I've made in the past eight months.
And I get to watch Thursday night football through my membership because it's on Amazon Prime.
Let me cue you into something, though, you could probably get that that membership cheaper that Prime membership.
Yeah, I know now that I'm now that I'm old, well can get a discount. Now.
I wasn't gonna say I got it.
I wasn't. I wasn't of the magic age. But now that I am, damn straight, I'm going to hit next year when it comes for new ale time, it's going to be less.
Yeah, but you may have more than one reason to get it cheaper, like you get package deals where your Amazon Prime comes down to like I've heard of people paying six dollars a month for it, you know what I mean, if you have a couple of different like discounts on it. So because they don't care it's by volume, you know what I mean, They're happy to take you with your you know, one hundred and thirty dollars or
whatever a month. But they're also happy to take people in six dollars a month because it all adds up and all the business comes up.
They're going up till one hundred and seventy now whatever it is, every well, everything, everything is up.
I mean, look, and I can't even figure out how to watch the Mets. By the way, I know they were on broadcast TV for Opening Day, but I couldn't get NBC. I don't know why, uh, but but anyway, I couldn't watch them. So I had to watch the highlights as they were released on YouTube, trying to follow the Mets. But I'm gonna just.
A little trick. You need to check YouTube today of the games because a lot of guys will shadow broadcasts on their YouTube channel. That's how I watch a lot of these college games that aren't on brought that are on ESPN or something. I mean, they've got a lockdown a lot of stuff. Now go to you, somebody is more Mets games, then you think you'd be able to well.
You know what the problem is, though, I went I did that with the World Baseball Classic, right and uh, and I was watching a couple of those games were great uh, and and I watched part of them, and then Major League Baseball shut it down a couple of times.
So you know, people had ye, they'll catch a mid stream and you got to go find another channel.
Yeah, but I went to go find other channels and it was like they got them all off. But YouTube, Blake, I was pissed. You know, I'm like, damn it. I was getting into this and now.
The NC Double A does that. The football games, you might be halfway through the second quarter, you got to go find another channel because somebody just got bopped.
Yeah, well I tried.
Tonight we're watching uh. Tonight, we're watching Duke taking on Saint John's in the NC Double A basketball tournament. It's been a good game so far.
Well, look, if anybody finds you know, God helped me. I doubt anybody listening to me is gonna care or help me out or even be remotely interested. But if you happen to encounter a Mets stream, go ahead and send me a message on X And if I'm not live doing something, believe me, I will go find the bootleg stream uh and go watch it with you, because I do want to see some games. But for the
home openers. Sadly, I had to watch the highlights as they were coming out, so it was kind of It was kind of good though, because first inning provided us with some highlights right away, and they were out like maybe a twenty minutes half hour later. I'm thinking, yikes. Anyways, and they knocked Skeens out in the first inning. I was happy with that because you know, cy young guy, he's going to come in blow the Mets away, and yeah, that didn't work out so good. They knocked him out
two thirds of an inning. He got through and he had to have.
That problem with hockey. Trying to watch a hockey game, Carolina game or Hurricanes trying to get them. You can join their membership streaming for the NHL, you know, every it's it's you know, the NFL came out with NFL Prime a while back, or what they call NFL Game Day, which is their subscription service, and a lot of the NCAA colleges have gone to ESPN. Some of them have
contracts with CBS Hockey. You pretty much have to if you want to watch your team play, you're gonna have to get a streaming service through the NHL to watch your team. A sucks. Everybody wants to stream their stuff in charge a fortune for it. At one time I figured out for me to watch football, it was it's gonna cost me three hundred dollars a season, right, which is more than what my you know, than getting ESPN on cable. So I could have broke down and got cable.
I said, now, hell, and I'll stick with my broadcast TV. I get about thirty channels just off of antenna.
Yeah, I got it. I still gotta go get an antenna, but I but either way, I can't afford the MLB thing. And you know, I thought I was gonna be all right because maybe I could listen on radio, but now they block out all the games, so I can't even go to like the free radio station or you know, it's so messed up. I can't. I can't watch this stuff. I gotta like just wait for the highlights on YouTube. That's all I'm gonna get from now on. Until I figured this out, But I did want to watch baseball.
And what really sucked is Netflix turns around and has like opening nights on baseball, right, and they had they had to put a freaking Yankee game on, which if you're if you're like, if you're from the area I grew up in, you're you usually either are watching the Mets or the Yankees. You don't watch both, Okay, I can't stand the Yankees. Never could.
The nice thing about being up there is there's a radio station that would at least carry the.
Game, right, I could pull it out of the airs, even the away games, correct if I knew, And there would be a rare circumstance where it wasn't on that radio station, and you know where it was, It would be on like some sports network, so it would be on another radio station. You just had to find it. So you could literally listen to every game, even if you couldn't watch them all. And when I lived in the Northeast, frankly, I usually bought the you know, it
was Sports Channel New York. You had to buy, okay, And then the Yankees came out with their own network, but Sports Channel New York you could buy it, and that gave you the Mets and what was it, the Mets and the Rangers and a couple of other like major sports teams that had exclusives with them where half of the games like would be on broadcast and half of the games would be on the specialty channel, you know, and occasionally there'd be one on like ESPN, and if
you already had the cable to buy Sports Channel New York, then you were able to watch them all. But being down here, forget it. I can't even if I want to go to the free station right like the free station that I could pull out of the air in New York, it's blocked here. So based on my location, I can't get the met game that's being aired for free in Jersey, New York. If you can pick it up with an antanna, you got it, okay, which I
find really disturbing that they did this. I get they did it to TV because people, okay, fine, But now even radio they're doing this with the locators because of the Internet. So you can't turn around and use your radio app like you can tune into art station anytime twenty four to seven on your radio app. And many other stations are out there for free. Some of them are broadcast you know, regular W or K depending on
which side of the rockies they're on, right whatever. And you can listen to music for free, and you can listen to you know whatever. You just got to put up with the commercials. You can listen to sports talk whatever you want. You want to follow your conservative radio, you got it. You want to listen to WABC in New York, which is like all conservatives all day and occasionally they throw in one liberal to abuse for a little while. For a little while there, it was Alan
Combs till he died. Then they had that Lynn Samuel's Chick, and maybe a couple others that ended up on the bu later, but they never lasted because it's all it's all guys, and it's all conservative all day, plus nut jobs like Curtis Leewa and w ABC. I can listen to. I can listen to the news station up there right. But I can't listen to and it's not just the Mets, it's I can't listen to Devil's games. I can't listen to Jets games. I can't listen to forget it because
they're all blocked. And I don't know why they're blocking it. You know, I'm in Georgia. Why would you block that for people in Georgia for Christ's sake?
Because they want you to buy a subscription.
Yeah, I get that.
That's the money, that's the business. Now every thing is subscription. But here's yeah, yelling is white. You got to buy a subscription.
But here's the thing, dude, if I got to buy a subscription for everything, and here's what's happened to a lot of podcasters that realized finally that they need to be on YouTube, which really puts me at a terrible disadvantage because if I try and launch a podcast on YouTube, I am like my perma band is permanent. I have a YouTube channel, but it's not officially a podcast channel. If I try to launch a podcast on YouTube officially and with the proper stuff and do it the right way,
they will again strip away my personal channel. Okay, So I'm sorry, I.
Don't understand, because you've got some people out there putting content out on YouTube that anybody else would have been blocked or banned for. And I don't know how. I don't know how how who are they paying to be able to stay on the air. I give you a good example, as camus owens o't know Hannah hell she stays on YouTube than the fact she's paying for it. No, it's not paying her one or the other.
It's not a money thing. There are people and I know, as this is especially counterintuitive to people that think, oh, they only pick on conservatives in the media, you're lying to yourself. They allow the politically useful to go forward, okay, on these different platforms. They don't ban you, regardless of you even violating their terms of service, all kinds of things you do technically. But if you're not whitelisted, which is basically like you're not on a list of people
that are allowed to get away with this. I don't know who makes the decision, but it is. It is not something that's cut based on your orientation or even your material and et cetera. To some degree, it is like you can't just go on there and threaten to kill people and stuff, you know, which is.
