Jay Dyer talks to Courtenay Turner on the Fourth Hour of the Alex Jones show about her experiences as an actress in Hollywood, and her thoughts on the current state of the business.
When she was there Hollywood was pushing the gay agenda, and she thought it was weird. Why so many screen couples are gay. Are there no heterosexual couples? She didn’t realize it was part of a bigger agenda to erode the culture. Today the agenda is trans.
She said people in Hollywood are either turning a blind eye to the manipulation, or are willingly pushing it. She also thinks the brainwashing and culture creation has been so thorough that some Hollywood people are just doing what they think is right.
But, Turner is not black pilled. She thinks independent artists have the power to catalyze positive change in the world and to put a wrench in the gears of the New World Order agenda.
Turner: “Their agenda is to put us into a transhuman leading to post-human world controlled by an AI hive borg mind that they program. We’ll all be siloed in the metaverse. The best antidote to that is to be radically human.”
Dyer shared prophetic material from several fiction books, including Dostevsky’s Notes from the Underground (the wicked will operate in a machine-like way) and the Brothers Karamazov (the religion of the future will not need Jesus), and Ray Bradbury’s Farenheit 451 (not only will books be banned, people will be banned from reading books).
Turner said people are longing for better art. They see that the agenda is inverted, dark and demonic, and they want something else. That’s why independent artists are having success.
Resources
Transcript
Jay Dyer and Courtenay Turner Expose the Evolution of the Modern Abuse of Authority in Hollywood
I felt like, you know, knowing what I know about how they use arts to, you know, socially engineer, engineer the masses for culture creation, and they censor so many who are organic, you know, not like, yeah, creative being. And I wanted to give a platform to those people. But I also wanted to bring a hybrid because I feel like these information conferences are great. We’re in an info war, right? So it’s really important that people Be given this really valuable information from so many brilliant minds But I think and it’s also great for people to do that in person and find out that they’re not alone meet like-minded people build communities and Connect with others. However, I think sometimes people feel a little bit overwhelmed by all the information.
Sometimes they leave feeling a little black filled and the powers that be know how powerful art is. This is part of why they changed the frequency of music from 432 to 440, right? They know that it has the power to effectuate change on a cellular level and they use it for their purposes, but it is actually incredibly healing, especially when you are with other people experiencing that art. So I wanted something that merged the two, and that was pro-human, that was pro-personal sovereignty, and that shows an example. So, you know, I do think of this as this is spiritual battle. And oftentimes when people think about spiritual battle, they get very trapped in the binary. So they either, you know, are all in the dark and the doom gloom and they get very black belt or they’re in the, you know, trust the plan type of white pill type of vein. So it’s a non binary event. You have a non binary event. I have it.
Yes. Well, you know’s a non-binary event. You have a non-binary event. I have a, yes. Well, you know, I didn’t want to be controversial, so you can’t like, join them, right? Yeah, so but yeah, so I thought that we need to show that there’s both. If it is a spiritual battle, there needs to be light and dark. And I think that we don’t have a whole lot of examples in the culture currently, because they own the culture. There’t have a whole lot of examples in the culture currently because they own the culture. There’s not a whole lot of examples of good, clean, fun art that’s rooted in family values. That’s a pro-human, that’s pro-sovereignty, pro-liberty. And I think their agenda is to, you know, put us into a transhuman leading to post-human world controlled by an AI-hyporic mind that they program, and then we’ll all be siloed in the metaverse, right? But the best antidote, personally, I think, to that is for us the Alex Jones show. And we’re gonna have a guest here with me in just a second. But I want to remind you guys that things are getting serious. This is a time when we are witnessing the complete attack on our country from within and to a degree from without. But it’s important to understand that the means and methods of this attack are very well known and they’re kind of classic. Like the ways that you would bring down a civilization in the past are really the same patterns for how our civilization is being brought down. And it helps to understand those principles and those patterns. And we’ve really been focusing on in the past are really the same patterns for how our civilization is being brought down. And it helps to understand those principles and those patterns. And we’ve really been focusing on that a lot in the last few months on my channel over on YouTube, on my Rockfin channel and so forth. And we’ve been covering not just global elite techs, but techs that describe the strategy of subversion, infiltration, these kinds of techniques. It’s important to understand these because if we don’t understand that, we look at the wrong people, we look at the wrong institutions.
