Speaker 1: About time we had another special edition. Hey, this is
Speaker 1: your host, Cliff Dunning of Earth Ancients, and this week
Speaker 1: we are focusing on the planet Mars. As you know,
Speaker 1: if you've been following the podcast for a while now,
Speaker 1: you know that I'm an advocate of archaeological ruins on
Speaker 1: the planet Mars, which means at some point in the
Speaker 1: past the planet had a population, had a civilization. And
Speaker 1: we're not, you know, guessing, we're not suggesting this is,
Speaker 1: you know, the way it is. We've had real science.
Speaker 1: We've had planetary scientists here, We've had image specialists, and
Speaker 1: we've had research investigators, some who have spent portions of
Speaker 1: their entire lives studying the planet Mars and making determinations
Speaker 1: that not only are there archaeological ruins, there could be
Speaker 1: a partial atmosphere that supports life. Now, when we say
Speaker 1: things like this, when we present this material, it runs
Speaker 1: in the face of what's being presented now by NASA,
Speaker 1: which is looking for microbes, spending billions of dollars with
Speaker 1: these rovers, and rovers have cameras on them, they have
Speaker 1: other scientific equipment for testing, and NASA would like us
Speaker 1: to believe that there's nothing on Mars other than the
Speaker 1: remains of a very rudimentary microbe life, single cell organisms
Speaker 1: that lived on the surface or in what was water
Speaker 1: at one time. And you know, that's fine for that scenario,
Speaker 1: But the truth of the man is they've known that
Speaker 1: there are ruins on Mars. When they launched the Viking
Speaker 1: satellite program, they imaged a variety of areas, and they
Speaker 1: continue to image areas that show that there are not
Speaker 1: only temples, pyramids and unusual large reliefs. And when I
Speaker 1: say unusual, some of these release are miles across by
Speaker 1: miles long, and it also looks like that they were
Speaker 1: built for to be observed from outside of the atmosphere
Speaker 1: of the planet. But there's a lot that we have
Speaker 1: discovered since we began reporting on Mars. We've had doctor
Speaker 1: John Brandenberg on there, who wrote a book called Death
Speaker 1: on Mars, who believes that there were a number of
Speaker 1: nuclear wars on the planet, one that may have destroyed
Speaker 1: the atmosphere and eventually killed off the remaining life. And
Speaker 1: today we are presenting another look at the planet with
Speaker 1: an image specialist has done extensive imagery of Sidonia where
Speaker 1: this face is, but has also reported back that the
Speaker 1: evidence that we have discovered is being manipulated by NASA.
Speaker 1: And what that means is, as they continue to image
Speaker 1: the planet Mars, they are altering the feed so that
Speaker 1: when the public looks at this imagery, what they're getting
Speaker 1: is modifications, areas that are completely wided out or removed,
Speaker 1: and distortions. Now, why would they distort images? Why don't
Speaker 1: they just come clean and show us what they have
Speaker 1: found on the planet. Well, remember, in nineteen sixty, NASA,
Speaker 1: as it was becoming NASA, actually it was still the
Speaker 1: Department of Defense, but NASA was in place, requisitioned a
Speaker 1: study by the Brookies Institute of the United States asking
Speaker 1: what would happen if the public was told that there's
Speaker 1: evidence of an alien civilization on the planet Mars. And
Speaker 1: what came back to them was a document, And remember
Speaker 1: this is nineteen sixty, over sixty years ago. The document
Speaker 1: came back and revealed that, according to their analysis, the
Speaker 1: Americans or the planet Earth as a whole, would be traumatized,
Speaker 1: religions being affected, people committing suicide, institutions failing, people losing
Speaker 1: faith not only in the church but in the institutions
Speaker 1: of government. And to this day they still adhere to
Speaker 1: that outdated document and what we are getting is heavy,
Speaker 1: heavy censoring. And I've mentioned a little bit about the
Speaker 1: censoring of imagery, but even in the face of likely
Speaker 1: skeleton remains, archaeological ruins and great evidence of civilization on
Speaker 1: the planet, they still prefer to keep this from us. Now.
Speaker 1: I have mentioned this very very quite recently, that this
Speaker 1: discovery of an alien civilization is part of our destiny,
Speaker 1: part of our evolution. And when we discover and when
Speaker 1: it is released to us that there is a civilization
Speaker 1: or there was a civilization on Mars, we immediately evolve
Speaker 1: where we understand that we're not the only ones in
Speaker 1: our cosmos. The big lie is over. And it also
Speaker 1: allows us to consider other civilizations, living civilizations, which also
Speaker 1: brings up the question of uapiece unidentified unidentified aerial phenomenon,
Speaker 1: which is used to be UFOs unidentified flying objects. Who's
Speaker 1: behind those crafts? Why are those civilizations observing us? And
Speaker 1: this is typically outside of the United States. When these
Speaker 1: crafts land and the beings inside them come out and communicate,
Speaker 1: that's a whole different animal, a whole different story, a
Speaker 1: whole different level of awareness that we need to understand.
Speaker 1: And it's my belief that when we become more comfortable
Speaker 1: that we're not the only ones in our cosmos in
Speaker 1: the universe, it's a growth it's a huge growth factor.
Speaker 1: It's an important, needed, and beneficial growth factor. So this
Speaker 1: is why when we start with an ancient civilization, it's
Speaker 1: not such a traumatic situation. It's not such a traumatic
Speaker 1: bit of news. Now, one of the things I've run
Speaker 1: across with a lot of my listeners and a lot
Speaker 1: of people on our social media is people deny and
Speaker 1: are afraid to know that there's a there are ruins
Speaker 1: of a civilization on Mars. Not only are they fearful,
Speaker 1: they're angry because possibly it changes the perception of their life.
Speaker 1: Or more importantly, they don't want to know that. They
Speaker 1: want to continue thinking that we are the only beings
Speaker 1: in our cosmos and there's nothing else. Well, that's just
Speaker 1: not right. That's not right at all. And our ancestors
Speaker 1: knew that, and we need to know that because we
Speaker 1: need to move beyond our current paradigm into the next dimension,
Speaker 1: into the next century as space travelers, and when you're
Speaker 1: a space traveler, you're going to run into other civilizations.
Speaker 1: And this is what this is why Mars is an
Speaker 1: important first step into our evolution. So today's program is
Speaker 1: the Face on Mars beyond mere tricks of light and shadow,
Speaker 1: and my guest is image specialist Gary Legier. Discovery New
Speaker 1: Artifacts is very exciting. And there's a new museum in Cairo,
Speaker 1: of all places, that has just opened. It's the Grand
Speaker 1: Egyptian Museum. I've been waiting almost eight years for it
Speaker 1: to open, and let me tell you, the statuary by
Speaker 1: itself is worth the price of admission. We're talking over
Speaker 1: one hundred thousand artifacts on display from all parts of Egypt.
Speaker 1: And this is a fabulous museum. This is cliff from
Speaker 1: Earth Ancients and our seventh annual Grand Egyptian Tour is
Speaker 1: April twenty eight through May tenth. We have a handful
Speaker 1: of seats left. Come out and join us. It is
Speaker 1: going to be an amazing tour take in all things
Speaker 1: ancient Egypt. We are gonna see the megalists. We're gonna
Speaker 1: go to places that are off the beaten paths to
Speaker 1: see huge statuary, temples and even the pyramids. For all
Speaker 1: the details, go to Earth Ancients dot com forward slash
Speaker 1: Tours and you will see not only the itinerary, but
Speaker 1: some of the fabulous hotels and other sites that we
Speaker 1: will visit. This is not to be missed. April twenty
Speaker 1: eight through May tenth. Come out and join me. For
Speaker 1: more information, go to Earth Ancients dot com forward slash Tours.
Speaker 1: It's been a while since we've talked about Mars. Mars
Speaker 1: is one of my favorite topics, simply because there's great
Speaker 1: evidence of archaeological ruins, there is evidence of in some places,
Speaker 1: active life, and as we'll hear today, what we're hearing
Speaker 1: from NASA is just not only faults, but it's deceiving
Speaker 1: and it's just sad that we have to deal with
Speaker 1: this professional organization who is not necessarily well. I guess
Speaker 1: you could say they are lying to us because we're
Speaker 1: not getting the real story. My returning guests is Gary Lazier.
Speaker 1: We've had Gary on the program a few times in
Speaker 1: the past, but he is presenting a new book. It's
Speaker 1: called The Face on Mars Beyond Mere Tricks of Light
Speaker 1: and Shadow.
Speaker 2: The Faces of Mars.
Speaker 1: Oh, sorry about what I say, Okay, The Faces of
Speaker 1: Mars Beyond the Yeah, beyond mere Tricks of Light and Shadow.
Speaker 1: Gary is known as the Mars revealer. This is that's
Speaker 1: his tag name, and for years he would not give
Speaker 1: his real name because he felt uncomfortable about divulging this material.
Speaker 1: And I gotta say this about Gary. He is a
Speaker 1: top notch image specialist in the same kind of quantities
Speaker 1: and quality that we get from Mark and other people
Speaker 1: that we have on the show. So Hey, Mark, Carlotto
Speaker 1: is the one we've had on the show before. So hey, Gary,
Speaker 1: Welcome to Earth Ancients, and congratulations on this book.
Speaker 2: Thank you very much. It's a little slow going because
Speaker 2: you know, I just wanted to put this thing together.
Speaker 2: Well what I felt was the time for me to
Speaker 2: do so, because Cliff, as you know, it's been over
Speaker 2: twenty years since we even had any real serious look
Speaker 2: and study and book about it. The last ones well,
Speaker 2: you know, you mentioned doctor Carlotto. He had the case
Speaker 2: for the face etc. That was more than twenty years.
Speaker 2: Richard Hogland, the Monuments of Mars that was more than
Speaker 2: twenty years, and some other people that would you know,
Speaker 2: touch base on the face and stuff, but no stronger,
Speaker 2: no stronger case than Hogland's and with the compiled help
Speaker 2: he had with that again, Carloto, Brandon Burgo of this
Speaker 2: that would have done that subject was more than twenty years.
Speaker 2: So you know, we've had a lot of things happen
Speaker 2: and a lot of data that we have gained and
Speaker 2: garnered over that time until now. Because remember back then,
Speaker 2: as big as controversies and fanfare and whatnot, it was
Speaker 2: only due to a simple minimal amount of imagery they
Speaker 2: had access at that time, mainly the Viking data and
Speaker 2: the Global Surveyor was just coming into play, and no
Speaker 2: real efforts since then. Really Hoakland, you know, would put
Speaker 2: out on the Enterprise mission a lot of good articles
Speaker 2: about the face at that time, still challenging NASA, but
Speaker 2: no further books or efforts of that type of caliber
Speaker 2: which laid out as you know, a lot of information, right,
Speaker 2: scientific information from those fields of science. So but I
Speaker 2: came at it like, well, you know, you know, doing
Speaker 2: the more revelation. You know, I've been connected to many
Speaker 2: of these individuals, some have become friends and stuff and
Speaker 2: whatnot and colleagues. But to me, that's not the issue.