Reasonable, and some of the stuff, some of the stuff, if I have heard, is just blatantly threats, and it's like, how in the hell they get away with it? But you look at look at the wait a minute, look at the neo Nazi, right, every one of them has their clips that are put on YouTube. Look at Pierce Morgan and the people that he has on and some of the stuff that they get away with it, it's allowed on YouTube. Tucker Carlson allowed on YouTube, Sean Ryan allowed
on YouTube. Yeah, I mean these people one I know one is the amount of revenue that they bring in based off of clicks, plain and simple. These people have a lot of followers that people listen to how ridiculous it is that they put on there, but they have a set number of followers that are going to be there and give them a lot of them as bot generated. You can't tell me that somebody can have two billion people listening within five seconds of going on air start
of Slayton. It's all bought driven. The majority of it is bot driven. It's not legitimate people out there listening to what hell they said. And you've got a list of people that are supposedly conservative that are getting away with this craft. You look at this new group that's out there that you know they're they're flipping the flipping the conserv it's all. It's all an op people. Money is changing hands because think about it, who owns you
to Google? Google is letting these people get away with craft. Good buddy, back during COVID when everybody got wiped off, I mean years and years of work just done away with deleted mine included forever mine included exactly. And now you've got a group of people that are getting away with it now, and it's money changing hands, that's all it is. It's a money op and somebody's behind it, somebody's getting rich off of it.
Well, if you talk a need right now, I finally cut off my history so that I could go and pick the stuff I wanted to watch on youtub tube instead of getting this constant feed of bullshit.
Well, if you take a look at who bought these companies recently, that's where the change is taking place. In the past few years, very quietly, ownership changed hands here. Okay. There's no such thing as the liberal media. There's no such thing. These tech bros are not liberals, okay, and they have changed the equation unfairly in the other direction. Now they let the ridiculous liberals prattle on, but they don't get traction. And it's not just about the revenue
generated from the clicks. Because here's the thing. They have bots that will turn around and clip you out and cut your channel off and put you aside before human being could have possibly made the decision, they simply turn.
That brings up a story. Yeah, that brings up a story that I was going to talk about last week. Sure, a guy in North Carolina just got nailed in federal court. He went and created one thousand songs AI generated music, okay, and then went out and created a thousand bots to stream the music that he created something like eight million dollars worth of money that he pulled away from all I want to say spot On. I don't know which streaming service it was, but they finally the Feds took
him to court and he got convicted from it. Now, this guy was smart. He creates the music out of AI, then cre uses AI to create the box to stream the music, and he's raking in eight million dollars before he finally gets nailed, which was pulling money from legitimate artists that were putting music out there that was supposed to be in the revenue sharing. The guy was brilliant.
Well, see, here's the thing I would argue, he's not a damn dime from a legitimate artist. He's exploiting the system, but he's not taking a dime. Which artist is he taking money from? These are bots that are not going to buy the legitimate artist crap anyway, right, And this is music.
Let me find the story.
That legitimate people aren't. But you see what I'm saying, This is twisted, it's wrong because the truth is he exploited the system. There should be no criminal action against this guy because he exploited the system the way it stands, and quite frankly, yeah, it's unfair, it's ridiculous, but it
shows exactly how ridiculous the whole thing is. I mean, if I was any kind of rock star right now and I had any sort of following, I would include extra bots in every single thing I did, just to pump up you know, why not hire a couple of guys to pump up my stuff? Which, by the way, that's how a lot of these podcasters have their stuff. They have bots, And there are people with armies of these things that haven't been busted because there are in
other countries and whatever else. They haven't been taken down and you can just buy them. You don't know where they're coming from. They show up on VPNs, like right now, I could look like I have, you know, one hundred thousand listeners again like I used to legitimately have, and they weren't bots. I could get that in a second. If I could pay for it. I could have that tomorrow.
Kay, here we go.
You know what I mean?
Well, and I think they explained in here how he was pulling money. It says federal prosecutors have secured a landmark conviction and what's being described as the first criminal streaming fraud case in US history, after a North Carolina musician admitted to orchestrating an eight million skeet and eight million dollar scheme powered in part by artificial intelligence. The guy's name is Michael Smith. He pleaded guilty to conspiracy to commit wire fraud in New York federal court. Let's
see what he did. He generated thousands of fake songs using an artificial intelligence, and then streamed those fake songs billions of times, he says US attorney Jay Clayton. Although the songs and listeners were fake, the millions of dollars Smith stole was real. Millions of dollars in royalties that
Smith diverted from real deserving artists and rights holders. Smith's brazen scheme is over stands convicted of a federal crime, and it says, according to the plea agreement, he agreed to forfeit more than eight million tied to the screen scheme. His prison sentence was expected to be in the range of forty six to fifty seven months, but they have he's dealt aside that it's sentencing, and I'm not sure when that is.
You see how the hold on a second though, You see how they're not Actually they're full of shit, And that whole idea that he's taking money from a legitimate artist is bullshit too.
He exploited the because these payments were from it says. The goal was simple, exploit the royalty system, where payouts are distributed from a shared pool by inflating plays and diverting revenue. Yes, apparently this money, well, but he's pulling. He was stealing money from people that should have gotten and for streams that they were getting, but because his streams were higher, he was getting more of the revenue.
Yeah, of course, listen, but that again is exploitation of the system. If this guy doesn't enter the system, let's remember this part of it. If he doesn't enter the system at all, the streams don't go up either. See where they're full of shit. What is happening is the corporate criminals that have been robbing artists for decades are pissed off that somebody figured out how to beat him. That's what it is because there was always a pool.
There was a collective artist pool that always was gathered together, and it was really sloppy, and it started to exist, I think in the nineteen seventies, and I was signed onto it as a professional music okay, And I'm telling you now, you know, I never got any revenue out of it. But it was a collective thing. Like even if they had, you know, like somebody had made bootleg material, but it was legitimate music and you had rights to it if you made payments from other countries and from
US territories. If you made like if like if you were in Guam and you released like a live album okay on your own record label from an artist that you have no right to release from. If you made payments to this thing, the artist couldn't go after you. They would have to go after the book. I paid the legitimate artists fee over here, and you'd go draw
your money out of that pool. That bullshit system that they allowed to prevail for about fifty years, okay, until very recently with this whole you know, digital new stuff was just a way to rob the artists anyway. So what I'm saying is, if he doesn't add the extra streams, let's stick to this point, though, think about it. They're gonna whine, you know, in favor of the corporate scumbags.
But the point is that let's just say he adds eighty million listeners and eighty million streams to the system, and therefore he gets a big share. Oh, he takes out of the pool. But here's the thing. If he never creates the music in the pool, if he never dips into the pool, you see what I'm saying. He's not stealing from the artists. He's stealing from the bullshit system where they control what they're paying the artists anyway. And you want to hear these guys complain about the stream good.
This is out of Department of Justice explains it.
Yeah, fucking screams through.
Music streaming platform Just listen, okay, go ahead. Each time a song is streamed through one of the streaming platforms, the songwriter who composed the song, the musician who performed it, and in certain cases other rights holders are entitled to small royalty payments. Royalty payments are made proportionately to the
musicians and songwriters from a pool of funds. As a result, streaming fraud diverts funds from musicians and songwriters whose songs were legitimately streamed by real consumers to those who use automation to falsely create the appearance of legitimate streaming. So he was taking because the money is playing proportionally to actual artists.
Uh huh, I get what you're saying.
He was taking money from them, money that they would have gotten. He got because of the proportionality part of it. When you have a thousand songs and it's you know, a billion streams, Yes, you're taking money from those people who actually should have gotten it from the pool.
Cool, okay, But here's the problem. He's also generating part of that pool, and that pool system, I'm trying to tell you, is illegitimate without this guy interfering with it, it is a good way for them to skim.
And no, I understand. Look, I understand artists have been getting ripped off because of the money that the music industry, and it's changed a lot since a lot of artists have gone independent. I understand that.
And here's the thing they're not telling you.
From people who should actually be getting that money by making a fake song and fake box streaming it. Okay, it's taking because it is paid proportionally.