And a lot of what goes on in terms of psychological warfare demonizes the wrong audience, they demonize the wrong people, the wrong, get you deflected on thinking that, it’s the people that own land and property and the people that have businesses, or you deflected on thinking that, it’s the people that own land and property and the people that have businesses, or this is Marxism. Classical Marxism says that man’s problems arise from his alienation from his work, and from the means of production, and from the capitalist ruling class, right? That’s just one example, borrowing from that Hegelian dialectic. That’s not really man’s problem. And so there might be abuses that have taken place with industrialists and factory workers and all of that, sure. But the locus of power, the actual abuse is not coming from hierarchy itself. And so one of the techniques that revolution has always utilized, right? If you go back to this classic text by James H. Billington, firing the minds of men, origins of the revolutionary faith. When he goes back and characterizes the history of revolution, the bad guys are always part of a structure and the enemy is characterized as the structure itself. So what’s man’s problem? Well, because there’s hierarchy in nature, because there’s authority out there, that’s the problem. Authority itself is the problem.
It’s not authority that itself that is the problem, it’s the abuse of authority that’s the problem. You see how that minor seeming philosophical distinction is enough to confuse and lead to centuries of revolution, death, chaos, bloodshed, etc. And it’s just based on this misunderstanding which deflects people away on the basis of false enemies, false hopes, false dreams. We’re going to create a stateless utopia is what Marxism said. Literally the classic Marxist idea is that we would eventually get to a stateless situation in the phases of history, in the phases of Marxism. But what if that’s not man’s problem? What if man’s fundamental problem isn’t alienation from nature and from the means and modes of production and the capitalists and all this? What if man’s problem is something more fundamental inside of him, which are the classic ideas of virtue and vice? Aristotle, for example, wrote about the virtues and how they are contrasted to the vices. And what if that’s the problem and not the idea of there being structures in society? You’ll notice the exact same thing that we see when we look at the way that, for example, people in the Skittles, trans community, all this kind of stuff, they will say that, oh, you make me feel bad because you don’t accept me.
And so they place the blame on society structures. Society has stigmatized these things. And if society would just accept these things, I would stop feeling bad. I would not have a conscience bothering me anymore. But what if the problem is internal to man? What if the problem is his own fallen heart, his own desire to sin? And not societal structures, not placing the blame elsewhere. A lot of these false systems are based around placing the blame outside of man’s own heart. And that’s ultimately the source. So if man doesn’t fix his own heart, none of these social structures are going to get fixed. And the source of man’s problems are not the social structures. When we come back, we’re going to talk to Courtney about Tavistock and other things that led to where we are today. Welcome back to the fourth hour of Alex Jones. I’m your guest host, Jay Dyer of Jay’s Analysis.
And we’re talking about the false blame, the placing a blame on structures, placing the blame on things that are not ultimately to blame. These things might be, at times, abusive, they might participate in it, but these things themselves are not the root of man’s problems. Well, if having hierarchy is itself a problem, then why is nature itself hierarchical? Doesn’t Jordan Peterson talk a lot about lobsters and how lobsters kind of form a hierarchy? Father, we got a lobster hierarchy, you know? Don’t you know about the lobsters? Yeah, exactly. I mean, in principle I agree that in nature you’ll find that wolves have a pack and they have a hierarchy amongst the pack of wolves. And that’s because the alpha wolf stays in the back and watches and make sure that nobody gets killed in the rest of the pack, etc. Nature has this fundamental component to it. So clearly it can’t be that man’s problem itself, himself, is out there in society, it’s inside man, it’s his heart that has to change. That’s the source of the problems. And so, one of the things that I want to get to when we bring on Courtney now is this power that Tavistock seemed to really hone in on, which is controlling and steering public opinion to the degree that they could get people to believe in all kinds of fake false enemies and bad guys. And they never ever identify the actual intellectual intelligentsia structure that is socially engineering them. And one reason that they’re not able to do that is because, as Edward Bernays says, the beginning of his book, Propaganda, the social engineers are a hidden power structure. They’re not hidden in the sense of secretly in underground bases doing Illuminati rituals, they might be.
But he’s saying in the sense that they’re hidden because the public just simply doesn’t know about the Walter Lippmanns and Edward Bernays and the John Rees and Dr. Kurt Lewins and all the people that are doing the social The public just simply doesn’t know about the Walter Lippmann’s and Edward Bernays and the John Rees and Dr. Kurt Lewins and all the people that are doing the social studies. Right, the Institute for Social Research, for example, at Michigan University. Does anybody know about that? Very few, very few people do, but they were instrumental in contracting out a lot of this research to socially engineer. And this is also by the way, if you read the Douglas Valentine book on the Phoenix program, a lot of the Vietnam War was being run out of the University of Michigan.