Speaker 2: The issue is the data, and the data is what
Speaker 2: counts because over the years up until now, since those
Speaker 2: books were written, we have multiple sources and multiple imagery
Speaker 2: showing that this thing not only never disappeared according to
Speaker 2: the NASA's original life from Viking that was, you know,
Speaker 2: gone a few hours later, it's still there in every
Speaker 2: single image. We have multiple views, multiple spectrums or resolutions also,
Speaker 2: and the best resolution one that we got up there
Speaker 2: now is as you know, the Mores reconnaissance orbit has
Speaker 2: two cameras on it, the high rise camera and also
Speaker 2: the CTX camera camera, which is abbreviated for context. So
Speaker 2: the context camera would look down, you know, take its
Speaker 2: imagery and then that's why they call it context whatever
Speaker 2: they see in that, and the high rise zooms in
Speaker 2: on what the context is seeing and it'll do its
Speaker 2: thing right. So that's good. That's a twofold they should
Speaker 2: have thought it that long ago, but it is what
Speaker 2: it is. And over time, you know, we've gotten so
Speaker 2: many amounts from Mars honesty, even Mars expressed grace less
Speaker 2: with a couple we'll get into that later.
Speaker 1: I think it's great, though, Gary, that you had doctor
Speaker 1: John Brandenburg right the forward, because not only does he highlight,
Speaker 1: it's wonderful because his book and Death on Mars is
Speaker 1: a nice contribution to the whole Mars mystery. And of
Speaker 1: course we know that he predicts that it was a
Speaker 1: thriving planet that was nuked basically in some kind of
Speaker 1: a war that leveled and destroyed the atmosphere but also
Speaker 1: likely killed most of the inhabitants on the surface. So
Speaker 1: that was great that he did that, so wonderful. So
Speaker 1: let's talk about this. How you open the book. You
Speaker 1: get into the actual history of earthman's interest in Mars,
Speaker 1: which I think is great, and talk about your feelings
Speaker 1: and why you decided to bring that up, because you
Speaker 1: talk about Kepler and Newton presenting observations of the nearby
Speaker 1: planetary systems, and that kind of got us interested in
Speaker 1: local planets, didn't it.
Speaker 2: Yes, especially a personal Loll. You mentioned Kepler, and then
Speaker 2: they didn't have the advanced telescopic abilities that personval Loll
Speaker 2: had and others. And when Lowell would look through the camera,
Speaker 2: I mean the camera the telescope at Mars, he was
Speaker 2: believing he was seeing patterns, which is really there. Scientists
Speaker 2: officials would like to say, oh, those are just artifacts
Speaker 2: from the air and the camera lens. That's not true,
Speaker 2: but he would term them because how they look geometrically.
Speaker 2: Did multiple drawings of that mapping the planet over time
Speaker 2: to each observation that he was able to get good
Speaker 2: glimpses of it, he would draw it out, and it
Speaker 2: looked like geometric network patterns, which he believed, or canals
Speaker 2: for a dying civilization, for which with seasonal changes or
Speaker 2: periodic planetary changes, the waters collected at the top and
Speaker 2: south at the north and south would as they melt,
Speaker 2: they would fill in and irrigate through this canal network
Speaker 2: of which he believed those lines represent. Now, because being
Speaker 2: so far away, yeah, it would be common sense to
Speaker 2: think something like that, But I believe that what he
Speaker 2: is seeing is actually the geometric sculpting of the entire planet.
Speaker 2: I'd come across with a different tooth in this too.
Speaker 2: Get ready, everybody, eke. I believe that Mars, as crazy
Speaker 2: as it sounds, has been artistically vaulted on an entire
Speaker 2: planetary scale before the whoopie doos, which means cataclysmic events,
Speaker 2: natural or otherwise, it.
Speaker 1: Was artistically sculpted. Gary, Are you seeing which I have seen,
Speaker 1: that the civilization purposely went out and created these giant
Speaker 1: relief sculptures and images that you can only see from
Speaker 1: the atmosphere, or are you seeing something else?
Speaker 2: Well you could, well you would be able to see
Speaker 2: it from afar obviously, but that not just certain structures
Speaker 2: that were sculpted or whatnot, but the entire planetary surface
Speaker 2: has its own grids and lines. In the way of
Speaker 2: the mastery artists on with the ability to sculpt the
Speaker 2: planetary surface literally and whether it's rock utilizing, what metal utilizing,
Speaker 2: potentially lie beings on the surface to come in and
Speaker 2: also do things after the main cutting has been done.
Speaker 2: It's really an amazing deald In theory when you consider
Speaker 2: the things of what we're gonna look at, and when
Speaker 2: we detail of the face itself, because the face is
Speaker 2: artistically sculpted. It's not eroded, it's not collapsed, it's not
Speaker 2: created by windblown sheep and none of that. The whole
Speaker 2: thing has artistry, ornate artistry which not only makes the face,
Speaker 2: but the area aren't around the face, and continuing on
Speaker 2: and on and on. Now do they happen to use
Speaker 2: natural features in order to do some of this sculpting.
Speaker 2: That's possible. I don't know much. We need boots on
Speaker 2: the ground to really determine these things. But like you said,
Speaker 2: a lot as crazy as this theory of mind sounds.
Speaker 2: I doubt they would be looking for that right away,
Speaker 2: though I do predict they'll be able to see that
Speaker 2: upon going there, because there's no softening or obfuscation that
Speaker 2: could be done. And I believe each member that goes
Speaker 2: would have to be breathed because you don't want to
Speaker 2: have a lot of heart attacks before you get there
Speaker 2: of what there they expect.
Speaker 1: So you're saying that your belief is that the planet's
Speaker 1: surface has been archa architecturally engineered.
Speaker 2: And archaeologically that falls in but both hands, yes, sir.
Speaker 1: And you do you say that because of the Sidonia
Speaker 1: region or are you talking about just everything that you
Speaker 1: see that this image that is available to you has
Speaker 1: a part of.
Speaker 2: The picture, part of the bigger picture, correct, part of
Speaker 2: the bigger picture worldwide? So like not only is where
Speaker 2: it started for me obviously with the face in ninety
Speaker 2: eight and when I came to see it and I
Speaker 2: was like, you know, this doesn't make sense because the
Speaker 2: art continues on, it continues on into the surrounding areas
Speaker 2: where my my processing skills will null and void. Really,
Speaker 2: back then I was going off of whatever NASA, and
Speaker 2: now I produce views which we'll get into later that
Speaker 2: showed a detail of what I would see near the
Speaker 2: face originally from ninety eight onward. That the details continue
Speaker 2: on the surface artistically, not like as a chaot chaotic,
Speaker 2: unnatural looking thing, but the lines geometries. Think of like
Speaker 2: remember Charlotte's web. Think think of a Charlotte Web type
Speaker 2: character that's able to do mastery beautiful ordinate images and
Speaker 2: their webs, and then an image within an image, whether
Speaker 2: the image as they overlay with different things and at
Speaker 2: different times and maybe angles of the sun or times
Speaker 2: of the seasons or times of the year, various details
Speaker 2: can peek through from various levels. Does that make sense.
Speaker 2: It's really extreme, And I know we don't have to
Speaker 2: go on that tangent, but I just want to throw
Speaker 2: that out there because this is what they're really seeing.
Speaker 2: And so for after all this time, nothing has just
Speaker 2: proven my crazy claim, if anything is. But I accept
Speaker 2: that people find that hard to accept and see. But
Speaker 2: that's okay. In time and as my skills get better
Speaker 2: to reveal these details on these service in these images
Speaker 2: than the more clarity that they like to provide for us,
Speaker 2: it will become known. And as you mentioned, Sidonia and
Speaker 2: how NASA really loves to steer clear from this place
Speaker 2: as much as possible, even answering about it. They're not
Speaker 2: allowed to talk about it. They're not allowed to even
Speaker 2: mention that there's any hints of artificiality or extraterrestrial intelligence.
Speaker 2: And this goes back to the original story of when
Speaker 2: it was discovered. Many like Hogland presented in his book
Speaker 2: how it was like Tobias Ow and naming it head.
Speaker 2: Oh my god, look at that. But that's also a
Speaker 2: cover story from a source I cannot name who had
Speaker 2: told me that how we really got the original image
Speaker 2: of the face of why we even get to see
Speaker 2: it now is because the Soviets back then, in the
Speaker 2: Viking days, we were still in the Cold War, remember yeah,
Speaker 2: and they were breaches, you know, they were in like
Speaker 2: you know, Colonel Corso Stephen said they had to have
Speaker 2: a nut file compartmentalized places because they were really probing
Speaker 2: not just for our you know, Cold War issues of
Speaker 2: trying to find about weapons and stuff. They really wanted
Speaker 2: to know about Roswell and they really were interested in
Speaker 2: Mars so some So the long story short there of
Speaker 2: what I was told again by an unnamed person that
Speaker 2: the Soviets back then had received the xerox picture of
Speaker 2: what they had found, the face, and they touted it
Speaker 2: around the world.
Speaker 1: So NASA had a couple with something also the Russians
Speaker 1: out of them huh wow.
Speaker 2: Well right, And but that made it also the other
Speaker 2: nations that hey, where there's something really on Mars. And
Speaker 2: that's why I believe in time deals had to have
Speaker 2: been made of something for the US to help them
Speaker 2: and which may be a good thing anyway, to help
Speaker 2: them be able to get there to study it themselves.
Speaker 2: And what has happened since then you have international space
Speaker 2: agencies of Mars, even existential enemies at Mars making progress,
Speaker 2: making a space a place that's obviously a war fighting
Speaker 2: domain potentially as well as a place to be able
Speaker 2: to not just change the nation, but to change the
Speaker 2: world and or to control the world.
Speaker 1: So let's talk a little bit about some of the
Speaker 1: early parts of this book. I want you to talk
Speaker 1: about Percival and Lows Mars Canals. Now he made this.
Speaker 1: He was using what we would consider a rudimentary telescope,
Speaker 1: but he made some fairly significant discoveries that turned out
Speaker 1: to be false because he was kind of embellishing on
Speaker 1: what he saw, but you mentioned that the canals. Did
Speaker 1: he find anything else of significance?
Speaker 2: Well, he again, he seized because of how the geometry
Speaker 2: would look at whatnot they would he would obviously there
Speaker 2: was a striving civilization, but it was dying. Because he
Speaker 2: would also notice a lot of dust storms. So he
Speaker 2: can see, in his opinion, building a civilization around because
Speaker 2: of the canals that it's a it's a very rough place.
Speaker 2: It had, it had some whoop de deus, and it
Speaker 2: made a struggle to survive. Now, there was a movie
Speaker 2: Cliff and I have it on one of my YouTube
Speaker 2: channels I can't access anymore with millions of us. Surprisingly,
Speaker 2: from nineteen fifty two it had Peter Graves called Planet Mars. Wait,
Speaker 2: red Planet Mars or Planet Mars. I think it was
Speaker 2: red Planet Mars, but either way, isn't it. At the
Speaker 2: beginning it was like they're observing Mars and it would
Speaker 2: show the ice caps at the top and the canals,
Speaker 2: and then as the water melted, then it was black
Speaker 2: and white. Now mind you, but you could tell in
Speaker 2: the canals. He's like, well, now they're shiny. Why is
Speaker 2: it shiny? Well, because it are melting water. Therefore, the
Speaker 2: sun's reflections. And again that was built on what was
Speaker 2: theorized and pretty much accepted as the most possible means,
Speaker 2: based on, like you said, the limitations of lulls observations
Speaker 2: to build and theorize the civilization around them. That made
Speaker 2: that feasible. But the mariner, you know, probes obviously shot
Speaker 2: that down in a lot. But I'm sure that they
Speaker 2: see what I described, that those patterns didn't go away.