Okay, I get that, But here's why I dispute it, because he's generating. Okay, here's the thing. Let's just imagine that there's a million dollars in this pool without this guy coming in, right, he doesn't touch it. There's a million dollars in there, and I assure you there's all kinds of chicanery, fake bullshit, extra publishing companies drawing out of this and fucking over the artists every which way you can imagine, because I know it for a fact
that that's what happens with this pool. Anyways. This pool is based on that same pool system I told you about before. So here's the thing. There's a million dollars in there, no bots. The bots show up and generate more money into the pool. Okay, there's a way to do this so it doesn't really affect the artists because let's just say, out of that million dollars, you got an artist that's supposed to get.
One hundred grand.
Well, if these bots come in and triple the size of the money, right and create some phantom money into the pool and they turn it into three million dollars. Okay, fine, they steal a million dollars out of it, but they've still doubled the pool. This is the thing, This is the math that they're not showing us though. You see, this could actually be without harming the artists, but harming the system, which is based on a bunch of bullshit anyway.
And that's why I'm telling you there is an equation here that doesn't mean that any money's being stolen from an actual artist because a fake artist showed up put fake stuff into it. You know what I'm saying. It's like it doesn't rob your bank account because somebody came in and stole cash out of the bank. It didn't
rob your bank account. And in fact, if it shows that you know, somehow or other, they generated a whole bunch of BS money in the first place, they generferated counterfeit money, and then they drew part of the counterfeit money out. If they generate enough, the artists can actually benefit from the bots, and the bot can also take
away money. The people that get hurt are these people that are trying to screw the people with these little tiny bullshit percentages that they're paying to utilize their music. See radio stations used to have things that they had to pay to be part of the collective that could play commercially released music. You know this about radio, right, So, but the thing is if I turn around and I create an artist that never plays anywhere, but somehow I
also create those plays on that radio station. If I don't add any money into the system, then I'd be stealing from the other artists. But these bots also add money into the system. This is where the corporate scumbags are crying foul when they're the foul ones to begin with. I'm telling you it's it's a smoke screen. It's a little complex, but think about it. If you're able to add enough of these bots in quite honestly, every artist
can benefit in the pool with enough bots. The only people that don't benefit are the people that are trying to squeeze it down to only paying a penny for a freaking stream.
Yeah, but you're not going to benefit all the artists if they're not being streamed.
Yeah, but they're not. Nobody's stopping you from streaming your favorite country artists on Spotify. Nobody's stopping real people from doing it.
Saying is this. Let's say let's say you got a million dollars in the pool. Right, Let's say you have ano songs. Let's say the though for one song, you've got a writer, an artist, and a record label. Okay, so you think you break that one into thirds. Now, this guy creates a million more songs, and they're the ones that are getting streamed. He's cutting out those legitimate artists and people that have a share in the pool
that existed. He hasn't created any more money. What he's done is create if he's created anything else more in the pool, he's siphoning off the top of it. And these guys, if you've got a million artists and a million songs and a million dollars in there, and let's say they all have one stream, they all get a dollar.
But if he's sitting there taking if he's generating two million streams or three million streams, no money is being put back in there from his end of it, and he's taking it from people who had legitimate streams because it's all proportional. That's what I'm saying. Yes, it's screwed up system.
Yeah, but we.
Found a way to ciphon off eight million dollars off of just Ai and Box. He didn't even have to do a damn thing.
Right, that's on the bots. Yeah, But what I'm saying is that with the right number, your equation doesn't work out. To take it away from the artists it because.
Well, it certainly does work out, because he walked away with eight million dollars and it didn't put a dime in it other than creating the songs from Ai Okay, bots to go and stream at a billion dimes.
Okay, but he walked away with eight million dollars. Do you know how much money you have to generate to walk away with eight million dollars as an artist? I mean, seriously, damn bit so generated into that piegent over a billion streams. Okay, But that's the thing, a billion streams. Okay. I know this is you're saying is true.
Wait, if what you're saying is true, then all of those other artists should have made more money as well.
Yeah they should exactly, Okay, but it didn't. But here's the thing. The reason why they're not making the more money is not because of this guy. Okay, let me let me, let me try and run into you this way. Do you know how old record sales worked? Because they still basically do the same damn thing to an actual artist who create something like.
Yeah, because when when what Z? When Zeppelin came out with what was it? Their third album, they completely rewrote the system on what they were getting paid per unit, and everybody after that started going to the record the companies going hey, how the hell did they get this deal? They said, because that's what they demanded, and I think it was a polydor at the time. That's what they paid them. And they rewrote the whole industry on how
people were getting paid through unit sales on albums. Yeah, Atlantic Jepplin broke the system for everybody else to allow them to make more money.
Yeah. But see they're they're declared the heroes of the system, and yet they didn't do shit. Because here's what happened post Zeppelin. Okay, post Zeppelin. You ever noticed that there was all these rock bands in the eighties and nineties and they would have hit albums, two, three hit albums, and they'd be broke. You ever notice that? And everybody go, oh, they don't know how to manage their money. They didn't realize what it was they were getting paid on you
as a consumer. See, let's just say you see a ten dollars price tag at the store, right, Let's just because the ten dollars is a nice round number to work off of. The artist who does not control their master recordings usually okay, But even if you do control your master recordings, you know, in your ray Charles all right, or your prints, you know, you still don't do well.
But let's go with the typical situation here, because that's the majority of what Spotify's dealing with, where they're giving you ad revenue equal to the way that that freaking what do you call it? YouTube? Does you know where they run three million dollars worth of ads and you wind up with one hundred bucks?
Okay, right, because back then, the majority of bands made money off of touring, not off of record sales.
But you had to because at least you had control of that because the recording situation and publishing and everything else still works this way. Now they have annual meetings. By the way, this cartel okay, the EMI and the other publisher, major publisher ASCAP, they are getting pissed off because they're not able to rob the artists and rob the consumer like they always did. And it's the record companies that have lost control because of the independent distribution,
believe it or not. Just simply sticking your stuff into the Apple Store and selling your own damn singles. You see ninety percent more revenue per unit. Now, can you make the same sales that's another question. But you get ninety percent of that or that.
Yeah, I know digital recording killed the record in.
This yeah, but do you know? Yeah? But do you know how much still the publishers are still screwing the artist because you still got to publish stuff in order to be able to control your copyright and be able to knock people down and DMCA and all that. Do you know how bad that is? Let me start with that ten dollars price again, because I swear that it's bad.
But that's that's why. But so many artists, that's why, so many artists have gone to putting a shit on their own website. You want to stream it, you can buy it from them for ninety four cent for a single, right, and there is money off of it. And they don't have they don't have the cost of press and vinyl. They don't have to cost the press and CDs. It's all digital. They sell it to you, you download it, and all the profit is theirs. It's killed the record industry.
I'm surprised that you're seeing the amount of vinyl coming back. I don't know if it's growthing, but you're starting to see more and more vinyl productions. Even these K pop groups in Korea are printing out vinyl albums instead of CDs for people because you because I guess it's a retro thing.
You know, you and I can film can form an LLC and we can go to the publishing company and get the rights to print a piece of vinyl, and we can have it under a Chuck and B piece record label. As a subsidiary of the existing publisher. We can act as an agent and distribute that music in a limited sense, and then you charge a premium for the vinyl pieces and you get cheap manufacturing in Asia. Sorry, go ahead.
Todd Runggren was one of the first artists that really learned, and he was with Bearsville Records, and he's one of those that learned, hey, I can put this shit out myself. He was one of the first big digital wizards. I guess you'd call it right, and they really pushed digital music. Who was it was? It was it Kanye that started Nabor. Remember when that streaming service was on.
Well remember that one?
What the hell was the name of it?
Napster?
But what was the one?
Napster?
What what you said?
Napster?
Napster? That's it? Wasn't that started by Kanye and a couple other people.
I didn't think Kanye started it. He might have put some money in, but I don't think he started it. It was a couple of kids. Yeah, a couple of kids started it, like why don't we just share our music?
You know?
I mean? And that's why they needed to get rid of the digital cassette and they didn't encourage burning your own CDs so much anymore because they were.
Fanning and Sean Fanning and Sean Parker's right platform. Yeah, and that was everything. Everything was encoded in an MPD three form mat right, That's what that the peer to peer model is what launched these independent artists to start putting on their own ves and sell your music that way. Well, and here's the thing is having to deal with these companies.