The CIA had a command base set up there, and I’m sure they were working with the Institute for Social Research as well, to experiment in Vietnam on social control, social engineering, and so forth. So is Courtney available? Is she up yet? So Courtney, are you there? We’ve been talking about social engineering. Hey, we’ve been talking about social engineering, you and I, we’ve done a lot of interviews. And I wanted to see if you agree, because I know you’ve done a lot of research into Marxism and not everybody at the Tavistock Institute and Institute for Social Research were necessarily Marxist. And they don’t have to be, but these are great examples of systems like Marxism, where people are corralled into believing that the enemy is something that isn’t actually the enemy. Do you agree? Yeah, I absolutely agree. So really interesting for me, you know, on this whole journey, I think my first kind of like mini wake up was learning about the Frankfurt School and realizing how invested they were and how much they were utilized in order to create the propaganda and this whole like identity politics world that we live in currently. And we see that and I thought that was my, one of my first like wake up calls is because I used to say, and I think I just did this because it was much easier. I was in the world of Hollywood and it was really hard not to be all the way left in Hollywood. So I used to say, and even just growing up, I grew up on the East Coast right outside New York City and then I was an actress in New York, and then I moved out to LA, and it was just easier to say I’m, you know, socially liberal, but I’m fiscally conservative, and that was just much more acceptable. And really, it was when I started to learn about the Frankfurt School that I realized how much they were using these philosophical principles and the identity politics in order to these philosophical principles and the identity politics in order to co-opt the culture.
And that you really couldn’t extricate one from the other. You can’t really have, you know, this, I mean, who’s paying for these fiscal social programs and this social ideology, right? You can’t really extricate one from the others. That was kind of my mini, but I think I was still pretty, you know, unaware of the big scope and the big picture. When I first learned about Tavistock, that was like a light bulb for me because it was a convergence. I think one, it personally really hit me because of my background with, you know, my psychology background and my philosophy background and then my artistic background and realizing that Tavistock was kind of where a lot of the Fabian socialists converged with the Frankfurt School. And I see the Fabians as kind of the tactical arm, they’re the strategy and you can’t really have, you know, so as much as you need the ideology and the philosophical precepts, which I think the elites use in order to create the propaganda and the messaging as you need the ideology and the philosophical precepts, which I think the elites use in order to create the propaganda and the messaging, you need the strategy in order to infiltrate.
And I think Tavistock was really brilliant at merging the two. And I think that they use the social scientists in order to figure out what would be an effective way to do that. So, yeah, I don’t know if that was- Yeah, and one of the things that you are really interested in is breaking the spell of the control of the culture in an artistic sense. And so like this weekend, you know, you’ve organized an event, which I will be at, it’s called Rebels for Cause. And of course you can get tickets still as June 3rd and 4th, and if you go to Rebels for Cause and of course you can get tickets still as June 3rd and 4th and if you go to Rebels for Cause that’s F-O-R Rebels F-O-R Cause dot com you can get tickets.
Use the promo code Dyer by the way D-Y-E-R to get an extra discount. Tell us about this event and why you wanted to organize a creative artist coming together and who all is going to be there. Well so it’s a massive event. We now have like 60 acts. Oh wow. And it seems to be there. Well, so it’s a massive event. We now have like 60 acts. And it seems to be growing by the minute. Yeah, this is way bigger than I ever could have imagined. And I really feel like I’m just an instrument, a vessel to help put this together. But I felt like, you know, knowing what I know about how they use arts to, you know, socially engineer, engineer the masses for culture creation. And they censor so many who are organic, you know, not like, yeah, creative being. And I wanted to give a platform to those people. But I also wanted to bring a hybrid because I feel like these information conferences are great. We’re in an info war, right? So it’s really important that people be given this really valuable information from so many brilliant minds. But I think, and it’s also great for people to do that in person and find out that they’re not alone, meet like-minded people, build communities and connect with others. However, I think sometimes people feel a little bit overwhelmed by all the information.
Sometimes they leave feeling a little black filled and the powers that be know how powerful art is. This is part of why they change the frequency of music from 432 to 440, right? They know that it has the power to effectuate change on a cellular level and they use it for their purposes, but it is it actually incredibly healing, especially when you are with other people experiencing that art. So I wanted something that merged the two and that was pro-human, that was a pro-personal sovereignty, and that shows an example. So I do think of this as this is spiritual battle. And oftentimes when people think about spiritual battle, they get very trapped in the binary. So they either, you know, are all in the dark and the doom gloom and they get very black filled or they’re in the, you know, trust the plan type of white pill type of a vein. And it’s a non-binary event. You have a non-binary event. I have it. Yes. Well, you know, I non-binary event. You have a non-binary event. I have it. Yes. Well, you know, I didn’t want to be controversial, so you can’t like I’m join them, right?
Yeah. So, but yeah, so I thought that we need to show that there’s both. If it is a spiritual battle, there needs to be light and dark. And I think that we don’t have a whole lot of examples in the culture currently because they own the culture. There’s not a whole lot of examples of good, clean, fun art that’s rooted in family values, that’s pro-human, that’s pro-sovereignty, pro-liberty. And I think their agenda is to put us into a transhuman leading to post-human world controlled by an AI hyperbolic mind that they program, and then we’ll all be siloed in the metaverse, right? But the best antidote, personally, I think, to that is for us to be radically human. And humans are social creatures, we need to do things in person, you know, with one another physically and we’re creative beings. And one of the ways that’s manifested is through art. And so I wanted to give an opportunity. We got a break. Let’s go to a break here and then we’ll come back and talk more about this event.