Speaker 2: They're part of a much bigger, artistical, ornate network that
Speaker 2: they will never want to admit. And the cliff I
Speaker 2: told others there too of a time that if NASA
Speaker 2: is speeding the mare is after all them months, I'm
Speaker 2: sure they must have a camera facing forward because as
Speaker 2: they record all that data, they could even speed it
Speaker 2: up so they would see those patterns. But as you're
Speaker 2: going there, the patterns would be changing, they would shifting.
Speaker 2: As it gets bigger and bigger, you would still see
Speaker 2: the patterns changing and shifting. And that's the theory. Again,
Speaker 2: I can't prove it, but if I'm NASA's sign, if
Speaker 2: I thought of it, you know, that would be great
Speaker 2: to study those canals and learn that they're not only
Speaker 2: not canals they had to come up with another excuse. Oh,
Speaker 2: you see, it just looks like a moon or whatever.
Speaker 2: You know, there was totally distrust. But yet if they
Speaker 2: were looking for that real question by doing what I said,
Speaker 2: they would see Oh and we could never let no
Speaker 2: one know this. It's a little intelligent. They would see
Speaker 2: that the planet was sculted. Even with its bombardments and
Speaker 2: issues that have happened over the years, you still have
Speaker 2: the main artistical imprint in its foundations. Does that make sense? Yea.
Speaker 1: So it's funny because you have you have Loll ushering
Speaker 1: in our interest in space, and you say, which I
Speaker 1: thought was interesting that Loll inspired guard who developed the
Speaker 1: liquid fuel for early rockets. So talk about the progression
Speaker 1: from uh, looking at Mars to having an interest in
Speaker 1: becoming space adventurers.
Speaker 2: Well, well, again this goes back to the heart of
Speaker 2: the matter of even the issue of the book of
Speaker 2: why I brought that all up, because if you look
Speaker 2: at Lowell's finding and then how this before we even
Speaker 2: went to space orbit, let alone Mars. This were talked
Speaker 2: about the twenties, thirties, forties. Well, well, they finally sent
Speaker 2: something up in the sixties, right to go to Mars,
Speaker 2: the Mariner missions, so you had a quite a few
Speaker 2: decades there to build up this this societal concept of
Speaker 2: what the potentially expect from Mars is fascinating, right, and
Speaker 2: the are we alone question, you know, was bound and
Speaker 2: it was pretty much accepted. And when you know, they
Speaker 2: were many people were disillusioned and hurt because when they
Speaker 2: said at the Mariner that there was nothing there. But
Speaker 2: it was always a goal to go to Mars. I
Speaker 2: don't think just because of Lowell's findings. I've also put
Speaker 2: in the book about Nicola Tesla with the recorded the
Speaker 2: recording and the receiving of messages, he believes he was
Speaker 2: communicating with Mars. So there's a lot of factors. And
Speaker 2: because of those decades of Lowell in the societal mindset
Speaker 2: what to expect, obviously the government had interests to go
Speaker 2: check it out, you know, so that was going to
Speaker 2: be on the board, uh to look at.
Speaker 1: But it is because Gary talk real briefly about what
Speaker 1: Tesla UH found. He he was testing some uh what
Speaker 1: it was very early WiFi, and he got some was
Speaker 1: it messages or more like signals from what he thought
Speaker 1: was Mars.
Speaker 2: Well, it's even better than that. Hold on. Sorry, he's
Speaker 2: even better than that clip and everyone else because he
Speaker 2: actually claimed he was communicating, that there was communicat. Now
Speaker 2: over the years people have said, well, he was contacting
Speaker 2: and connecting with the Black Night satellite. That's another subject
Speaker 2: for something else obviously relatable potentially thereof might know to
Speaker 2: history or might not not just a passers but of Mars.
Speaker 2: But he claimed that he was receiving the signals from
Speaker 2: Mars and stuff, and that even by the electrical experiments
Speaker 2: he was doing, he was proposing that we could also
Speaker 2: use that to send craft to Mars womb by jettison
Speaker 2: using that worldwide and maybe maybe you could, maybe you could,
Speaker 2: and you know, we have a dismantled, degradated system of
Speaker 2: what Tesla was actually doing that was perfected in the past.
Speaker 2: I mean, you're the pyramid man. I think certainly you
Speaker 2: could have stoot and a tune to well, if what
Speaker 2: he was doing in the pyramids maybe connected to something
Speaker 2: like that, the volume of power may be big enough
Speaker 2: to actually send craft to Mars or beyond. You're talking
Speaker 2: pyramids on other planets.
Speaker 1: You're talking about warren Cliffe Tower that he built.
Speaker 2: Right, But but that's like you know, some people say
Speaker 2: that the pyramids have a concepts of that mind, but
Speaker 2: it would be an obvious and much larger magnitude. Uh,
Speaker 2: and capability you know, that reach out into the heavens,
Speaker 2: you know, not just given power from the ether of
Speaker 2: the earth, you know, to the earth. And uh, it's
Speaker 2: so it's incredible. But he actually believe he was communicating
Speaker 2: with the Martians. I haven't read too much on what
Speaker 2: was actually stated in those communications. Uh, but the government
Speaker 2: may know, you know, they everyone, you know, John Trump,
Speaker 2: they all grabbed that stuff up. Hopefully that's a blessing.
Speaker 2: We'll find out how Cliff. But uh, because it is
Speaker 2: something to which we don't have to worry about all
Speaker 2: these problems. Our fossil fuels and everything creates free energy.
Speaker 2: But not only free energy, it gives us the energy
Speaker 2: to thrive and also expand away from Earth. Because these
Speaker 2: are concepts that could be utilized on multiple planets. Maybe
Speaker 2: that's why we have pyramids on Mars and supposedly potentially
Speaker 2: on other places, but Mars is our prime target where
Speaker 2: we know for sure this pyramidal things, you know, And
Speaker 2: that gets right into this subject of what this book
Speaker 2: is stemming forth on regards to the face of Mars.
Speaker 2: Because from around Tesla's time, he was not the only
Speaker 2: one receiving communications. There was a professor Todd and Jenkins
Speaker 2: who also it was like the first fax machine as
Speaker 2: it was toy'll be able to make a graphic representation
Speaker 2: of signals that they would receive. They believe that they
Speaker 2: were receiving signals from space also from what I hear
Speaker 2: also really about Mars, because Mores was an issue. They
Speaker 2: knew what Tesla was saying. So they built a thing
Speaker 2: to receive signals and it would, you know, show its
Speaker 2: blips and dots and maybe in time someone learning to
Speaker 2: decode and understand what all that represents, you know, But
Speaker 2: that was the first early stages, and at the time
Speaker 2: it was best then to do so because the world
Speaker 2: was not that filled with radio static and stuff like that.
Speaker 1: But they stop you for a minute, Gary, you're talking
Speaker 1: about in nineteen twenty four Jenkins developed the radio camera,
Speaker 1: which I never heard of before, and he actually was
Speaker 1: able to trace the patterns of these signals, and you
Speaker 1: come up with a theory that he actually found an
Speaker 1: early face or something. Talk about that.
Speaker 2: Yes, indeed, and matter of fact, as I do, maybe
Speaker 2: I could find a picture of it for you. Yes,
Speaker 2: I'll try now as he now to understand this and
Speaker 2: to appreciate what you just said. They needed radio silence,
Speaker 2: all right, So there was times of the year and
Speaker 2: they would even had the governments, the US government made
Speaker 2: sure that there was radio silence for a few minutes,
Speaker 2: not just in this country but around the world when
Speaker 2: they did this experiment and it was receiving signals that
Speaker 2: I can find it here and in those signals, you know,
Speaker 2: I'm sure it just to get it more downloaded as data.
Speaker 2: You know. I'm sure they didn't know how to read
Speaker 2: it or if it's said anything, but they would look for,
Speaker 2: you know, obvious patterns and stuff like that like what
Speaker 2: they do today. Again, they're probably better at it now. Uh,
Speaker 2: I don't want to dead air. I'm trying to find
Speaker 2: the thing.
Speaker 1: Is that like an early radio telescope.
Speaker 2: That I believe. So I believe because there wasn't a
Speaker 2: visual telescope that got them the info. But uh, I
Speaker 2: put it the information in the book. But yeah, it
Speaker 2: was more like a radio tele to receive and then
Speaker 2: uh and then the transcribe what was being uh scene,
Speaker 2: Now I know I have it here here's the secondary so,
Speaker 2: and in that it looked like a side profile of
Speaker 2: a face. Kind of reminds me of the old hit
Speaker 2: Alfred Hitchcock shows and movies in the past. Remember clip
Speaker 2: with that that drawing. It kind of looked like that.
Speaker 2: I'm riding chance. I see this. I know I got
Speaker 2: it here because I put it in the book. So
Speaker 2: I keep all my files for the book in the file.
Speaker 3: But h chapter one, right, But yeah, I need to
Speaker 3: I don't have the book handy on here just to
Speaker 3: open and go to it.
Speaker 2: I have it here. I have the comparison to like, yeah,
Speaker 2: let me just open that for a second. I'll find
Speaker 2: this secondary. I know I got it. I don't know
Speaker 2: why I'm not saying that I have all images sucked
Speaker 2: at SO, but sorry for this time. If you had
Speaker 2: that at all, I apologize, But uh, come on now,
Speaker 2: I'm determined to find this clip. I didn't think I
Speaker 2: would need to pull this up. Maybe I should have
Speaker 2: thought more about it.
Speaker 1: Well, hey, it's it's a it's a rare fine because
Speaker 1: I had not heard of Jenkins's radio camera, and the
Speaker 1: imagery was fascinating. I was like blown away that he
Speaker 1: had actually imaged signals from Mars. So that's pretty cool.
Speaker 2: Yeah.
Speaker 1: You In the first part of the book, you also
Speaker 1: go into the American space program where they launched the
Speaker 1: Mariner nine in twenty or excuse me, nineteen seventy one,
Speaker 1: and in those very very rudimentary images we see these
Speaker 1: huge dust storms.
Speaker 2: Can't hear me now?
Speaker 1: Yeah?
Speaker 2: Yeah, sorry, I had a little accident in with my mic,
Speaker 2: so please repeat that, or.
Speaker 1: Yeah, go ahead, show us those images of Jenkins.
Speaker 2: Yeah, well that's what I'm that's what I'm looking for.
Speaker 2: I don't know why in my file here there's an image. Wow,
Speaker 2: it's not supposed to be there. But okay, damn it.
Speaker 2: You might have to cut out this dead time. Is
Speaker 2: that a problem. Yeah, don't worry about it. No, just
Speaker 2: just move on to the.
Speaker 1: Move on to the death storms. Because I've never seen
Speaker 1: these photographs before, and I didn't realize that, uh, Mariner
Speaker 1: nine its mission was to image the I mean, there
Speaker 1: must have been a very rudimentary camera.
Speaker 2: Yeah, it was. It was like it was analogue like
Speaker 2: a team basically a ton of a TV camera like,
Speaker 2: but it would show like the images of what it
Speaker 2: was able to acquire. It was, you know, very cratered uh,
Speaker 2: looking like a moon, you know, the moon type thing,
Speaker 2: and obviously they use that to their advantages. Whatever the
Speaker 2: things that were really seeing, uh, they're able to stash
Speaker 2: away and make plans for because NASA does not tell
Speaker 2: us that it's about what's on Mars. Uh, let alone
Speaker 2: any potential archaeological implications or handiwork of intelligence. And you
Speaker 2: know what, I'm really getting frustrated. Now, don't worry about it.