If Metallica and Waylon Jennings was up on you know, LimeWire or Napster or whatever else. Then you know, like I said, you and me form a band, we put our ship in there too. It gets shared, there's interest, and now we can sell them stuff. Look, that's one model, but they're still getting killed on this publishing regardless. And by the way, it does cost money. Even even the
guys that tried giving away their albums online. That was another trend if you remember that, where it was like, you know, what's great, We're just going to give it to you because you're going to steal it anyway, so we'll just give it to you. You know, the anti Metallica point of view, you know, because remember Lars alread got all angry and you people are robbing us, and it's like, dude, you know what happened to people that are robbing you right now? Have already bought See that's
the other thing, the other part of the greed. How many times do you think I have bought in my life already all kinds of the same copy of the same damn album? Right? How many times am I supposed to have to keep buying it? You know what I mean?
Every formattually copies of a lot of vinyl. Yeah, because you'll wear out the first two.
Well, right, but you got copies of vinyl. But I used to buy cassettes CDs. I mean there was a point at which I mean I was, I was two par you know, there's two far removed from the eight tracks. But believe me, I would have bought eight tracks, you know, and then you buy the MP three download. How many times do you think you bought that freaking song a record? Anyways, let me go back to this ten dollars Okay, cool, Look, I used to too, but then this ex wife of mine decided,
you know, I wasn't allowed to keep my collection. But anyhow, back to the other realities ten dollars. Let's just say if you were selling a record back in the old days ten dollars and this model prevails. Now, this is not an ancient, outdated model. This still exists the way I'm about to describe it. Okay, ten bucks, right, so you imagine how much of that do you think goes to who or who's involved in the process, ppe.
Like, of your ten dollars album. Yeah, they might make thirty at the most.
There you go, that is correct, because you're on a point system and an artist who's new is at a disadvantage on the point system and they're trying to make thirty cents an album. Now they sell three million albums, and you say, well, great, they made thirty cents three million times, right, But you got to think about that for a minute. And by the time taxes and everything else gets done with them, nobody got rich except guess who who makes the other nine dollars and seventy cents? Okay?
And I get that the you know, the investment of manufacture, the guarantee that you're you know, you don't have a guarantee you're going to sell it. I get the idea that half of that ought to go to the people taking the risk. Okay, And guess what it does. And that's fine. Okay, So say five dollars out of that ten must by default go to your record company, if your record company is just a record company that is in the business of printing and producing your physical product, right,
And look, I think that's fair. Do you.
Don't know? It depends on how much I've got it. I mean, I realize it's all in their manufacturing, but yeah, I mean it's it's well in order for you to sell your system.
Okay, but it's the old system. But in order for you to sell a million, they got to print a million, don't they. Because you can't sell something you don't have, right, So the thing is, if you're ambitious or you're controlled about it, this might change. You know. Do you sell them? Do you read you? Do you now create another issue? Do you go back into manufacture again? Is it worth it? Did it sell at a reasonable clip? Right? Let's don't
forget the retailer has to make something. So let's just call it a dollar on each one of these things that the retailer realistically makes all together. On some products they make more, on some they make less. But really a retailer is only making ten percent of a profit on it at that time and still currently that's the way it works, except for guess what we have accounted for six dollars and thirty cents of the ten The
three dollars and seventy cents goes to the controllers. That three dollars and seventy cents is pretty massive, and quite frankly, the retailer might take a hit because they got to put something on sale. The risk taker on production might take a hit because you know, they print, you know, eight hundred artists and maybe only two hundred of them
are successful. You know. That's why there used to be such as stringent process for selecting who would be committed to these massive things, right, and you could always print your own stuff, and deependently you can make your own cassettes. You know. I used to do the homemade model, but other people would literally go manufacture, you know, pieces of vinyl. A band you never heard of, they just finished in the studio, they haven't played a single show. But this
is this guy's project. Everybody puts in their money. And you know, I've done that on stuff before, and I don't have any of that stuff anymore. But believe me, out there somewhere in the world there may be pieces of mine or with my name on them, okay, that were produced. But it was because we sunk a couple thousand dollars into it. And I'm not just saying two grand, but I mean, you know, maybe we sunk ten grand into it, which was not small money in the eighties
or nineties. It was an investment and it either paid off or it didn't. So that's why a lot of people went with the homemade model and the cassettes which you could run off on you know, very cheap machines with very cheap cassettes, and you could distribute them quickly and it was easy. Oh. Anyways, that three dollars and seventy cents sounds like, well, gee, it's only a third of it. Yeah, one third of the whole thing is controlled simply by the publishers who do nothing but hold
the copyright and registration on this stuff. Okay, that's really the basic breakdown. Now, these other things that I mentioned where you got five dollars to the manufacturers, you got you know, a dollar to the Those things fluctuate because the problems. Okay, a retail store orders records and they
don't sell half of them. They'll have to discount some of them, right, and maybe they sell the other ones a little above market value because they're brand new, they're in higher demand when they first come in, right, they put up big displays. We got a case of these in the case of those, and you know very well that a lot of that stuff wound up dump later onto Like dollar stores is remember when like regular music
was a dollar store. It was because instead of having a whole bunch of inventory, dead inventory sitting in these you know, go out of business record stores. They dumped it off the cheaper the retailers. They get a loss. Okay, but who takes the losses?
Yeah? That part of status.
I don't know what's going on, you know, it seems okay, I end up. I'm sorry, I don't know what's going on with our connection. There we go, but okay, good. But what I'm saying is this other the thirty cents going to the artist is not even thirty cents, because by the time they get it, it's more like fifteen cents. And this is all done on what they call the points system. They don't reveal this to the public very often,
but the contracts are still the same way. And if you try and do stuff independently, yeah, that's great, but you still have these people that wind up swallowing up things, these these other you know, the amounts that I talk about, the dollar to the retailer, the five dollars to the record company, those things will fluctuate based on various things.
And where does that money all end up in that ten dollars product still in the very solidly non fluctuating hands of the publishers, they collectively create these pools where they say we have a shared artist pool, which is always a gigantic rip off because you don't know how much of that You know, how much of that artist pool goes to administration. You got to have people that
you know, actually do the accounting, don't you. Yeah, so realistically, and artist makes fifteen cents on ten dollars, that's what they'll put in their pocket, and the publisher will wind up with seven dollars out of that ten and two and one is left over for again the retailer with the fluctuations, because they'll be able to balance it out hopefully or they go out of business, and then you have the two dollars that really goes to the manufacturers
which caused them. If you remember records, like in the eighties, all of a sudden, the paper was thinner, the vinyl was thinner, right, you could almost rub the words off of the labels. You remember that. That's why you don't see those I don't know what's going on, but in the eighties. You know, if you go to a flea market now, you don't see a lot of those records from the eighties to existing. You see records from the seventies. You see records from the sixties because the manufacturers started
trying to cut corners. Because the overall majority of the money ends up in the copyright controllers, in the people that actually do the DMCA stuff, in the emis, that's
where the money really goes. And the artists, no matter who they are, we'll still sit there at fifteen cents, ninety percent of them, the upper echelons who end up with control over stuff still don't you know, you ever see Prince do the explanation on how much money has made and how much he ends up with, Yeah, you know where he's like, yeah, okay, I got twenty million dollars, I get it, But how much do you think was
made off of my music? Realistic? And you know when you go to the millions and millions and millions of albums he saw, you realize, oh, Prince didn't make the money. Never does And no matter how they slice this, this is the way it goes. So here's the thing that this guy exploited is a system in which they pull together money and they try and pay people pennies. Anyway, this guy generated more pennies to be paid because he
had to put more dollars in to begin with. The problem that they're pissed off about is he made counterfeit dollars into the system. Now, if that stuff was distributed by percentage to the other artists, if he goes big enough with his fake box and his fake music, the artists don't lose at all. The system does. And I gotta say, I'm not feeling bad about it because all they've done is from the beginning of time, turn around and give pennies to the people who actually create the art.
That's the reality of so, you know, and the led Zeppelin role that's a little more complex then you might think it is. They might have improved things, but really Ray Charles shit way bigger than And even with that, that's how we get to the thirty cents. By the way, before that, you were talking about getting seven points if you were a rock star on a freaking album, seven points, which is nothing, you know, when there's like a.