Welcome back to the fourth hour of the Alex Jones Show. I’m your guest host, Jay Dyer of Jay’s Analysis. And we were talking to Courtney Turner about this weekend’s upcoming event and why it’s so important to do real, authentic, organic, non-corporate controlled, non-socially engineered music, arts, et cetera. And that’s really what this, basically it’s a festival. It’s really turned into a festival this weekend with, as she said, about 60 people. And we were talking about how the one key arm of the control structure is through controlling the arts. And I wrote two books on that. Courtney’s done a lot of podcasts on that as well. We’ve covered it many, many times in the fourth hour of Alex Jones. really Alex pioneered exposing that many, many, many years ago, talking about the way Hollywood and the music industry is controlled, the use of symbolism, the use of the occult and so forth. So Courtney, you want to tell us about some of the acts and who all’s going to be there? I know it’s 60, but you want to mention some of the, some of these people I might’ve even heard about before, like this Owen guy or this Harrison person. I think I’ve heard of them before. Yeah. He’s like, who are they? Yeah. Yeah, we have, so we have a lot of like, it’s really a hybrid. We’ve got the speakers and we’ve got lots of music. Okay. We have here.
So yeah, so Patrick Byrne, I wanna give a shout out to him and the American Project because they have really come through in helping to see this vision to fruition. Of course, we have Jay Dyer and Jamie Hanshaw. I’m sure nobody here has ever heard of them, right? And Faithless Town, they’re awesome. Tim Thompson, Mel K, Ben DeLaurentiis, who was just on with me this morning on Harrison’s show, Dr. Stella Emanuel, Andy Ross, Kathy O’Brien. We have Erin Jo Harris and she’s got a band and they’re gonna be doing music. Justin Deschamps, he’s doing a lot of stuff with Badlands Media. Nick Notoli, so he’s doing that song with Jimmy Levy. Jimmy Levy is going to be remote, but he’s going to zoom in and sing a song for George Webb, Austin Moody, Brian Christian, you’ll see a different side of him. He’s going to be performing music. He’s also going to be on the Firestream Media panel with me. Paul Conan, who is a hypnotist, he’s going to talk about how they use hypnosis and how you can buffer yourself against the media and the hypnotic effects of Hollywood and the entertainment industry. We have some of the Jan Six victims, Mickey, of course, Ashley Babbitt’s mom, who will be talking, Sarah McAvee, who is, her husband is still a political prisoner. Yeah, who else? We’ve got the Sailor Brothers. We have filmmakers as well. We’re gonna be doing a filmmaker panel. We’re screening a couple of like snippets from some film. We’re gonna be doing some improv, which Jay is going to be a part of. We have of course, Klaus and then we got Klaus Jr. And we have the CEO of Target. We have a Trump impersonator. And they’ll do a little improv sketch. We have a bunch of people from Medical Freedom who are speaking on that. And yeah, so there’s the Trump impersonator, Sean Farage. And yeah, Simon Esler, who did the film Cut. And he’s gonna be remote. He’s in Canada, but he is going to screen a little piece of the film.
We’re going to do a bit of a back and forth talking about it. We will have on Sunday morning, some people like Robert and Jamie Agui who are from the Revenant Tour, who are going to be doing more religious ceremonies and speeches and some music that’s more religious oriented for those who are missing church services. And then we’ll have panels on Sunday. And yeah, it’s action packed. Yeah. And again, let’s go back to maybe some of the background of this notion of culture creation and culture steering, because that’s a huge part of, you know, what I’ve covered, as I said, and part of the reason why you’re doing this event. I know that if you go back to Plato’s Allegory of the Cave and then Plato’s discussion in the Republic of the Noble Lie, where he talks about the inner secret society that will run the Republic, the ideal Republic. He says they’ll have to use these various invented myths and stories to control the population to make sure that everybody fits into where they’re supposed to be in this invented myths and stories to control the population to make sure that everybody fits into where they’re supposed to be in this rigid ideological structure of the republic. And that noble lie, I think, is a really early example of foisting upon the society a false story, a false myth, a fake origins story, you could say, like the hero’s myth or whatever. That’s really, again, hero’s myth or whatever. That’s really, again, made up to control people. And that same principle is, if we fast forward to today, the way that Hollywood and the music industry has crafted itself as a kind of modern Plato’s allegory of the cave.