Speaker 1: We've got a lot of other things to see. We're
Speaker 1: gonna take a short commercial break to allow our sponsors
Speaker 1: to identify themselves, and will return shortly with my guest today,
Speaker 1: image specialist Gary Lazier, discussing his due book, The Face
Speaker 1: on Mars. Will be right back. My guest today is
Speaker 1: image specialist Gary Lagier, who has written a new book
Speaker 1: called The Face on Mars. Beyond mere tricks of light
Speaker 1: and shadow. This is an in depth look at not
Speaker 1: only the Face on Mars, but the city known as
Speaker 1: Sidonia and the archaeological ruins that are almost visible to
Speaker 1: the naked eye. Let's talk about what was the purpose
Speaker 1: of Mariner nine, because I'm not familiar with the various
Speaker 1: early missions.
Speaker 2: Well, it was the fly by around a view implanets
Speaker 2: of our soul system.
Speaker 1: Oh so they actually programmed in a fly by. And
Speaker 1: was it an orbit too or just a fly by
Speaker 1: of Mars?
Speaker 2: No, No, it was it was fly by in the
Speaker 2: orbit the planet. That's why I had limited views on
Speaker 2: what how many images that it could capture? Obviously, Yeah,
Speaker 2: I can't believe it. I apologize, clip, but you know what,
Speaker 2: I can send you images of it later if you
Speaker 2: want to add that. It don't take too much room.
Speaker 1: We'll put that one into the gallery.
Speaker 2: All right, Yeah, that'll work. And the picture of Todd
Speaker 2: and Jenkins. I'll give you the mission. And it's for
Speaker 2: the life of me, I don't know why it's not
Speaker 2: here in my file.
Speaker 1: I see not so Mariner nine was a pass by,
Speaker 1: but what it caught in was enough to inspire them
Speaker 1: to develop the Viking orbit or the Viking mark. And
Speaker 1: this is in nineteen seventy five according to your documents.
Speaker 1: And talk a little bit about what that uncovered, because
Speaker 1: that's where we get the shocker, which is the face right.
Speaker 2: Uh well indeed, well, yeah, they wanted to send Viking
Speaker 2: the obviously there was a worthy worthiness and the data
Speaker 2: that they have acquired to go there, and plus public
Speaker 2: demand and plus you know, the you know, to be
Speaker 2: able to get funds. They were a new agency and
Speaker 2: they had to do start doing exploration missions, which is
Speaker 2: where you brought up before the call for the show
Speaker 2: about Brookings and how what Brookings laid out on what
Speaker 2: how it should be handled, where they specifically mentioned that
Speaker 2: upon the future excavation uh explorations UH, that they would
Speaker 2: find alien artifacts on the moon, Mars, and Venus. Those
Speaker 2: three was specifically mentioned. And that's incredible because that's like,
Speaker 2: well a knowledge, like well, what would make you think that, well,
Speaker 2: we could alude back to the Todd and Jenkins whatever
Speaker 2: they really know, because once that data was acquired, it
Speaker 2: was taken away. It was the questioned you can understand that.
Speaker 2: Then we had other hints out a face like the
Speaker 2: best one is nineteen fifty eight Jack Kirby's comic The
Speaker 2: Face of Mars. You know where astronauts go there, they
Speaker 2: land on Mars, they climb in the face. Brennan falls
Speaker 2: through the eye of the face and he as he's falling,
Speaker 2: he experiences a virtual holographic history of what went on
Speaker 2: there beings that were there, a war that was unleashed
Speaker 2: upon Mars and that they had struck I guess the
Speaker 2: planet they were at war with, which is what the
Speaker 2: asteroid belt now, and that those surviving beings came and
Speaker 2: did to Mars, decimated it. That was really interesting because
Speaker 2: that's nineteen fifty eight and it's given us potential. You know,
Speaker 2: that they destroyed the planet. They blew up the planet. Now,
Speaker 2: whether Mors was a moon of it or not, that
Speaker 2: might have some differences, but certainly it was a planet
Speaker 2: much greater size than what Mars is and whatever. It's
Speaker 2: a bit but people like to say and thing that
Speaker 2: maybe Mars was once a moon a satellite of this
Speaker 2: large planet, which you know, our Earth is supposedly the
Speaker 2: top of If you go, you have people talking about
Speaker 2: Samerians and Anonochy befores So that's how that ties in.
Speaker 1: So let's talk about the face. This was imaged in
Speaker 1: nineteen seventy five in the Viking mission image number it's
Speaker 1: number thirty five A seventy two.
Speaker 2: Yeah, can I ship screen?
Speaker 1: Yeah, go ahead, do your thing. Let's take a look
Speaker 1: at it. And I think it was an innocent reaction
Speaker 1: that one of the scientists or technicians made at their
Speaker 1: first view of it, they were like, that's a face.
Speaker 1: It's like, it's so obvious a face.
Speaker 2: Uh. And it was designed to remember that's the story
Speaker 2: we were told, Cliff, that's the story that we were
Speaker 2: told that, like, hey, there's a face. That story came
Speaker 2: out after it was discovered the Soviets acquired of Zerom
Speaker 2: stopping show we get around the world to kick Pope
Speaker 2: NASA kick them in the.
Speaker 1: Butt, oh right, to kind of say, get let the
Speaker 1: can out of the bag.
Speaker 2: So who it was the overall overwall. There was the
Speaker 2: first moment even before the Russians acquired that someone, Yeah
Speaker 2: that's a face.
Speaker 1: Yeah, show us the photo. You got a photo, all right?
Speaker 2: So I don't know if you you see my screen,
Speaker 2: go ahead, do it all right? That that's the cover
Speaker 2: of my book everyone, the faces of Mars beyond Me
Speaker 2: and tricks the light and shadow. Uh? Why you not
Speaker 2: wait a minute? Whin it moving? I use this program
Speaker 2: all the time. It's supposed to go to the next image,
Speaker 2: next image. Okay, what's wrong with this? Sorry, Cliff, this
Speaker 2: thing is not doing what it's supposed to be doing. Okay,
Speaker 2: I'm gonna, I'm gonna, I'm gonna unshare, I'm gonna close
Speaker 2: the program, open it again. Maybe that's an issue. It's
Speaker 2: a new program, so I but it's it's easier to
Speaker 2: use feasible for doing shows and such. Open with photos
Speaker 2: and that's just a simple photo program. All right, got it?
Speaker 2: All right? Now let me go to share again. So again,
Speaker 2: sorry for the editing work. When you request for ailing, No,
Speaker 2: I don't want to have a companion share. Oh all right.
Speaker 2: Do you see that now?
Speaker 1: Yep?
Speaker 2: Okay, that's the cover now, oh there is all right?
Speaker 1: Now is this a Viking image you're showing right now?
Speaker 2: Yes, since you brought up Viking now, the mariners is
Speaker 2: for all we know, they did not see this supposedly
Speaker 2: with you know, the I think it was Mariner ten
Speaker 2: or whatnot, or Mariner seven, Marina nine one of them
Speaker 2: that got closer and I think orbited or at least
Speaker 2: they got closer enough to uh take a lot more
Speaker 2: pictures uh before it left compared to their previous Now,
Speaker 2: I don't know if they had seen it or not
Speaker 2: then or anything else really did not scale that would
Speaker 2: alert it is for what nineteen seventy six missions of
Speaker 2: the Viking orbitors and landers, there was two missions Viking
Speaker 2: one Viking two, both orbiters, both had landers, both landed,
Speaker 2: and two different spots of the planet, which happened to
Speaker 2: be also the zones where doctor Brandon burg projets that
Speaker 2: the nukes went off. What a coincidence they go to
Speaker 2: both sides four thousand miles apart from each other. That
Speaker 2: makes you really wonder what they knew when Cliff. But anyway,
Speaker 2: but yes, so this is a frame thirty five A
Speaker 2: seventy two from the Viking in nineteen seventy six, the
Speaker 2: famous face.
Speaker 1: On mar Let me just ask you real quickly, Gary,
Speaker 1: have you enhanced this or reprocessed this at all? Or
Speaker 1: is this is? I processed it from the raw data?
Speaker 4: Okay, so this will be look you want to see NASAs,
Speaker 4: it'll be softer, you wouldn't see as much details, and
Speaker 4: you would see more contrasts, and you know, us obfuscating
Speaker 4: details for some reason.
Speaker 1: But uh yeah, this is uh so to my eye.
Speaker 1: And I'm not an archaeologist, but I'm kind of a
Speaker 1: suit I'm kind of an amateur. This this has obvious
Speaker 1: art archaeological implications. These are yeah, just just I mean,
Speaker 1: this is the first image. Uh not only is the
Speaker 1: face humanoid. But you got the DNM pyramid. Obviously they
Speaker 1: got this pyramid shape, which is huge.
Speaker 2: I don't know.
Speaker 1: I mean, this thing must be miles across.
Speaker 2: It's uh, it's great, like corner to the corner, it's like, uh,
Speaker 2: two and a half three miles. So we're dealing with
Speaker 2: a two and a half mile wide, three mile you know,
Speaker 2: round off a little bit.
Speaker 1: Yeah, I mean the engineering, the engineering alone is just
Speaker 1: mind blowing. How they how they did this. So somebody,
Speaker 1: somebody begins to adhere to the Brookies Institute document, which
Speaker 1: is if we reveal information of a dead or loss
Speaker 1: civilization on Mars, the inhabitants of Earth will lose their mind.
Speaker 1: There will be mass suicide, churches, religions would fail, and
Speaker 1: government agencies would collapse. This is I mean, we talk
Speaker 1: about this ahead of time before we start gary about.
Speaker 1: We have this big ancient alien movement of everything on
Speaker 1: Earth that we can't explain as the result of alien intervention.
Speaker 1: This is more of an ancient alien should be. It
Speaker 1: should be an ancient alien focus because these are obvious
Speaker 1: archaeological ruins.
Speaker 2: On an alien world. There you go, ancient aliens from Walnut,
Speaker 2: So go ahead, and explain what we're looking at here,
Speaker 2: would you please? So again, this is thirty five a
Speaker 2: seven and this was what again like a TV camera
Speaker 2: and analogue camera. I believe they also sent the information
Speaker 2: back I guess using what is that black white black white,
Speaker 2: black white? What's what's that? It's on the tip of
Speaker 2: my tongue binary, you know, in order to for the
Speaker 2: images and the data to be transposed, and it would
Speaker 2: be you know, transform into the pictures and the visual data.
Speaker 2: All right, So I don't know the ins and outs. Again,
Speaker 2: that's the where the scientists like Arlotto and Oakland, I
Speaker 2: come up to this book, like you noticed, with a
Speaker 2: different approach. So, but this is from nineteen seventy sixth
Speaker 2: of you that has showed us. And to the left
Speaker 2: of the faces, you know, that's what Oakland and others
Speaker 2: had so much focus and worked on and on called
Speaker 2: the city and the city square. And there's the face
Speaker 2: casting is his shadow? Now this even then because of
Speaker 2: the shadow, you know, this thing is huge.
Speaker 1: What is the what's the guest mean? On the actual
Speaker 1: height and width.