Tour today under the standards. Yeah, well even today they say that the only way that these groups make money is by touring. The emergency sales, intouring and ticket sales, and that's been you know, that's been any major record company in existence. That's the policy. You're not going to make crap on them with the schedules that they had because it was the only way they could make their money.
Mm hmm. Well in the fifties and sixties the record companies controlled the tours too, and oh yeah, well that's really you see now, if you want to talk about where led Zeppelin did something, that's where they really did something.
But they also got robbed by other gangsters along the way, because I don't know if you remember when they came to New York and they did like, you know, sold out shows at Madison Square Garden and stuff like that, you know, which people imagine that that building is larger than it is. It's not quite as large as a lot of people imagine, but the seats are very expensive. Somebody walked away with the cash box led Zepp like something like seven million dollars. I mean, in nineteen seventies
money on money that was supposed to be collected. That did just the cash just walked away in New York, by the way. But the thing is, they changed that touring thing park where finally the artists could you know, it was like somebody got it in their brain I'm not going to let the record company run this part too. And they use these you know, maverick type manager people who didn't give a shit about the business and turned around and said, screw you. I'm gonna contract my own people.
I'll have my own t shirt manufactured, I'll put my own people out there to sell them. I'll figure out how much to pay them, and then I'll also just cut up the money with the owner of the venue,
my damn self. And that's how tour managers were born, because there wasn't tour managers for these guys when they put like ten bands together in the sixties and they used to have you know, everybody touring together, right like, you know, Chuck Berry and freaking eight other rock stars would be on a thing with a band of fucking fifteen sixteen people behind them with full orchestras, and you know, they barely paid those people. But but but you had
these massive tours. These guys got nothing out of their tours. They got nothing out of their tours, and and they screwed them over on the record sales. Even the little bit of record sale money they were supposed to get, they were screwing them on it. Like you ever see that what is it called Chess Records? Is the name of it or no Cadillac Records, right, remember the movie Cadillac Records.
Yeah, Chess record was the Chess Records was bigged back in the late fifties early sixties.
It was based on Chess Records though. And the whole thing was why do they call it Cadillac Records? Because the owner of the record company bought every one of his artists a Cadillac as a gesture. But every time they turned around, they were all grow whether it was Edna James or it was you know, freaking Jump Berry or Muke Warners. He had all those people and they
were all broke at the end of the day. After millions and millions of dollars were generated in nineteen fifties and sixties, a million dollars dollars and it wasn't there was nothing uncommon about that. That is the way the music business really works. The artist gets next to nothing.
Well, I'll give you an example. Back in ninety four, ninety three, ninety four, Walnut Creeve Up and I Amptheter up and Raleigh the Eagles went on tour that year. Well, during the summer, they have this thing called rib Fast and for a week they'll have artists come in and play. Certain nights, might cost you ten bucks to get in.
They got a bunch of barbecue places up their cooking ribs and the big thing in is fad music. Well, when the Eagles hit Ridfest was the week before the Eagles played, I stood in line for like thirteen hours. I was able to get tickets for me and my wife. Spent over one hundred dollars per ticket.
Just to see the Eagles the week before the show was Ridfest.
One night we spent ten bucks and we saw Glen Fryde.
We spent another ten bucks and we saw Joe Walsh. But the show at the end of the week on Friday night was the Eagles. That cost us one hundred bucks oclock. I mean, it's just amazing how much these guys were winning to make to play.
You know, two hours of their own stuff at ten up to a ticket.
But at the end of the.
Week that place was slam pull at over one hundred dollars per person, even for the grass seats. I mean, it was just amazing the money generated. The difference between Wednesday night when Joe.
Walsh played and Friday Night when the Eagles played.
The amount of money that rolled in that play correct. Look in ninety four is a great time period because that's when I was still involved in the music business directly Todd Rudgren you mentioned, right, So Todd Rudgren and another artist when he was a guy from a Hot Tuna. I can't remember his name, but he was a solo artist. He was kind of popular, dam I can't remember what. Anyway, Todd Rundgren came and played clubs in New Jersey. Do you know how much he was getting paid to play
clubs in Jersey? I have no idea five hundred bucks, okay.
And the reason but I'd be surprised he wasn't paying more because he had his Utopia band together.
I mean, he was those guys. I would have paid anything to see him at that time. Let's put it that way. I enjoyed his music that.
Much, okay, But he was going and playing clubs in Jersey for five hundred bucks that had ticket prices of about ten dollars. That's where he was at. And because the reason why is because it was just him you contracted with, you know, his representative that was it. Todd Rudgren could show up, but he wasn't going to get the big rate. Now, a regular heavy metal band that came through who was fairly popular but didn't have the longevity or you know, the easier audience that Todd Rundgren
would have. I wish I could remember this freaking guy from Hatuna because he was kind of popular and people are surprised. But I was involved with the booking of this guy too. I can't remember his damn name. He was like a guitarist. He used to do an acoustics set, greg I can't remember. Anyways, some of these artists were, you know, formerly something, but now the record company's dropping. The second their record companies dropped him, their price went
way the hell down. But they were making more money off of five hundred dollars with me. This is what his people explained, because it was sort of like five hundred bucks. You're sure I don't have extra stuff to pay here? No, okay, that was the best price is
going to be negotiating five hundred bucks. But the reason was he was able to keep more of that five hundred dollars than if I had him when the record company was bringing him and saying, look, five grand, okay, literally ten times the price, and this guy's going to make one hundred bucks five hundred dollars. You know, maybe he keeps half of it really realistically okay, because they you know, they schedule things around it so he's not
going too far. They get a cheap hotel somewhere or they have, you know, something they can all sleep in, right, and they economize on the tour. He's keeping more money out of that five hundred than he would if he was, you know, in a place that had one hundred dollars tickets and the again, the record company and the management is charging five grand. And these aren't you know, I know, these aren't the biggest rock stars of their day. They're
not exactly at the peak of their careers. But I'm telling you, guys, from that to Typo Negative was pretty popular. Back then, Boarr was a bigger show, you know. But we were paying them seven hundred and fifty bucks.
Sorry, I was gonna say, is it is it Captain how Opening or Jack Cassidy? Those were the two guys that are not beating that they can get for the airplane.
I don't know it was and now it doesn't sound right. It was a blonde guy who was part of hat Tuna at some point, I don't I don't remember me. It really didn't matter because it was sort of like, Okay, I'm going to get the older classic rock crowd into this place, so obviously I'm happy to pay him five hundred bucks, pay the staff. You know, this is pretty simple. I spend one thousand dollars on the night and all I got to do is sell one hundred tickets and
I break even. Right, But I got a place that holds three four hundred people. Good done, you know what I'm saying. And that's a proper hand, you know. And like I said, the seven hundred and fifty dollars to some of these bigger artists, and this is really why there was no money left to pay the local artists who would work your asses off and also promote the show, because they would just get paid a percentage on their tickets.
And you know what, that was twenty percent, And that was better still as a percentage than you were ever going to see when you had these record companies and these freaking thieves and gangsters involved in your business.
My point is what that bad they had these has had some talent in it, because Marty Ballin was in it, Paul Canter was in it, Papa John Creech was there for a while. I didn't realized that all these guys were in Hot Tuna.
Well, try and figure out which guy was in Hot Tuna that was touring in the early though in mid nineties, because I.
Gut, I know he hates Yeah.
He had blonde hair, remember that. And I don't remember much about you know, I didn't deal with him directly. I don't was you know, his his representative, but he only had one representative, Smith.
G.
Smith. Yeah, yeah, sure, from the Saturday Night line man.
Yeah, he toured, was him in twenty eleven. I didn't know that.
Yeah, Okay, let's see the list that they got.
Neither Paulmer members are Jolly Coveton was on drums, Paul Cantor, who was with them in Jefferson Starship, our Jeffson Airplane, Marty Bollin who was with him in Jefferson Airplane, Paul Seeger, Peter Kylekin who was the other one's brother, Papa John Creek, Sammy Piazza, Bob's heear Michael Faxonaro, Joey Balin, Pete Sears, That's about the only one I've got. They don't list
anybody in the nineties. Pete Sears was in the nineties, Galen Underwood and of course the two Jack Cassidy and Jorma Callakin and they've been with the band ever since it started.