If you think about sitting in the movie theater, if you think about being at the concert, you’re really watching and following these people that are acting kind of like the phantasms and the shadows on the wall of Plato’s cave. And that’s there to control you and to keep you in this matrix system. And what I like about what you’re doing here is that pretty much everybody here, we have a lot of disagreeing, maybe philosophical views, but everybody basically agrees that we need to wake up from this existing control system. So how do you see Hollywood and the music industry, since you did have a time, you said, where you were in that world? Do you see it as a really rigid control structure? Which is ironic, because I thought the arts were all about us being free and being, you know, set loose. And the irony is that no, actually this is a rigid control structure. Absolutely. Yeah. It’s, it’s really interesting because one of the things that, you know, you were saying how it is like, it’s kind of a wide tent and there are a lot of philosophical, maybe not complete alliance, but I think the main thing that everybody in this event can get behind is personal sovereignty and art. And I think if we can’t unite over that, then we really have no hope for humanity.
And I agree with you. I think you would think, one of the brilliant things about artists is that they’re creative beings that can see out of the box. And I always use the analogy of like, they’re able to kind of color outside the lines and still make it interesting, intriguing, potentially even beautiful. And that’s exactly what they don’t want. That’s what’s scary to them. That’s why they have this control grid of Hollywood and of the music industry. That’s where you have to fall in lockstep with what they want and their messaging. Anybody who falls outside of that, they don’t give a platform to because they’re using, they know how powerful it is and they know that it has the power to subliminally. Because I think what happens with people is that as much as it’s important to read and get engaged in intellectual matters and intellectual pursuits. Human beings are, we’re very complex, we’re very nuanced. And when we deal in the rational, we can ignore things that are, we’re getting like cues that we’re getting intuitively. And we can ignore some of our emotional responses that are elicited. And art has the power to affect that emotional intuitive response, in many cases, subconsciously. And so I think that it is really important to have art that is, you know, whether you agree with it or not, whether you like it or not, that isn’t being controlled from the top down, where people are presenting because I think artists have the power, because they can color outside the line, to take us out of these managed dialectical narratives. Because people often, they’re spoon-fed these narratives, and then they feel like they have to take one side or the other. They’re really not, because for so long, we have been conditioned that people often don’t really think for themselves, and imagine that there could be a nuance somewhere in the middle, or somewhere completely outside of that paradigm altogether. But I think artists have the power to show that there might be, you know, another way, or maybe there is a shade of gray in between the two that have been presented.
Yeah, I was just thinking of some examples of the arts that were prophetic that I’ve been looking at recently. I’ll give some of those examples when we get back and why I think they were prophetic. Some stuff I’ll be covering in upcoming live streams and talks, but I wanna remind everybody, go to rebelsforcause.com, get your tickets, use the promo code D-Y-E-R for this weekend in Nashville. It’s gonna be a lot of fun. Don’t go anywhere, this is the Alex Jones Show.
Welcome back to the show. I’m your guest, S.J. Dyer, Jason Alsace. And we were talking about the power of the arts to really, in many ways, be predictive. And I’ve got several examples that I thought of during the break that I wanted to mention, where we see pretty, I would say almost prophetic examples of artists who were able to sense the zeitgeist, the spirit of the time, and to see where things were going. And I think that artists have that unique ability through, you know, their, their creative, uh, abilities to see where, uh, the society is going.
My, my button came undone. I’m not trying to show my cleavage here. So I apologize to everybody. That’s, uh, I know I just tempted everybody with lust. Please don’t lust. It was just, uh, my, my button came undone. Everybody relax. Go take a shower, a cold shower, calm down. Notice from the underground. This is an amazing work from Dostoyevsky that believe it or not, I think he wrote it in the late 1800s. This book actually predicts maybe early, well, I don’t see the date, but it was definitely late 1800s. And in this essay, he notes that the future would be one that is symbolized by this figure who’s sort of a clerk in a station, and he’s this really nasty individual. He has a really nasty heart. But in a lot of ways, he publicly is kind of a normal citizen. And the point of the novel, at one point, or excuse me, the short story, he eventually gets to this point where he says that the man reflected on how the wicked operate from the pleasure that they get from evil. And that this shows the enlightenment idea that individuals can be morally neutral or something like this. It’s just really not true. And that if all man needed was education, right, to solve his problems, if his problem wasn’t his own heart, then he said we would never have the evil genius. And so this guy’s reflecting as he thinks about people in history who were notorious tyrants. And he talks about how Cleopatra, I think he says, liked to torture her mistresses.