Speaker 2: Of one mile and a half long from the top
Speaker 2: of the forehead, the top of the head to the
Speaker 2: bottom of the tin of the very structure one and
Speaker 2: a half miles from left to right. It's one mile.
Speaker 2: Now look at the shadow. This thing is fifteen hundred
Speaker 2: feet high, minimum fifteen hundred feet high. So this is
Speaker 2: not something that could just be blown away by the
Speaker 2: wind or destroyed. And even in this image clip, I mean,
Speaker 2: if you can look out, look at the artistic markings
Speaker 2: of the face, follow it away on the surrounding artscape.
Speaker 2: That's what I call it. I don't call it the
Speaker 2: landscape that's not sand. But looking at that, you can
Speaker 2: see all those like patterns. Do you see that in
Speaker 2: the image?
Speaker 1: Club I I it's too it's too blurry. It's it's
Speaker 1: too rudimentary to see any great detail.
Speaker 2: Fair enough, all right, let's say we can help that. Okay,
Speaker 2: that should be a little better.
Speaker 1: That's a little bit better. But I have to say this, Gary,
Speaker 1: I want to just make this comment. When we look
Speaker 1: at this very first image of the face and what
Speaker 1: we get later from NASA, it's obvious that they are
Speaker 1: totally suppressing the details of this image. If we could
Speaker 1: see this with a very good camera, I bet you
Speaker 1: we'd see a completely different look than what we get
Speaker 1: in that cat box image.
Speaker 2: Well, well we'll get into that cop box soon, so
Speaker 2: I'm gonna show that. But yeah, well that point bring
Speaker 2: up again. But this face, and even for a low
Speaker 2: resolutions it's detail is good. The details that we have
Speaker 2: from higher resolution. I mean I've done more than just
Speaker 2: look at this phase bypasser. I've been studying this phase
Speaker 2: intently with every new piece of little data, low resolution,
Speaker 2: high resolution. Everyone observed so I can get back on
Speaker 2: his study. I've been studying this face, matching up data points.
Speaker 2: The point you make I have heard before from many,
Speaker 2: But that's because many people and I'm not saying this
Speaker 2: to be sarcastic or anything from them not studying it.
Speaker 2: Does that make sense to really know something every nook
Speaker 2: and cranny. It's not gonna happen in ten minutes with
Speaker 2: someone that's not really familiar. But when you study this
Speaker 2: for so many years and so much time, and then
Speaker 2: with other image data again from lower resolution, even lower resolution,
Speaker 2: to what we have here to like you mentioned high
Speaker 2: rise imagery and stuff like that, these details are there,
Speaker 2: but I would say more obfuscated now, well, I mean
Speaker 2: harder to see. They make it harder to see. They
Speaker 2: try to make it look as natural as possible by
Speaker 2: so relief, by overcontrasting, so it's harder to bring out details.
Speaker 2: I'm going to show you some examples of that everybody,
Speaker 2: because it's the truth. And as far as I see again,
Speaker 2: I'm not trying to have a big head or nothing.
Speaker 2: I'm the only one that's been showing the actual relief
Speaker 2: details on the face and around the face out of
Speaker 2: pretty amongst all the Mars researchers.
Speaker 1: I have to say this though, I think it's funny
Speaker 1: that you said the Russians out of the Americans with this,
Speaker 1: because I don't think we would be allowed to see
Speaker 1: this face if the Russians hadn't already exposed it. It's
Speaker 1: exactly creative detail.
Speaker 2: Exactly, it's exactly. It's a perfect humanoid, a guy on
Speaker 2: a visage. It's it's it's not a row shar test.
Speaker 2: It's not parabidolia. I got I got babies a year
Speaker 2: and a half years old, two years old, three face face,
Speaker 2: and I don't coach them. I'm just doing it in
Speaker 2: their round. I'll make sure that you know the fact
Speaker 2: they always look at screens. You don't have to guide
Speaker 2: them with anything. Face. Oh okay, that's you know, And
Speaker 2: that's the thing they they they put labels on things
Speaker 2: to make it like it's it's a detriment our. It's
Speaker 2: our fault that we see a face. Oh, you're a
Speaker 2: bad person, not because you know, it just comes naturally.
Speaker 2: You're a naturally bad person. Because it's a defect that
Speaker 2: that's making you see a face, you know, I mean,
Speaker 2: ridiculous assumptions. Is one and most part of the story
Speaker 2: about how we got that image to the Russians. From
Speaker 2: the same person. He also told me that if NASA
Speaker 2: was told they're scientists and everything and they're geologists there
Speaker 2: and that's all I'll say, were to even hint at
Speaker 2: an alien intelligence or a face or anything, that not
Speaker 2: only would they lose their jobs and whatnot, and that
Speaker 2: NDASA signed NASA would lose their funding. There would be
Speaker 2: no public NASA this day. That was never changed.
Speaker 1: See if I think, yeah, I think today if they
Speaker 1: were to say we have found evidence of archaeological civilized
Speaker 1: ruins on the planet Mars, people would go, let's throw
Speaker 1: some money at that.
Speaker 2: Yeah, And that was and that was the goal. That
Speaker 2: was the goal you mentioned it earlier. Thank you, Cliff
Speaker 2: for making that point, because that was the goal, you said,
Speaker 2: like from the era in the decades before we went
Speaker 2: to space and the Brookings, the need to make Brookings
Speaker 2: the fascination. They knew that in order to get that
Speaker 2: space program off the ground, it would get more cars,
Speaker 2: would get money, and they would get the money. They
Speaker 2: made a lot of money going. I had doctor guild
Speaker 2: Livin on my show to Marson revelation a few times
Speaker 2: in the pass before he died. God rest his soul.
Speaker 2: We're going to get vindication from yet everybody, I promise,
Speaker 2: But uh, he even told me it was. It was
Speaker 2: basically a scam. They put things on there, like the
Speaker 2: light detection experiments, so they came to him. They blackballed
Speaker 2: them because it detected life. And never since they had
Speaker 2: never on any mission since Yeah, and this is his words,
Speaker 2: have they decided or allowed him to his proposals or
Speaker 2: anyone's proposals to put on light detection experiments, only experiments
Speaker 2: and the millions and billions to look for possible signs
Speaker 2: a possible past life, never to find out to replicate.
Speaker 2: Now though he said, though you've got both sites of
Speaker 2: the landers, replicable test showing consists the results indicating positive
Speaker 2: s lines of life. What more replication would you want?
Speaker 2: But yes, with better tools and the things that we
Speaker 2: have now, it makes more sense to reaffirm those experiments.
Speaker 2: NASA would not do it. The last proposal he had
Speaker 2: sent to them, they didn't bother open it. They sent
Speaker 2: it back to him in a cab. Now, how the disgraceful? Now,
Speaker 2: so they wanted this thing, that's the question. But he
Speaker 2: told me that it was all about the money. They
Speaker 2: put these experiments on board, saying, yeah, we're going to
Speaker 2: look for life. Why Cliff, because they didn't expect the
Speaker 2: fun I did. They knew that we're not gonna find it. Anyway,
Speaker 2: let's do this. They wanted it to make it on
Speaker 2: a bison tental year, which made it even greater. They wanted,
Speaker 2: you know, during the summer of seventy six, people eating
Speaker 2: their hot dogs, they only had quarters made the bison
Speaker 2: tendel will remember that. I mean, you had so many
Speaker 2: things and tho it Behold, that's the year they get
Speaker 2: the detections of the radio uh, radioactive isotopes for nuclear
Speaker 2: weapons that can only come from nuclear weapons or a supernova,
Speaker 2: which ain't a supernova because mores would there be there'll
Speaker 2: be no mores to study let alone this can.
Speaker 1: You can you update this image because this is still
Speaker 1: talking early seventies, but you've enhanced it.
Speaker 2: Well, yes, well I'll move on. Let's see better process view.
Speaker 1: That's that's a little bit better. Still pretty similar, well for.
Speaker 2: For its age. But my point was to bring out
Speaker 2: details that no one has really focused in on our shown.
Speaker 2: You know what I mean, and you've seen it. You've
Speaker 2: seen it, so all right, boom, there you go, good quality, uh,
Speaker 2: even for them. It brings out a little more detail.
Speaker 2: Now I want to do this point about the face clip.
Speaker 2: I'm sorry it in the road, but let me finishes
Speaker 2: about uh about the gill because we found what that year,
Speaker 2: the radio isotopic of zen On one twenty xen On
Speaker 2: one twenty nine, brandon Burg's model and showing nuclear weapons.
Speaker 2: It found the face. It had a trifecta because then
Speaker 2: they discovered the life. Boom, that's it. Case closed. They
Speaker 2: were mad. They were mad that now they knew that
Speaker 2: more money was coming in. They want these questions solved,
Speaker 2: and no answeren's Viking. They took so long that they
Speaker 2: waited until the late nineties to send the Mars Observer,
Speaker 2: which got what it disappeared at a precisely six pm
Speaker 2: where it went black everybody. But then they sent Global
Speaker 2: surveyor basically using the sum of attained the same quality
Speaker 2: camera except some lowered prices or experiments, and then we
Speaker 2: got further imageries of Sidonia and everything. None. Now a
Speaker 2: clip checked this one out. This one is abously.
Speaker 1: Now I've never seen this. Is this your your enhancements
Speaker 1: or is this the actual?
Speaker 2: And uh, it's my processing from a low resolution Mars
Speaker 2: Express camera. Now if you notice, we have never seen
Speaker 2: the face like this again from any NASA image. Correct? Uh,
Speaker 2: where's the shadow? Where's the shadow? Want to see it? Replicated?
Speaker 2: Where's the shadow? They never do it? But yet Mars
Speaker 2: Express gives us an image where the shadow is being seen.
Speaker 2: Now get this, look at the study. Study it closely.
Speaker 2: Though it's lower resolution, everyone, that doesn't mean it's not
Speaker 2: valuable for any data I processes from the raw. So
Speaker 2: everything you're seeing in this image, there's not a peg artifacts, there's.
Speaker 1: No you see Mars Express, that's the European Space Agency
Speaker 1: right correct.
Speaker 2: Now, notice the shadow, the shadow is at a different peri. Yeah,
Speaker 2: almost it's coming into the zone of where this one is.
Speaker 2: This one's like more at what between four and five
Speaker 2: five o'clock four and five o'clock pointing to this one,
Speaker 2: it's more like three point thirty four o'clock. So you know,
Speaker 2: that's good that no one else And I'm like, damn,
Speaker 2: it's a shame that someone else has the Uh, the
Speaker 2: cajone needs to take it more is express. But notice
Speaker 2: how it's lower resolution.
Speaker 1: You know what I have to say about.
Speaker 2: Casting a shadow. At least we finally have another image
Speaker 2: from someone that shows what is casting its shadow.
Speaker 1: But what's really startling about this image Gary is and.
Speaker 2: After DNM casting its shadow.
Speaker 1: Yeah, but what's interesting is if we have a camera
Speaker 1: that can enhance the pixels, it's going to be a
Speaker 1: devastating image of great design and engineering.
Speaker 2: Yes, you're right, because he what I have there Now,
Speaker 2: I see it because I'm used to the art. I'm
Speaker 2: used to I studied this, I know this service. I
Speaker 2: see it all over right now. There's no image pixelations,
Speaker 2: no distortions. This is actually in the data. It's just
Speaker 2: low resolution. It could have been better quality, but it
Speaker 2: doesn't take away the artscapes. Remember I started focusing on
Speaker 2: the artscape so that the face sits on. That ultimately
Speaker 2: led me worldwide to my dairy. Now, this one is
Speaker 2: the second image of nineteen seventy six that was found
Speaker 2: by Greg Molinar and T. Pietro Vince d Pietro, remember
Speaker 2: after thirty five a seventy two, the one with the shadow.