I did, did Peter Bollin or Sears tour in the nineties as a solo artist? Has just asked the Internet that because.
Balin, well, Marty Balin was with him from sixty nine to seventy. Paul Panter was problems in sixty nine, eighty seven to eighty eight. He died in two thoustany sixteen Papa John creatures in the seventies.
Yeah, no, ask him. What if any of them the two guys I mentioned there, Bowling or Sears, if they toured as solo artists in the mid late in the nineteen nineties, that's all the nineteen nineties three, because one of these guys came there with like a bunch of no name musicians and acoustic guitar and that was it. That was the whole show. Wasn't a big production nothing. It was very stripped down and it was fine. It did great people came out.
Of the seriesless with him from ninety to to two thousand and one, he played keyboards.
Okay, that's not the guy. But one of those guys toured as a solo artist. And I don't remember which one, but it was, but literally it was advertised.
Huh Larry Campbell, I don't it's.
Not bringing a bell here, but I know we advertised him.
Even I think it's got Tad Cassidy.
Well we advertised him as whatever his name was, formerly a pottoona like. That was literally how we advertised it. And older people that never came to the clubs that I booked showed up to see it, you know, like people that were older than me, older than you know, I'm in my twenties there other people are in their early twenties, you know. Like I said, I booked a
lot of metal and punk artists and stuff. But you know, get you get packages sent to you if you were involved in management or booking or whatever, and these people would literally put together like little mailers saying, hey, we're going to be available, you know, six months from now, and bookings are going to cost this much. This is our trailers, you know. This kind of thing. They literally would just mail stuff to you and yeah, hot tune, And I went, eh, I don't know, I don't know
if I should consider that. And then somebody told me, well, you should really mix things up, because I mean, you know, you're gonna you might be able to book this guy on like a Monday or Tuesday and a mellow crowd, you know, during a weekday when we're not going to get the kids in, you know what I mean, the
younger people. You know, you got a night where nobody's got to check IDs because everybody coming in definitely does not look close to twenty one, you know what I mean, because we had these eighteen to enter twenty one to drink kind of places, which are always a pain in the ass. Yeah, But anyway, you'd book people who were,
you know, former members of this and that. You know, Clarence Clemmens when he toured by himself because of no Springsteen, right, obviously he's a Jersey basis, but you know still, you know the former member of this or that, Rob Halfred was not he was you know, not in Judas Priest anymore. He was doing his own thing. And then he came up with a band called Fight for a little while. Now he was expensive, the former singer of Judas Priest,
very expensive. Motorhead cost a lot of money to bring in. Uh, Guar cost a decent amount. But they were cheaper on the nationally you know, hard rock metal punk kind of acts. They were much cheaper than others. But uh and that's not even going into like the whole death metal subgenre. I'm talking about mainstream. You know, you want to book a hard rock act, La Guns would come in because they weren't that they weren't doing that well at that point.
You know, Jaki Lee was was trying to do a solo thing because he was no longer with Ozzie, he wasn't with bad Lands, and nobody gave a crap, so j Lee, you know, okay, he would cost a little more, but not much more than one of these other artists, who's like, who is that guy again? You know what I mean? And then you had more mellow places that booked, you know, the old motown acts and you know, however, many different things from the Spinners and the four Tops
and whatever else. But I was not in that because those kind of shows, if I was ever involved in those, we booked them into like high school gyms that were trying to you know, rent them out to make money to you know, pay for their new scoreboard or whatever. And we'd take over a high school gym for a day. Oh yeah, you know that kind of stuff. But I would put like Deep Purple.
I saw them in Raleigh, right, I saw Deep Purple in Raleigh. I think it cost me fifteen bucks. And this was in the early nineties. But they sounded like Deep Purple.
But you know, I couldn't tell you how many were the original band members probably won.
Yeah, if you were lucky, you know. And yeah, and that's the thing. You could maybe book a Deep Purple and put them at the Stone Pony because they weren't going to cost so much that you had to charge an outlandish amount for the tickets. You know, a Stone Pony ticket might have been ten dollars normally, but special Deep Purple show maybe we charged twenty, you know, and you could get away with that because hey, it's Deep Purple at least, you know, at least that's what you
think or say. In the nineties, when Twisted Sister came through, because Twisted Sister was no longer big, big, big, like they were, you know what I mean, or you could uh oh. Another fun one was to get like say, one of the guys from the Howard Stern Show, like Fred Norris had a band. You could get that guy and he would draw crowd automatically in the New York,
New Jersey area. But he was actually more expensive sometimes than like say a Deep Purple, who was not on the high point of their careers and didn't have a lot of original members. Trying to think of who hell that's like Blue, Well, yeah.
Cole saw them the same thing in Raleigh, you know, and and that was in that was twenty years after they had been out, and it's like, yeah, they sound like them, but I think there was only one guy that was in the original band at that time. He is sad, but hey, at least I can say I got to see on Zilla.
Right remember in the nineties, like bands like Quiet Riot, which were absolutely monsters in the early eighties, right, and they were trying to come back around. You know. Yeah, you could get a ten dollar ticket to see that, or a fifteen dollars. Like I said, maybe a typical band might have been ten bucks, but because they were a little bigger name, even though The only guy left I think was Kevin Dubrow, you know, for the singer for a long time, and he looked really weird and
he was always a creepy, strange guy. Anyway, it didn't sound right. But you know, that guy would show up, you know, and these were this was not going to be a stadium tour for him. So he shows up with what he calls quiet riot and boom. You know, you got to show. But their rates would go down, and two things would happen. One, they weren't as popular,
so their price would go down. But two, once they got dropped by their management because they were no longer with the record company and the record company wasn't dipping their hands and everything, they became a more affordable act to put them into smaller places. Because again, and here's the funny part, they're making more money off of a
show that's charging a tenth of the amount to put on. So, like I said, if it was a five hundred dollars show, it might cost you know, five hundred bucks to book them. To guarantee you got to give them five hundred Maybe you got to give them a piece of the gate to something like that. Okay, But that would be the worst of it. If it was with the major label record and everything else, the clubs didn't even bother because it would be five ten grand minimum plus they need
a percentage of the city. You can't possibly sell enough booze and tickets to make you know. I mean, unless you're gonna have prostitutes in the back too, you ain't gonna make enough money. I mean, it's just no good.
I was lucky. I just looked up the members and when I saw the Oyster could have two original members, so at least two out of one two the word five. So hey, you know too, this that's what I've read the other day as an article talking about these fans that, you know, should they retire because there's no original members left?
You know, look at Leonard Skinner. You know, the only guy that's with them is Rickey Medlock, who played with them before they started producing albums and then played a little bit with him a couple of times before they had ever started putting out albums. And then he turns back to joining at the Black Football de Bar and they're playing them that well, Ricky Medlock was there, so yeah, this is because he was in one of the originals.
It's still Leonard Skinner. It's like, dude, they need to poller to go home.
But the one guy, the one guy's the one guy's brother is still right singing.
Yeah, Johnny Johnny Dams. The thing is, though all of the original members are going now, it's not the same, but they're pumping they're pumping money out of a bunch of dead men.
You know.
They're saying, I hate to see it, but I wouldn't spend money to don't see them. Now, well I see a lot of bands wo see because there's nobody left from the original group.
Now, I wouldn't want to go see it either. But the thing is, it is they still have a name and see that's the thing. They have an intellectual property, and major label support or management companies are probably not dipping into this too much, you know what I mean. It's it's like they're not trying to do that unless they're doing a stadium, Tom. You know, that's why you
have to fill a stadium. Got too, because all these thieves circle around the original thing, which is the name and the music, right, and they become not just the majority, but the ridiculous majority collectors on the money on the benefits on all of it. And that's why I say, when you look at this article and they're saying, oh, this guy's robbing from the artists, don't jump to that conclusion. I'm telling you, I don't care what the court's found.