She got pleasure out of torture. And he says the sadistic or the evil genius character, he says, proves that evil is something more than just a lack of education. That there’s actual virtue and vice going on here. And then he goes on to say that, in fact, I could even project that the future will be like a machine. The evil men of the future will be like a machine that operate in a program machine-like way. There’s a really famous page where the guy basically predicts a technocratic future where people are basically like robots. Again, that’s in the late 1800s. In Brothers Karamazov, there’s one of the most famous chapters about Dostoyevsky, where he talks about what’s called the Grand Inquisitor. And this is an inquisitor, a theoretical way in this chapter, is doing he’s doing an inquisition on Jesus, right? Which is odd because why would the inquisition, if they represented the church, why would they do an inquisition on Jesus? Well, the inquisitor says that we don’t need you anymore. Right? And it’s very prophetic in my view of where the sort of the globalist version of the papacy with Francis and others would go. And you know, he wrote this again in the late 1800s. And it’s basically saying that we will erect a world system, a globalist world system around this globalist religion. And we don’t need Jesus in the religion anymore. So it’s an amazing prophetic prediction again, of not just where the 20th century Roman Catholic Church would go post Vatican II, but where the world religion would go moving towards this world religion. There’s another great book in fiction, Ray Bradbury, right? His Fahrenheit 451, which is we are at that stage right now. They’re now saying that books need to be banned, need to be censored. Now, we’ve always had people banning books, but Ray Bradbury predicted a future dystopia where they would ban the reading of books.
You got to be a dumb, mind-controlled citizen, you can’t be reading books, heck no, and he’s basing that on what real people in the Royal Society, like Bertrand Russell, H.G. Wells, were saying, you won’t be reading Shakespeare in the dystopia. You won’t be reading the Bible. You won’t have books. Books will be banned. And I think that’s a good thing. H.G. Wells were saying, you won’t be reading Shakespeare in the dystopia. You won’t be reading the Bible. You won’t have books. Books will be banned. And we will dumb everybody down. They don’t read anymore. Philip K. Dick predicts the internet in Ubik. Now another odd novel that I wouldn’t have expected to be prophetic, which was written in the 40s, was a book by Flannery O’Connor, it’s called Wise Blood.
And I’m gonna be covering this pretty soon. She’s a famous Southern Catholic writer. Southern Gothic is the genre. And in that novel, it’s one of her few short novels, she only wrote two, she predicted the rise of the new atheists. Pretty wild, this weird sort of oddball character named Hazel decides to create his own cult. However, the cult that he creates is the Church of Jesus without Jesus. So religion, without any of the supernatural trappings or the real meaning of the religion, really just a tool of other interests, a tool of geopolitics, a tool of geopolitics, a tool of individuals who are just self-serving. In the case of the novel, this character, right? But far before we had this public campaign of the new atheists, you have this really odd prophetic prediction of the new atheists in this novel. And many, many, many more examples of the arts being predictive. And I’ll be covering those on my channel. If you want to go to my YouTube channel, Jay Dyer and subscribe, we’re gonna be getting into these. We just covered some really curious elements in recent podcasts, like covering noir films, film noir, and all the weird, occultic, esoteric elements in a lot of the 40s and 50s films that nobody has even thought about in decades. So we’re really digging up old uh, old school stuff, but.
Um, Courtney, are you there? I want, I want to get back to any of the, um, examples that you can think of, like where you’ve seen in your own life, you know, like it doesn’t have to be predictive elements, but like when you were in the, in the entertainment industry, where anything’s any stories that stuck out to you, the things that were really weird, or people trying to make sure you didn’t get a job because of your views, or anything like that? Oh, well, definitely, I could not discuss my views. I was part of the whole FOA group, the Friends of Ape, where I found out that there was, I was not alone in that. Lots of us were fired or blackballed for you know speaking out on our views so that was definitely very pervasive in Hollywood. But what’s interesting is I also saw that the agendas you know I remember like in it must have been the early 2000s and they were really pushing you know now they’ve really moved towards the trans agenda, but back then they were really moving towards the gay agenda and the amount of casting that was done, it was just very strange. And I just remember thinking it was so odd. I’m like, so is every couple like there’s no traditional couples anymore? Like, this is so odd. Why, why is this all they’re casting for? And, you know, now in hindsight, I realize, OK, this is because they’re clearly trying to, you know, elicit some sort of a message. This is programming. Yes. At the time, I just thought it was bizarre.
I’m like, this is not reflective of the real world, even in Hollywood. You know, like, yeah. So that’s you think that was like a you think that was a top down? Yeah, I do think so. I. Do you think that was a top down? Yeah. I do think so. I mean, there’s no way I couldn’t say like for sure, but it seems really odd. I think, so I was actually interesting enough when you were reading through all those predictive examples, I’m really thinking, I think it’s a feedback loop because I think on the one hand, there are the social engineers who are in control and who are trying to push this message and propaganda and they’re in lockstep with this agenda. And the agenda is a new world order agenda. And the more I talk to people now through my research and my interviews, it seems everybody in the entertainment industry, whether in the music or in film, television, Hollywood, if you’re not in line with the agenda, whether it is you’re willing to just turn a blind eye or you’re willfully advancing it, then you’re really out.