Speaker 2: They said, oh, they took an image a few hours later.
Speaker 2: It shows that the face disappeared or so longer there
Speaker 2: they were lying. They found an image when they looked,
Speaker 2: were able to look at the time when they did that.
Speaker 2: This image was taken actually later, I think in the
Speaker 2: same month or a couple months away. This is title seven.
Speaker 2: The first one was thirty five. A's orbit thirty five,
Speaker 2: so this is seventy eight thirteen. This was orbit seventy,
Speaker 2: so not far away from each other. They were able
Speaker 2: to image the thing again without the shadow. Yeah, okay,
Speaker 2: and it looks They found that in an this labeled file.
Speaker 2: It was label it was placed in a different file
Speaker 2: and they discovered this which they after themselves. D Pietro
Speaker 2: Molnar the TNM pyramid, that's how it's named. I'm about
Speaker 2: to do a video in fact called the Pyramids of
Speaker 2: Mars King of the Morrison Pyramids, the DNM pyramid. I'll
Speaker 2: send you a link to that when I'm done with that.
Speaker 2: But you know, it a cool shape from shading of it,
Speaker 2: it's pretty wild from a Mars recard.
Speaker 1: What do they suspect that this region they call it
Speaker 1: the city? But is the thinking that it was a
Speaker 1: civic area where people met and there was a meeting
Speaker 1: area in one of these buildings, or what is the
Speaker 1: general thinking of Sidonia Gary, Oh.
Speaker 2: That we would need to see that area more on
Speaker 2: focus Back to thirty five a seventy two. Again, there's
Speaker 2: the DNM pyramid. There's the face now to the left,
Speaker 2: which seventy eight to thirteen does not have in it
Speaker 2: is what they called the city. Those features, they are
Speaker 2: what they called the city. Obviously. The second one booms
Speaker 2: right out at you as a pyramid, right, it's not
Speaker 2: a pyramid as we know it. But Martis has bizarre
Speaker 2: world of various shaped pyramids based in geometry. Everyone says,
Speaker 2: a pier pyramid, pyramids at four slides. Yeah, but what
Speaker 2: you know here on earth? But how do you know
Speaker 2: even here on earth that may be destroyed or somewhere
Speaker 2: else out there, you can still make pyramids out of
Speaker 2: various geometrical shapes. Even Carl Sagan said that you look
Speaker 2: for the geometry. That's how you look for previous civilizations
Speaker 2: techno signatures. Right, it was Naturing doing this. Well. This
Speaker 2: was right between the second and under those little cluster
Speaker 2: of features here that was called the city square, and
Speaker 2: next to a third it's right right next to a
Speaker 2: three pronged domus type structure. It's pretty cool with pointing
Speaker 2: those tips of pointy.
Speaker 1: Have you detected any staircases or interests, entrances or exits
Speaker 1: out of any of these buildings, not per.
Speaker 2: Se with the resolution we have, but it is possible
Speaker 2: that there are, I mean, but higher resolution that may show.
Speaker 2: But again it all depends on the master artist on
Speaker 2: that did this. But you ask a good question. I'll
Speaker 2: keep it for future reference to alert you if and
Speaker 2: when I find it, so you can see that's the city.
Speaker 2: So did people congregate there? I mean, they ain't it
Speaker 2: after what they could as we know on earth, this
Speaker 2: city the city square people. And how if you go
Speaker 2: from the city square, a little cluster here all the
Speaker 2: way it goes straight to the face through like the
Speaker 2: mouth of something connected to it. You know, and there's geometry,
Speaker 2: cerahedral geometry. Richard Hogland had turned it, and you know
Speaker 2: you see those mathematical, scientific layouts of many of these structures.
Speaker 2: I again, I come at it with a different approach
Speaker 2: to add on to the continued research of where they
Speaker 2: left off.
Speaker 1: Now, so my question to you now in this refined
Speaker 1: imagery is we're gonna take a short commercial break to
Speaker 1: allow our sponsors to identify themselves, and we will return
Speaker 1: shortly with my guests today, Gary Lazier, presenting information from
Speaker 1: his new book, The Face on Mars Beyond Mere Tricks
Speaker 1: of Light and Shadow, will be right back. My guest
Speaker 1: today is immage specialist Gary Lagier, who has written a
Speaker 1: new book called The Face on Mars. Gary has been
Speaker 1: imaging and studying planet Mars for over two decades and
Speaker 1: has collected the great archive of photographs that you can
Speaker 1: see in his book, which is now available on Amazon.
Speaker 1: As an image specialist, have you found symbology what we
Speaker 1: would consider numbers or anything that's kind of like, hey,
Speaker 1: this is city X, or this is a this is
Speaker 1: we want to identify this area for those who are
Speaker 1: flying over.
Speaker 2: Well, symbology you brought that up and We're gonna look
Speaker 2: at that this face. There's plenty of that. You notice
Speaker 2: yourself by looking at it, You yourself said, there's a symbol.
Speaker 2: What did you see? A hominid humanoid? Is face a face? Right?
Speaker 2: So now that's why I say this is the greatest
Speaker 2: techno signature ever discovered. The question of why are we
Speaker 2: alone or not? Is answered by looking at this. This
Speaker 2: is why NASA don't want to touch it again. They'll
Speaker 2: have that funding pulled all back to that original stuff
Speaker 2: because it's so opten. They had to make such a
Speaker 2: counter reaction from to make it so obvious that they
Speaker 2: would mock you, like the UFO crowd mock you, shame
Speaker 2: you call you names, Well, call me whatever you want, man.
Speaker 2: But I go by the data and you can see
Speaker 2: this this symbology boom. There's a little bit better processed
Speaker 2: image of it. Now go to a more extreme processed
Speaker 2: image of it, you know, And I'm like, okay, each
Speaker 2: of these is valuable now because especially for comparative analysis
Speaker 2: with higher res imagery, I like to try to bring
Speaker 2: out the details as best as possible, to show the
Speaker 2: data points. If that makes sense to I can match
Speaker 2: up with the newer resolutions that might make it harder
Speaker 2: and to confirm some of the features we see in
Speaker 2: low resolution. But if you have data points, yes, and
Speaker 2: you could, that's the confirmation. So that being said, there
Speaker 2: you go, Cliff, you brought that up, the famous cat box.
Speaker 1: Well, that's that's that's an abomination. That's not anything.
Speaker 2: Well, there's reasons for that, not just the quality. It's not.
Speaker 2: It wasn't just the quality obviously of the crapola. And
Speaker 2: but the thing is you could tell see still see
Speaker 2: as high high res. Now I believe they did it
Speaker 2: on purpose. They did it at a time the whomen
Speaker 2: they should have been more specific and when they first
Speaker 2: showed it, oh, it shows that's nothing. It's not a
Speaker 2: face at all. Why remember when you go into planets
Speaker 2: at the time when Mar's uh Mars uh not Observer
Speaker 2: Global Surveyor got there, and what other missions do they
Speaker 2: go there? And there's a process called aerobraking, and then
Speaker 2: you look at circles of planet as you gradually lower
Speaker 2: to the orbit and height above the planet, you want
Speaker 2: to be in the position in right. So during aerobreaking,
Speaker 2: almost towards the end, they looked at Siddonia from a
Speaker 2: side view so far away at an angle to try
Speaker 2: to use to mislead the public that what they're seeing
Speaker 2: shows is not a face at all because it looks
Speaker 2: like crap. Is kind of hard, but be honest, So
Speaker 2: what you're saying is you see a face even though
Speaker 2: it looks like crap.
Speaker 1: Yeah, they're desperate to change the narrative from a hominin
Speaker 1: face to a cat box, which is just a big
Speaker 1: u uh sandbox with no definition of anything, and uh,
Speaker 1: thinking that that'll be enough for people to not pay
Speaker 1: attention anymore.
Speaker 2: Well, right, because people live their lives. They don't expect
Speaker 2: or encourage people to study the data. It's all take
Speaker 2: their word for everything. But I don't want.
Speaker 1: To ask you something before we go forward. This is
Speaker 1: not only detrimental to our evolution because we need to
Speaker 1: know that we're not the only ones out there. But
Speaker 1: this is this is uh, it's almost overwhelming and its
Speaker 1: lack of purposeful clarity. But also when you completely when
Speaker 1: you decide that you want to deceive the public, deceive
Speaker 1: them and say there's no life forms there never have
Speaker 1: been on Mars. That's that's a that's terrible, president, insult
Speaker 1: of your intelligence and the people that will.
Speaker 2: Say, Okay, well, look how many do to that today?
Speaker 1: I'm always dude, I've always I've always said that if
Speaker 1: they can clarify it, like if the Chinese were to
Speaker 1: land on rover on Mars and actually show the true
Speaker 1: imagery there, or the Russians would say, we're gonna orbit
Speaker 1: and take images of the Chinese. But the problem I'm
Speaker 1: saying is that if NASA and the Powers that Be outed,
Speaker 1: they should not only be immediately removed from their position,
Speaker 1: but they should face more consequences, perhaps like.
Speaker 2: Those are forms of crimes against humanity in the absence
Speaker 2: of what you're describing, depriving us of knowledge, depriving us
Speaker 2: of who we are seeking questions as a whole, and
Speaker 2: disseminating that information in the public. Now, why did it
Speaker 2: also look like this cliff? Why did they have to
Speaker 2: look at it from such a glance from far away
Speaker 2: at an angle during arobraking, Because there's an issue here
Speaker 2: the shape. It's the shape of the face itself that
Speaker 2: gives it away. Why didn't they couldn't they just go
Speaker 2: over it directly and show us how much crap it
Speaker 2: looks like? Because it still looks like a face even
Speaker 2: at this position and what I see, I could still
Speaker 2: see a mouth, I see an eye, I see a forehead,
Speaker 2: I see a chim that just looks retarded by because
Speaker 2: it's not a slant. You know, they don't tell you that.
Speaker 2: They wanted you to believe this is how it is
Speaker 2: looking down. Obviously there was an uproar, all right. So
Speaker 2: there's that. Now there's the there's the what theyugh rectified
Speaker 2: image of the same image.
Speaker 1: I still think that's been manipulated too much. I don't see.
Speaker 2: Well, it's what to decide, and so it's what to decide.
Speaker 2: Think of your face. If you want to look on
Speaker 2: to the side, people might see a part of your cheek.
Speaker 2: For the other side, depending on the angle you're at.
Speaker 2: You know what I mean. It was it's therefore it's
Speaker 2: a shape issue. It's not of just a detail issue.
Speaker 2: It's a shape issue. They were trying to hide that
Speaker 2: shape and ocfuscated it by making it look ridiculous. It
Speaker 2: was even worse than this cliff because you had the
Speaker 2: scan lines running through it. When they released it, it
Speaker 2: was even more what's that word contrasted? The white was cut.
Speaker 2: Where you see whites, you can't see none of the details.
Speaker 2: I mean, it was worse than this. I'm sparing your people,
Speaker 2: you know, so, but this is much better version. Okay,
Speaker 2: but it still looks off they you know, because of
Speaker 2: the angle. They weren't wanting to really tell people. They
Speaker 2: wanted you to well, they didn't want you to read.