You know, the courts have found constantly in favor of these thieves, shysters, and scumbags who have done nothing but exploit people who wanted to create music. I'm not saying every rock star is a victim, but for God's sake, truthfully, I mean, you know, if you're generating a million dollars bpee, you know, are you willing to take home one hundred dollars checker. I mean, I'm just asking because that's really
what these guys are being told all the time. It's like, be grateful, you've got you a hundred bucks and this system, this pooling system, and this streaming and everything else. I promise you it'll probably be thirty years from now where people are going to talk about the great that one that went on digitally, and it's not going to be this guy who figured out out of fully eight million
dollars off of BS. He's not hurting the artists, the system hurts the artists anyway, this guy is going to jail, hurting the system because he just manufactured something, added it into their system, and exploited it. It should not, if done on mass, hurt the artists at all. One. Two, the artists are already you know, let's just say this guy's kicking them. Well, they've already been raped and beaten, so you know this guy's coming by and kicking them once. Is it nice?
No?
But that's the worst thing you could possibly do. And I'm willing to bet that if you are, you've peeled part to the mass, then I'm one hundred percent right. This guy's not stealing a dime from these people. He stole from the system, because in order to steal eight million dollars out of the system, how much do you think he had to generate into the system, And then
by percentage that has to get distributed around. So even if he took a massive percentage the other you know, if he took eight million, what do you think was generated? I mean, this guy who got too greedy, really, because if he generates eight million, if you use the math that I was trying to explain to you about the ten dollars record. Then what this guy generated a billion dollars of bullshit? Because that's what it comes down to. I mean, you got to move your decimal points around.
So out of that billion, he took eight million. So what happened to the other ninety two million of his bullshit he generated? See what I'm saying, ninety two million dollars gets left on the table, which.
Is saying but I don't agree with your formulae, Okay, I I mean that's.
Feeling difference we have. I see exactly what you're saying. But I don't think your formula is life.
That he generated he could have generated more money from the other artist that he was stealing.
Problem well, no, I don't agree, but based on the percentage that he's allowed to draw out of it, you can't see how that looks kind of like maybe I am right?
Okay, No problem no, because I don't know, because I don't know the breakdown. I don't know what every song that's legitimate would have been pulling.
I don't know what the pool was there. You go pull pulled eight million dollars out of the pool. Then he pulled eight million dollars.
Out that other actual artists shouldn't have had divided up among them.
Yeah, but that eight million, If he pulled eight million out, how much did he really generate to the system because he's only getting a small percentage anyway, forget that point.
Let me just ask you this. Here's one thing I think you and I can agree on, though they're not showing you the man because again, if you're pulling thirty cents out of ten dollars, okay, and you stole that, okay, you stole it, fine, But how much more was generated that he doesn't get to walk away that he couldn't siphon off because it has to be in the pool. If he's only allowed five percent, where did the other ninety five percent go? It went to the other artists?
It should be theoretically anyway. But my point is they're not going to show you that math because the moment that somebody really understands the kind of robbery that goes on in this business, I mean, you know, I don't know, and maybe maybe I'm wrong about that. No, I'm going to pull that back. If people understood truthfully the amount of robbery that goes on and exploitation here, and they had a bit of you know, ethical, you know, any any sort of ethos that was, you know, relatively balanced.
They would know that every artist, regardless of whether they're faith, real or anything, is being exploited and taken advantage of by people that never have to write a note, never have to perform, never do a damn thing except control
a certain business ask, and they do it well. And they have maintained that stranglehold even though they can't make money off physical products anymore, and they can't make money off of all the merchandising because a lot of these guys figured out how to take that out of their hands. A lot of these guys figured out how to run their own tours and all that. They have taken some losses, but this stranglehold, this is BS. This guy should not
be going to prison. They should be having him figure out how to exploit the system more and to fix it so that people are not getting totally screwed over and making nothing for the things they create that actually did spread something outside of you know, a businessman, and I think you could agree though they're not showing you the equation, they're not showing you the formula. They won't and that's my contention is, again, if he took eight million dollars away, how much did he generate in order
to be able to pull that eight million dollars. That's the question that court case is not going to answer. Clearly, the corporations, nobody questioned. Nobody's gonna want to answer that because I'm telling you it's it's just wrong. It's unbalanced. It's a pulls. So anyway, with that in mind, though, we got about thirteen minutes left, nobody else called in. You and I had this long discussion about the DMCA
and so but anything. I started off talking about baseball a little bit, But I gotta tell you my beginning premise for the show though, still is that, you know, I'm not sure how I'm gonna pay one major bill coming up this month. I'm not sure if you know I have now I have someone generously doesn't want credit for it, but they did pay for us to have Riverside now, so I have a paid subscription to Riverside
to use so that we can begin video streaming. However, my computer's have been outdated and I planned on getting a better computer, so I need to figure out how to upgrade. Get Windows eleven, get another, you know, refurbished computer or something like that, and I got to pay off this freaker because that thing is what distributes our audio podcast. But that's it. That's the two things I gotta do my birthday is what, you know, help watch
one to seven? Good to see it on a calendar. Okay, so it's one week and one through week week and five days away. Okay, it's actually further wring that drug on my birthday's into seven April seven. The reason why I bring it up is because that's usually when I try to relaunch and refresh things. And I don't know if I'm gonna make my target to relaunch and refresh things. But you know, I'm hoping to do things a little differently,
hoping to work with be beating a different way. I'm hoping to work with everybody in a different way and go straight to rumble because YouTube will not allow me to launch a podcast if I attempt to do it, you know again with my name attached to it, they will consider me evading my band, my lifetime band. So I can't do that because at any moment they'll just clip it and take it away again. So I'm not
doing that. I'm gonna go to Rumble where I don't have any issue, So we're gonna basically just launch the Rumble channel. And I don't know, if you know, I don't know if I'm gonna bring Aaron along with that or not. I'm thinking I am, but I don't know. Maybe people have lost interest in me working with the Aron. Maybe Aaron's lost interest in working with me. I don't know, open questions. I've enjoyed producing and I've had the most you know, pleasant relationship with with Aaron and Uncle over
the years, all things considered, for sure. Uh, he's been absolutely supportive, unlike others have seemed to have, you know, make the helpdowns and turned against making some screened reasons yourselves too, and people haven't try to help and been appreciate it, and so on and so forth and whatever. I've used a lot of other shows, I've produced a lot of shows in my own, and I don't know.
Is it that I'm no longer necessary communication? I'm not sure, but I'd like to try to find out why are you watching them?
I'm not hearing you at all. Of course, I'm static, God bad, And now I've propped he.
Well, that sucks because I know I'm going out live and loud on the screen, and uh, this is just a communication issue between you and me. But again I think I my computer update. Okay, and can you hear me now? Now I can? Okay, good. I was just explaining that, you know, I got a lot of things to consider, and I got a couple of struggles in April being, you know, the month of my birthdays. Usually when I try and like, you know, refresh, reload everything.
I don't know if you caught all that, but you know, I'm not feeling super great, but I want to try and do this for one more year before I consider just giving up. And by the way, Aaron Franz is coming up next with the Age of Transitions. I'll be more than happy to produce that if the computer gods allow it, if the Internet allows it. Okay, and uncle the broadcast at eleven pm Eastern. So I'm gonna do those two things tonight. They have been away for weeks
for various reasons. Not my fault, but you know, I don't know, maybe everybody's losing interest in everything. And we didn't even discuss the war in Iran, nothing like that. I had a whole set of news things that I wanted to get to earlier this week, but I was going through traumatic brain injury evaluations, so you know, between that and some physical therapy and trying to get to walk and stand again, I kind of didn't make enough time to properly do a show. And I won't give
you garbage, so you know. But then again, maybe my trash is not anyone else's treasure and my treasures or just basically not even worthy of everybody's trash. I don't know. I just don't know anymore. But like I say, I want to launch the Rumble Channel in April, sometime right around or after my birthday. We have part of it set and paid for, but I still got some bills I gotta take care of, so I don't even know if I'm gonna make it there, but I'm going to
do my best to do something with this. Maybe we don't need to do an audio podcast anymore on its own and distribute it like I have over the years. I mean, maybe that's got to stop, you know, because I gotta cut expenses so I can put it into the video and then all I need is a good Android phone, right, because that's what they tell you anymore. You know, all you need is a phone. But anyway, I don't carry a phone. I guess I'm stupid anyhow, be Pete, Why don't you just go ahead and talk
for the last eight minutes. Tell me what's on your mind, anything you want to close out with, how you feel about the world, if you can hear me, and uh, we'll just close this one out and go on to Aaron Franz right at ten pm Eastern here on Newchelli dot Com Radio.