But I think it’s a feedback loop because I think there’s also so many people who are in it and they become programmed and brainwashed without really knowing it. I think it’s completely, for some people, unwitting. They really have no idea that they’re completely in lockstep and they’re completely advancing this agenda. And so then they come up with these ideas and it’s so ingrained and they end up, you know, programming, casting, and writing these scripts and, you know, these artistic ventures that are, yeah. So I think it is a feedback loop. I don’t think it’s just one or the other, but I think a lot of it is because there’s Yeah, and people that are artists, I mean, sometimes it seems to me like nowadays it’s independent artists, right? And that’s kind of what your events about is people that are not locked into that, that, you know, the old studio system or, you know, this kind of stuff that people are doing it on their own now. And I think probably having much more success because, you know, if you have to go along to get along to get anywhere you’re really just destroying your own soul and it’s very hard for a creative person to to not be free in that way to to be locked into some stupid system. This is the Ox Jones show. Don’t go anywhere. We’ll be right back. Just in a second.
Welcome back to the Alex Jones Show. I’m your guest host, Jay Dyer of Jay’s Analysis. You can subscribe to my work at the website you see there, jaysanalysis.com. I wanna remind you, too, that you see that top link there. I dropped a new cringe core song. Info Wars has a history of playing my greatest hits, including PayPiggy. And if you go to my YouTube channel and subscribe, you’ll notice that the top song there is my brand new hit single that I just dropped last night. And it’s an ode to Matthew McConaughey. And it’s called I Just Want toonaughey. And it’s called, I just want to meet new people and do cool things. And if you watch the clip, you’ll explain, it’ll explain why we, we, we do what we do as artists, right? Um, you know, the arts, again, they have the ability to raise our sensibilities. I think that’s what they’re supposed to do. They’re supposed to point us to the transcendent, to point us to these higher ideals, to the virtues, and they give us meaning. They give us, you know, stories give us meaning, and great art does that, I think, in a transcendent way, and then it points us to the divine and so forth. And we really lost that in the West because we don’t really have great art anymore. Think about the Renaissance artists. I mean, I have certain criticisms of the Renaissance artists, but they’re really talented and most of their art was intended to point us to the transcendent. Think about great literature that was being written all the way up until I guess maybe the first half of the last century. I mean, maybe there’s new lit that’s great, I don’t know. But it’s the same way in the domain of books that a lot of mainstream publishing and publishing houses, you know, they don’t print your stuff unless it’s going along with this agenda.
This agenda that we’re talking about is across all of the disciplines of the arts. And that’s because it’s a control system. They don’t allow any area to not be under this control system. If you remember, I had on Weckingball, the pretty well-known pro skater with a lot of comedic talents as well. He’s a really funny guy. And we did a fourth hour interview with Weck maybe a year ago and we were talking about how even in the domain of skating you might think they don’t care about skating. No they do. Every area of life has to be under this new cult of the technocratic you know well I a lot of words I can’t say I don’t want to say I don’t want to use those words, but you know what I mean. What they’re trying to push in all of these areas, it’s even in the skateboarding community, right? It’s in every area of the arts, and that’s by design, and that’s why we want to create art that is truly independent, not fake independent, Hollywood push stuff that is not liberal, it’s actually part of a control structure, but calls itself liberal or whatever not fake independent, you know, Hollywood push stuff that is not liberal. It’s actually part of a control structure, but calls itself liberal or whatever that even means.
I mean, the irony here is that liberal is associated with liberty. You would associate these things with being made free. And yet this entire structure is promoting all of the things through inversion that will enslave you. And not just enslave you mentally or spiritually, but now they’re pushing the things that will enslave your body. And Courtney’s right when she says that ultimately the goal is to put us into a matrix Borg hive mind. Alex has talked about that for 20 plus years, that it’s an actual Pentagon plan to eventually have some sort of Matrix style coon pod that you lay in, and your life will be lived out in this virtual reality and you’ll just be a battery for the system. That’s what the Matrix was playing on. The Matrix movie was playing on that humans as batteries analogy, feeding into this energy vampire superstructure system. And that’s not just fiction, because in many of the global elite texts that I’ve covered, for example, Jacques Attali’s Brief History of the Future, the latter chapters discuss the Borg hive mind and everybody being linked into this matrix web system. I have over here Ray Kurzweil’s books. He says the exact same thing about the future VR matrix world that everybody will live in when they have that ready, when they’ve got the technology ready. So we’re being prepared for that as they roll out the things like the CBDCs, the Bank for National Settlements. I’ve been covering that this week on my channel. If you go to my channel, you’ll see the latest lecture that I did was the writings of the lead. I think this is most recently, most recent one is about the EU, how it was created by the Royal Society elites and the people at Bilderberg. They planned the EU decades before the EU came to exist. Churchill was a big pusher of the EU. A lot of people don’t know that.