Speaker 2: But if you read it and follow the mission and
Speaker 2: how that image was taken, you'd be like, oh, okay,
Speaker 2: you know it was way to decide we need more data,
Speaker 2: That's what we would say, right, Okay, so there you go.
Speaker 2: We have speeches and it's not to be. It's not
Speaker 2: to be. I processed this one from the raw data itself,
Speaker 2: the Saint NASA's image of what they gave you.
Speaker 1: I takes out here. What year was this image taken?
Speaker 2: Nineteen ninety eight apri it's still fairly old, okay, well, right,
Speaker 2: but then this was the first image since nineteen seventy six. Yes,
Speaker 2: and what the rectified version looks more like the seventy
Speaker 2: six version than what we've see in here, right, I mean,
Speaker 2: look how much more detail? Sorry, everyone, look how much
Speaker 2: more detail there is? And again, the art scape follow
Speaker 2: the details, the faith, all those little lines follow them
Speaker 2: all because that's not natural, that's art, that's moornate art.
Speaker 2: And you could I know that because I literally traced
Speaker 2: over it. It took me months and months to trace
Speaker 2: over every nook and cranny of this and then when
Speaker 2: I seen it to accept it, get beyond my own
Speaker 2: paradigm shift of what I had to change even as
Speaker 2: I was doing it. But once it all came in
Speaker 2: the view, I said that whole thing is artificial, and
Speaker 2: the art scape set it sits on.
Speaker 1: You can identify it as artificial. But I have to
Speaker 1: just tell you that it's disappointing.
Speaker 2: And I'm not saying that your.
Speaker 1: Work isn't good. Gary, Your work is good. You're a
Speaker 1: good imager, you're a good enhancer. But it's still compared
Speaker 1: to the very first series. It's a disappointment because I
Speaker 1: want to see, well, from the thirty five A seventy two.
Speaker 2: Well, this is my resolution, you can pull more data
Speaker 2: out of it. I'm just saying in the thirty five
Speaker 2: A seventy two what you've seen back here already when
Speaker 2: I showed, that's the most data you can really pull
Speaker 2: out of that at that resolution of that analog camera
Speaker 2: at that time. So that believe me, I know, but
Speaker 2: it's all still worthy for comparative analysis, which is what
Speaker 2: I had to do in order to really learn to face.
Speaker 2: It ain't going to come from one image. You got
Speaker 2: to confirm things that you think, you see, things that
Speaker 2: are there, and then make it make more sense by
Speaker 2: continuing study it by the more data we get.
Speaker 1: Let me ask you this, The European Space Agency took
Speaker 1: independent images of that face that are much more color.
Speaker 1: I think they use some kind of specialized camera, and
Speaker 1: I think even those are better than this, the NASSA version.
Speaker 1: See this is right now. You show me this right now,
Speaker 1: I'm like, what's you're comparing them? It's like they're two
Speaker 1: different images.
Speaker 2: Ah now, well one is the seventy eight thirteen face
Speaker 2: on the left. That's the Viking phase from the one
Speaker 2: I showed you without casting that shadow. Now, doctor Carlotto
Speaker 2: did this to show what I just described to you
Speaker 2: all on how they took this image of the face
Speaker 2: to begin with, because it's at a side angle view,
Speaker 2: and the better to describe that is by doctor Carlotto
Speaker 2: shifting the view of the Viking phase so you could
Speaker 2: better understand what I just described that they imaged it
Speaker 2: out of view, you know what I mean, that's how
Speaker 2: they took it. They weren't nowhere near overhead. They were
Speaker 2: way over yonder looking at it. Hey, you know, let's
Speaker 2: try to make this not look like a face and
Speaker 2: how people were right over it. Crap, but anyway, but
Speaker 2: at the Corlado put this best representation together, which is
Speaker 2: really cool. Now this two years after this escapade, right,
Speaker 2: two years after, three years after we finally get a
Speaker 2: with them getting the image right above the face. You know,
Speaker 2: so this is what it is.
Speaker 1: I still think one I think that that has still
Speaker 1: been uh uh edited heavily edited by NASA. Number one.
Speaker 1: Number two is in that first image the well, the
Speaker 1: design of the eye is much deeper, much more clarified,
Speaker 1: the nose, the mouth. This is so heavily edited, it's ridiculous.
Speaker 2: Well again from various points of view. It's what it
Speaker 2: falls down to now is if it's the shape of
Speaker 2: why they wanted to use the shape against us and
Speaker 2: the declar side of face, why looking at an angle
Speaker 2: claiming it was above is in order to hide the
Speaker 2: symbolic because it doesn't just have the horminid side. We're
Speaker 2: gonna get into that and I'll show you that. But
Speaker 2: that's jumping ahead. But this was what we got in
Speaker 2: two thousand and one Space Odyssey. Everything symbolic. Now I
Speaker 2: had the processes from the raw and I could and
Speaker 2: I have processed it better. They give it out where
Speaker 2: the details you see like where are white? You know,
Speaker 2: it's like more contrasted as hard as it's softened. You
Speaker 2: don't get the CDR escape around it too well. And
Speaker 2: if you do, it's it's often it's like it's hard
Speaker 2: to You got to study it. That's why I said,
Speaker 2: there's no way to really learn to face or not
Speaker 2: to face unless you closely study it. You in comparative
Speaker 2: analysis with multiple other images and uh, in order to
Speaker 2: confirm that that seventy six face is this face now
Speaker 2: the most that they have tried to do, Cliff, which
Speaker 2: we're gonna show. I show that because the busting this
Speaker 2: is a little bit better processing job. I just wanted
Speaker 2: to show you the difference.
Speaker 1: Is just ask you real quickly, Gary, when you're processing
Speaker 1: the raw data, Ah, so you're you're you're clarifying, uh layers,
Speaker 1: How talk about your process.
Speaker 2: It's funny. It's funny to say that because as I'm
Speaker 2: processing it I could swear I'm having the like you said,
Speaker 2: or you brought up layers like I have to get
Speaker 2: through something that just doesn't seem that natural that I
Speaker 2: should be able to see and bring out more easily.
Speaker 2: I have to dig down more, and I could still
Speaker 2: do that to many of my images, and it still
Speaker 2: needs that. But I've gotten through a lot of the
Speaker 2: fluff to get to be able to see the tattoo
Speaker 2: as it was, to show that, hey, this thing is
Speaker 2: not natural, This isn't sand and dirt. I don't see
Speaker 2: any erosion because it's all part of the art. There
Speaker 2: might be a couple of little crumblies, but this thing
Speaker 2: is fairly in pressing in shape as well as the
Speaker 2: art escape as sits on, despite craters here and there.
Speaker 2: In fact, many craters are also. I questioned it it
Speaker 2: could be craters at all, because they seem to be
Speaker 2: fused in the art scapes of or after the accident happened,
Speaker 2: it was modified again to fit it into the artscapes,
Speaker 2: which brings implications there too. Someone must have been there
Speaker 2: to try to do a fix up. I don't know
Speaker 2: that these are just questions at the top of my
Speaker 2: head of notes I made I'm just.
Speaker 1: Asking the question as a novice to this whole thing.
Speaker 2: It's the eye.
Speaker 1: Do you think that at some point they'll go, oh, well,
Speaker 1: our camera wasn't really functioning well. And at some point
Speaker 1: they'll show a true version of the face and say, ah,
Speaker 1: now we had the right camera.
Speaker 2: Well that we have that now with Marty's reconnaissance orbiter.
Speaker 2: But even though they soar from a lot of things
Speaker 2: and do a lot of things to where if you
Speaker 2: don't know what you're looking at, it's going to be
Speaker 2: harder to match up. I know what I'm looking at.
Speaker 2: I matched up details. I see that face, and no
Speaker 2: offense to any other researchers. They're limited on how they
Speaker 2: know the face. They see the math, they see the science,
Speaker 2: they see geometry. I see the art. As an artist,
Speaker 2: I see the art, and I've had several tattoo artists.
Speaker 2: I've helped them to see this too, and it flipped
Speaker 2: them out. Now, the so, like the eye you mentioned,
Speaker 2: the eye isn't this feature is not flat everyone. That's
Speaker 2: what I'm trying to tell you. NASA sorphans is to
Speaker 2: try to make it look as flat as possible. Therefore,
Speaker 2: it's a shape issue. That's why they had to look
Speaker 2: at it at a s form slide angle. Despite the details,
Speaker 2: the relief, they'll try to off you skates some they
Speaker 2: want to make try to make this look as flat
Speaker 2: as natural as possible, and yet it is not as contrere.
Speaker 2: But uh, the data is out, at least the red data.
Speaker 2: You can peer through that. But they know many aren't
Speaker 2: going to do that. Many don't know how to do that,
Speaker 2: and they make it nearly impossible for anyone to even trying.
Speaker 2: And you know, but I did. You know I did,
Speaker 2: And whether I'm.
Speaker 1: Purse or blessing, if they if they're using photoshop and
Speaker 1: they're photo details, that's a little bit better. If they're
Speaker 1: photo shopping out.
Speaker 2: Now you see what I'm saying in glyv you just
Speaker 2: said that's a little better. Now, this is even better
Speaker 2: what I did here than what they have given out
Speaker 2: for sure. But I'm just going through like different processes
Speaker 2: of processing it. That's like the show for detail stages
Speaker 2: right as an example of what is seen. I make
Speaker 2: sure the air force is clean. I could bring out more.
Speaker 2: When I'm at that point, I believe I could, And
Speaker 2: I go to the next step, which is this to
Speaker 2: bring out more right, and then I go to the
Speaker 2: next step, bring out even more and like you just said,
Speaker 2: that's a little better. It's the same image, but you
Speaker 2: just said this is a little better. Now. So now
Speaker 2: these different examples, you get to see the things that
Speaker 2: NASA is really trying to hide, because why am I
Speaker 2: doing this? Why is it me that is doing this
Speaker 2: the show everyone else they should give me the damn job,
Speaker 2: but they won't. I'm a feeler, you know, But think
Speaker 2: about it. You bring up very good points and it's
Speaker 2: very important. That's why over the years, remember all these
Speaker 2: images we have now with a face Cliff and everyone
Speaker 2: trip trip a year or two or three or four
Speaker 2: goes why trip drip drip drip. You know, now the
Speaker 2: drinds are starting to happen more so. But it's like,
Speaker 2: that's why it took me twenty years, since two thousand
Speaker 2: and one, they've released this, since ninety eight when it
Speaker 2: first started for me now to be able to come
Speaker 2: up with the idea because I don't see no one
Speaker 2: else doing it. To compile this book together, utilizing all
Speaker 2: the images of the face and the various different views
Speaker 2: and the show what we have now of the face
Speaker 2: it's basically a compendium of the continued research into the
Speaker 2: face at a different approach, not like the scientifics of Hoagland,
Speaker 2: Porlado and all that. They again, they only had a
Speaker 2: minimal amount of imagery. Think about if they started working
Speaker 2: with all the modern imagery like I do in this
Speaker 2: book now to go by to show this is not
Speaker 2: closed at all. Now, so, like you said, that's two
Speaker 2: thousand and one. That's a little better. Now here's a
Speaker 2: Mars odisy view.
Speaker 1: Oh my god, now this is nice. See this has
Speaker 1: a really well defined.