No. I was just I don't eve want to talk about the war. I'm tired of the war. I'm tired of everybody bitching about it and the ridiculous ops that are going on out there trying to convince people of the one thing or another. I'm tired with glitter. It's gotten ridiculous. You can't even have a decent conversation with some people about anything without being called a pedo or a kike or a jew. It's ridiculous. But I did
notice a couple stories one believe it or not. In Europe they're having a bigger problem with cigarettes illegal more than drugs. In fact, they developed Cartel's story. I read today that the illegal European illegal cigarette trade. Nearly half of the cigarettes sold in Belgium, France, the UK and Ireland are either smuggled from stolen sources or counterfeit, and they're looking at a forty three point seven billion dollar
business in illegal smokes. I thought that was amazing, you know, a bigger problem than drugs.
Well, people, I yes, well, you know, BP people that think I'm stupid might have forgotten that. I actually told people this was the case about two years ago, because that's how long this business has really exploded over the past probably three years easily, But about two years ago I was aware of the fact that organized crime had moved into things like cigarettes in Europe. And I talked
about it on this show. And you know what, I was called an idiot and a moron because ventanyl fentanyl fentanyl, And I tried to explain, you know, ventanyl is just a political thing more than anything else. I know, it's killing people, but always things do, and believe it or not, there's a lot more money in the cigarette trade than there is in the fentanyl trade in Europe. And people thought I was retarded, So you know, just.
Say one of the others, yeah, and one of the other stories. UK has reopened their investigation into Andrew Tate on his rape and sexual assault charges, and I heard the wolves at Romania where he was. They've reopened an investigation as well, so he might be feeling some heat pretty soon. Of course, you know he's been partying over in Dubai and places of that nature. On the third one, Canada is advancing a plan to criminalize quoting the Bible
of all things. They're calling it hate speech. And another example was Finland actually prosecuted a guy, a member of parliament for a two thousand and four pamphlet supporting classic Christianity. And when we see this crap happen in UK and Canada, it ain't long before we start seeing it here. One of the oldest books published in the world is now going to be considered a hate crime in certain places. If you quote it. You find that utterly amazing, I'm sure you do.
Will you do me a favor, though, see if you can find the actual legitimately printed piece of legislature out of Canada, Because every time somebody floats one of the hate speech stories out of Canada, they're usually misrepresenting what's in the thing. And it's a propaganda piece. Yeah, no, you don't need a second I want I want the actual legislation. I want the time to read it, and I don't have it in three minutes here. It'll take
me longer to read it. I would just like to read it, that's all, because, oh my god, I am so sick. It is every six months there is a new look at the liberal scum in Canada who are legalizing pedophilia or whatever. And you know, when you actually look into what it is they're pointing at, that's not what it says. It's just I don't know. I don't know what to do with that, except that you know,
people are going to keep doing that. So please send it to me, because I mean, they've only out of the past five of these panics, these moral panics about Canada, one has had any valid point to it. One out of five. So I'd like to see this. It may
be true, and you know, who knows. I'd like but I would really, really really like to see the legislation, not some excerpt on somebody's jackass website, but actually the official document, if we could, in a PDF, because every time I do that, it's a misrepresentation of what's in the damned legislation in Canada, which is really weird. And I'm not even a fan of the Canadian government at all.
You know, the parliamentary system under the Queen still up there, or excuse me, under the Office of the King, which is now held by Charles Yes, indeed it is, I forget, but for many years it was the Office of the King held by the Queen. In England still.
Forty fifth Parliament, forty fifth Parliament, first Session, Monday May twenty six, twenty five CE Dash nine and Act to amend the Criminal Code, Hate Propaganda, hate Crime and Access to Religious or Cultural Places. Cool first, please? Yeah, just send it to It's now in the Senate, Okay.
So I want to read what it says. So if you, if you have a PDF of the document, please email it to me so I can read it. That's all I'm asking. I just want to see it, because, like I said, a lot of time, I just this is why I laughed when you said it, because it's like, oh, here we go again with this. Canada is a liberal cesspool, blah blah blah. And then you go check on what it is they're saying, and it's It's like the time they said Sharia law was being implemented in Flint, Michigan.
It didn't happen, but the people insist upon it. To this day it's happening, and it's like, but it's not there. And also the other jack assery about that which really makes me crack up. We passed the law that says you can't have Sharia law here. Yeah, here's the thing. If Sharia law were implemented, your law would all be nullified. To begin with, you have made a virtue signal on paper.
That's it. Because in your scenario where Sharia law is instituted officially, you can't you can't protect it by saying we won't have Sharia Lawyer, you know, we have laws that say you should not murder. It doesn't prevent murder, get it. It's just you know, your law doesn't stop things from happening. One two. To put a law in to say that you can't change the legal system. Your legal system is thrown out if you bring in Scheria law. It doesn't resemble the American system a joke as it is.
It doesn't resemble the pay to play American system at all. So by necessity, to instituted officials. Yeah, go ahead.
People said it would not take place in the UK, but they've already got sharia courts working in in the UK, so you know, it's just a matter of time. It's gonna end up.
Okay, but I can make a star chamber. Okay, but I can make a star chamber here. My point is that it's a useless gesture. You know, the the UK government should not be endorsing that it's not legal. So you're talking about an extra legal activity, not but to literally create a law that says you can't institutionary law is done. That's like saying I have created a law that says you cannot overthrow the government. Well, if you overthrow the government, your law doesn't matter. Nobody's gonna you
know what I'm saying, because we can reset that. So I don't know. It's like people can't think this way. They don't understand. All right, Anyways, Please do send me that piece of legislature, and and if I have to go get a copy of it myself, at least send me the exact reference. I'll go get one. But I'd rather have the PDF to read so I can see
what it says. See what they're pointing to, because you know you were supposed to be able to marry your dogs by now up there and everything else, and rape was legal.
Well yeah, people laugh though. People laughed though when they said the euthanasia was being implemented in Canada, and come to find out, to date, more people have died from government instituted euthanasia than other means. So you know, i'most send you this link that includes all three readings, the two readings in the House of Commons and the third
reading in the Senate. But basically it says everyone commits an offense who willfully promotes hatred against any identifiable group by displaying in any public place a symbol that is primarily used for principally associated with listed entity as to find in subsections and blah blah blah, the Nazi swastika, the Nazi double sigrun, the ss bolts a symbol, blah blah blah of everyone who commits an offense. Well, I mean it's here, you.
Can't read it. I want to read it. I want to see how it's being instituted, because, like I say again every time, it's some sort of weird thing where they're making something up. You're trying to pat So I got to produce another show. I got to produce another show, so or over time, and I want to get over to Aaron. Uh but please send me this stuff so I can read it for myself and we can discuss
it next week or whatever you want. But uh, yeah, I want to get get done with this because what you read to me right now, I don't know what you're reading from. I want to read it myself because every time I do, with the exception of one time out of five, it's a panic over a misunderstanding and somebody hyping up something that was either considered and thrown out or whatever. It's not part of the law and it's just weird anyways. Whatever it is, it is beating
her be upset. Yeah, the fascist Islamo fascists are coming. We're back to that. Okay, fine, whatever, but you know again, it is what it is. I hope everybody's doing well. I hope nobody's nervous. I hope nobody's upset. I hope everybody's ready to do their thing for themselves and improve their own lives more than anything, and hopefully we'll see better prices at McDonald's in April. That's all I got to say. What's your final note for the week so I can get to Aaron before it's too late.
No final note. I'm getting ready to send this to you and we'll discuss it.
Cool. Cool, Well, look, I hope you do better with the pollen. And that's that, so Amocelli. You guys, well, I don't know if you guys are the effect anymore. I don't know whatever. Maybe I'm just affected, maybe I'm just stupid. You know, what is an insane man in the world of sanity, or how about a sane man in the insane world? What is that man attempting to discuss things that other people can't see? Anyway, it is what it is, It was what it was, and up
next is the Age of Transitions with Aaron Frantz. I want to thank my co host p Pete for talking with me for the majority of the time about music this week, but we did discuss other things and you know, hopefully you got something out of this anyway,