Alan Dulles, people from the CIA, they were pushing the EU big time. And so that’s why the EU came about, right, at the behest of people like the Rockefellers and Prince Bernhard and all the people that are the founders of Bilderberg. That’s who brought about the EU. Was not this movement of liberal socialists or whatever in 1980s and in 1990. It was way prior to that. It was planned out many, many years. In fact, it was part of the Marshall Plan aid was contingent upon eventual acceptance of in 1980s and in 1990. It was way prior to that. It was planned out many, many years. In fact, it was part of the Marshall Plan aid was contingent upon eventual acceptance of a European Union. That union model is what the global elite have planned for so long, which is to have all of the continents into continental unions.
And Tiny Mustache Man, he had a similar plan, but his plan wasn’t the one that the system ended up going with. He was just a subset of this overall system. What they ended up going with was not the fascist version of socialism, and that’s a socialist model. They ended up going with a Fabian version of socialism because that combines very well with technocracy. And so, Courtney, I want to get back to you. You know, you were talking about your time in the entertainment industry and, you know, how the system works. And I feel like, you know, I’ve had interviews, for example, with some pretty big name Hollywood people over the years, and they’ve kind of expressed their own internal tensions with sort of being on the edge of, well, I wanna have one foot kind of in the system, but I also kind of wish that I’d been independent and doing things on my own. You know, when we look at people like Joe Rogan, who basically bought his own, you know, comedy venue in Austin, and he kind of is just allowed to then, you know, he could do his own thing. Right. So, so if we can think more about getting outside of this and doing our own thing as truly independent artists, I think what we ended up having a lot more success, ironically, right. Yeah. Cause you really can rise to the top in, in doing things in alternative media on your own, as opposed to relying on this old legacy system. Yeah. And I think it’s because of exactly what you said, because art is supposed to speak to the transcendent. It’s supposed to be aspirational. And I always say that the powers that shouldn’t be have their triple D’s that they worship.
They have their trinity. And the first one is, you know, destruction, deception, it’s deceiving and distorting. And then the second one is division. They divide and conquer. is a, you know, destruction, deception, it’s deceiving and distorting. And then the second one is division, they divide and conquer. And then of course, the last one is destruction. Death, I think goes hand in hand with that. And of course, all of that is a breeding ground for chaos, which is a breeding ground for usurpation of power. But I think that when you look at the art, they’re really using, it’s all degenerative, it’s all or degenerate, it’s all, or degenerate, it’s all, you know, very, it, it debasing. And when you, art should be, if you look at just in nature, things like a beautiful sunset are art and they move us so deeply and we don’t know why we, but we can, we just feel it and we can just agree that it does. And I think that’s the power of art. And I think people are longing right now because so much art is, you know, you look at like even architecture, you know, I think since the brutalist ages, it’s all, you don’t have something to look up to. And I think that because of our day to day life, you know, we want something, we do want an escape and that’s another reason why it’s soday life, we want something, we do want an escape, and that’s another reason why it’s so powerful. But we want to escape to something that we can aspire toward, something where we can think about being, whether it’s closer to divine or even just better versions of ourselves, that there is a possibility beyond where we are today. And I think art has that power. And I think it’s part of why the independent artists are seeing so much success, because it’s such a stark juxtaposition. And the art that we’re seeing today, they’ve become, as you talk about, like the revelation of the method. I think they’re just becoming so much more transparent in their agenda. And their agenda is dark. And it doesn’t make any sense. And people see that.
They see that it’s inverted. They see that it’s dark. And I think in some cases it really is just openly demonic and that’s not aspirational, so yeah. Yeah, self destructive and I want to remind people too that when it comes to this, free or notion of the arts, I’ll be doing a event in Hollywood. I went outside of Hollywood in July. It’ll be July 6th. You can go to my website and under every post, you’ll see the upcoming live events. We have, of course, this weekend, Courtney’s event in Nashville. You go to rebels for cause and get the tickets there. My live event in California, Jamie Kennedy will be there. Mala Malibu is most wanted Jamie Kennedy experiment scream. You guys have probably seen Jamie Kennedy’s one of the genius comedians out there. Jimmy Kennedy experiment is, is one of the funniest shows ever. So we’re going to have a lot of fun out at that event. Get your tickets there at event bright. And then Courtney’s event this weekend rebels for cause use a promo die the promo code Dyer, D-Y-E-R.
One last plug there, Courtney, why does everybody need to come out to this this weekend? Well, I think they need to come out, they need to support independent artists, they need to find their people, build local communities. We do wanna make this into a national tour, and that’s part of why we’re doing it, we wanna take it, part of why we’re doing that is to build local communities. So yeah, come meet your people. And right now we have a lot of people flying in from all over the country, which is awesome. But I really hope some of the locals will come out and see everyone. All right, thank you guys. This is the Alex Jones Show. Be sure and support Alex and the Infor by going to the Infor store and getting those products.