Speaker 2: Yes, and it helps you can tell the shape to
Speaker 2: it because of the shadow. There's death. There's death to it.
Speaker 2: This thing is not flat at all.
Speaker 1: Okay, I'm sorry. Who shot? Is this a European space agency?
Speaker 2: No? This one, this one is of the resolution max
Speaker 2: resolution of the type of quality resolution of Mars express
Speaker 2: Mars expresses camera. Well, we'll get into that in a minute.
Speaker 2: Has stereo stereo camera, not just one lens. It has
Speaker 2: a stereo camera zooming down and I'll tell you something.
Speaker 1: So here's the question I have for you, is the
Speaker 1: imager do you think this is? I think it's been manipulated,
Speaker 1: but not as badly as NASA.
Speaker 2: Yeah, well this is this is NASA's image. This is
Speaker 2: from More's honesty.
Speaker 1: But my question to you is based on our early
Speaker 1: image that they took from that uh Viking image, that
Speaker 1: Viking photo, how much manipulation you think this is? I
Speaker 1: think this has had probably i'd say sixty to seventy percent,
Speaker 1: but they've left a lot of the original uh rendering,
Speaker 1: carving in text, especially with that eye, that eye giveaway.
Speaker 2: Now let me let me make this point too. This
Speaker 2: image you see here, NASA did not release it like
Speaker 2: looking like this. They release it to where basically the
Speaker 2: whole hominid side of the face is practically over contrasted.
Speaker 2: I bring out the details even though this is the
Speaker 2: best mors odyssey of the face we got. That's why
Speaker 2: it and you're gonna see where I go with it,
Speaker 2: and that what I compare it to and with excuse me,
Speaker 2: but notice Cliff why I also want to focus. Remember
Speaker 2: I said, no other image imagers taking a picture of
Speaker 2: the face casting a shadow, except mores expressed and a
Speaker 2: much lower resolution, smaller looking we More's odysty took a
Speaker 2: great image with the shadow just starting to come off.
Speaker 2: See got there at the corner. The shadow is just
Speaker 2: starting to come off. And guess what I did a
Speaker 2: shape from shading up. Oh I SHOs show you that,
Speaker 2: damn it. But anyway, uh maybe but anyway, or I
Speaker 2: might make a video of it, but either way showing
Speaker 2: that it has contours. You just said that like you're
Speaker 2: seeing details that other Moras Odyssey images were not really
Speaker 2: showing you. But also at the same time, this isn't
Speaker 2: showing some of the details of some of even other
Speaker 2: these Moras Odyssey images. If because the tricks a light
Speaker 2: and shadow instead of negative way, it's a positive way
Speaker 2: because this face was sculpted using the mastery of tricks
Speaker 2: and light and shadow and of the sun, whether it's
Speaker 2: position of day and the sky, a position of season,
Speaker 2: position of epoch forrobably now but uh, it's really incredible.
Speaker 2: The detail shows. I knew you would focus on the eye,
Speaker 2: but not only are I notice the mouth. No matter
Speaker 2: what image they give us, they always want us knowing
Speaker 2: that people always just focus on the eye and what
Speaker 2: the mouth. You can even whether you contrast the most,
Speaker 2: you can't not get rid of the eye or the mouth.
Speaker 2: So that's why they obviouscate it, which means what. This
Speaker 2: thing is not flat, That mouth is open, and it's
Speaker 2: a beautifully sculpted head though, I'll tell you that. I
Speaker 2: that's genius to show the lid. It's a master of art.
Speaker 1: Yeah, I mean I can tell that. And the thing
Speaker 1: that's so amazing is that the sheer scale of this
Speaker 1: thing miles and miles of length. That eye is probably
Speaker 1: you know, who knows a quarter of a mile long by.
Speaker 2: Well, from the top, from the top to the bottom
Speaker 2: of the chin is one and a half miles. I
Speaker 2: mean from left to right it's one mile high. Is bigger,
Speaker 2: is much bigger than a jet. Let's put that way.
Speaker 2: A jet is pretty small when and I have an
Speaker 2: Apple picture in the book comparison how a seven fifty
Speaker 2: seven jet would look flying over the eye. This thing
Speaker 2: is huge. So you're right, you know it was meant
Speaker 2: to be seen. I think that's the point you're trying,
Speaker 2: really trying to make because it's so pronounced. Now here's
Speaker 2: Moore's express. Now it's basically the same type of resolution,
Speaker 2: but there is a stereo camera. But here's one difference.
Speaker 2: Look at all those details. Remember what I said about
Speaker 2: seeing the rscapes. Look at this, Look at these details.
Speaker 2: Look at that. What's NASA's camera missing. I mean I
Speaker 2: could see the points. I could see that it's there
Speaker 2: in EU since especially when you learn the service, learn
Speaker 2: how to see it, learn what you're looking at, and
Speaker 2: then when you compare it to moors express, it brings
Speaker 2: it out more moresbout the tattoo. That's so express brings
Speaker 2: out the tattoo. And ess what do you see? What
Speaker 2: do you think of the same as compared to honysty.
Speaker 1: I'm telling you it's low res and it's an embarrassment.
Speaker 2: I can't and you can't still see a face.
Speaker 1: I can see the eye of the part of the mouth,
Speaker 1: but it's it's like, why are they giving us imagery
Speaker 1: that is childish?
Speaker 2: I guess it's the level of tech they give us.
Speaker 2: They're not giving us their fullest resis and and everything.
Speaker 2: We need. Light er on these these will bring out
Speaker 2: the tattoos all the more. But in order for me,
Speaker 2: this is.
Speaker 5: How it looks, in order for me to pull out
Speaker 5: the tattoo sore. So that's the image you started with,
Speaker 5: Pury What just the image you started with?
Speaker 2: No the nineteen ninety eight pat box image In nineteen
Speaker 2: ninety eight. No, no, no, no, no.
Speaker 1: The image before this, which is Mar's honesty. Is this
Speaker 1: the final image or is this cleaned up?
Speaker 2: No? This is processed from the raw that I do myself.
Speaker 2: When you do the raw of the odysseys, they come
Speaker 2: in strips. You have to you have to process these
Speaker 2: strip and then stiff the strips together to make an
Speaker 2: amiss an image.
Speaker 1: It's still missing a lot of data. It's like, well,
Speaker 1: you published it, but it's missing a lot they took
Speaker 1: out and I can.
Speaker 2: Still bring out. I can still bring out more of
Speaker 2: the relief, but I see it faintly. Once I see
Speaker 2: it faintly, and I see it in my opinion, it's clean.
Speaker 2: Until I get another version of something else. I can
Speaker 2: always go back to this. And as I learned more
Speaker 2: how to get through these levels, I had to go
Speaker 2: through this just for you to see the detail you
Speaker 2: have here, which is the details we see here. Yeah,
Speaker 2: you know again, it would look even better than this
Speaker 2: one now, the beauty of it, they're almost a match.
Speaker 2: And resolution and everything and position of which of what,
Speaker 2: uh of where the camera took it, but a different
Speaker 2: time of day. Now here's what I get when I
Speaker 2: merged the two together. This is what you get when
Speaker 2: I merged the Mars honesty, this one with this one,
Speaker 2: we get this one obviously bringing them both together. What
Speaker 2: is your opinion, Cliff.
Speaker 1: Much better this is on the back, Yeah, you do.
Speaker 1: This has more dimension, more depth this one has, and.
Speaker 2: Each image being different times in the day, they both
Speaker 2: add to bring out the details better. So therefore this
Speaker 2: is an unprecedented unreleased image from anyone though there cause
Speaker 2: they both come from released images. But when you fuse
Speaker 2: them together, make sure everything's matched up right, because you
Speaker 2: don't want it to you know what I mean, everything
Speaker 2: size right, matched up. We get therefore it's like a
Speaker 2: new image. But notice it's coming from me and not NASA. Yeah.
Speaker 1: Why The interesting thing about this is that you've done
Speaker 1: what you could with the data, but it was purpose
Speaker 1: purposefully edited out in certain areas, so there's there's no detail,
Speaker 1: Like the mouth is only the upper part of the lip.
Speaker 1: There's a big, huge space where they want us to
Speaker 1: believe that there was some damage or something. Likely they
Speaker 1: just took it out.
Speaker 2: They just it's it's all it's all art carved. There's
Speaker 2: no damage. It's all art carves. And you know, think
Speaker 2: giving me everyone of what you will. I know what
Speaker 2: I'm talking about. I know the face. I'm an expert
Speaker 2: on the face, so I it feel some people laugh
Speaker 2: and yeah, yeah, I've been studying this for years and
Speaker 2: as an artist, every feature that you're seeing is really
Speaker 2: there the face. This is Artistlary Card. It's not no dunes,
Speaker 2: no erosion. That's great, not even standing dirt. If anything,
Speaker 2: this that image should have been your help bring out
Speaker 2: that heavy metal. Yeah, very cool.
Speaker 1: Okay, keep showing us more you get more evolution of this.
Speaker 2: Oh indeed, all right, So now this is a Moores
Speaker 2: Reconnaissance Orbiter context image. Now this is the image where
Speaker 2: beautiful detail. It's lower resolution than More's Global Surveyor, but
Speaker 2: it's definitely higher resolution than Moore's Express and Moore's odysty.
Speaker 2: And again, notice how when I fuse them, I only
Speaker 2: did it enough. I could have done a little better,
Speaker 2: but I wanted to show what the little shadow coming
Speaker 2: off from the bottom right. You see that? Yeah, So
Speaker 2: that's that's why that's there, because in this you obviously
Speaker 2: don't see it, but here you do. So that's why
Speaker 2: it's important because you have details being seen here that
Speaker 2: are not so easily seen in here. But when you
Speaker 2: merge them, like you said, it changes the perspective and
Speaker 2: it and it validates what each image actually has to show,
Speaker 2: like when you say that look that could have been
Speaker 2: distorted a fake. But when you match images and comparative
Speaker 2: analysis and especially through overlaying and doing what needs to
Speaker 2: be done to fuse it correctly, you bring out what
Speaker 2: each image has the show. I mean, so you might
Speaker 2: know the better term astronomers call is stacking, you know.
Speaker 2: But this is more complex than just stacking an image,
Speaker 2: you know, because you got to match up as much
Speaker 2: detail as possible to bring out what each image shows.
Speaker 2: To bring out the details that's really harder to see.
Speaker 2: So we have a cheat. To me, I call it
Speaker 2: a cheat in a loophole because now I how to
Speaker 2: hone in on the details to reveal them.
Speaker 1: We're going to take a short commercial break to allow
Speaker 1: our sponsors to identify themselves and will return shortly with
Speaker 1: my guess Today. Image specialist Gary Lazier discussing his latest book,
Speaker 1: The Face on Mars, will be right back. I Guess
Speaker 1: Today is Gary. This year he is at Mars Image Specialist,
Speaker 1: also known as the Mars Revealer. You can see him
Speaker 1: on his website Mars revealer dot com, and he has
Speaker 1: a podcast, Mars Revealer. I think it's funny because as
Speaker 1: you get better at this, Gary, I think at some
Speaker 1: point you're gonna show the real original face. You're gonna
Speaker 1: get a knock on your door.
Speaker 2: Well, extrange things have happened already, but I'm not gonna
Speaker 2: get into it. A little crazy, you know, your people
Speaker 2: think I'm more nuts than I him. Now, so this
Speaker 2: is again, now this was taken this particular image Mars
Speaker 2: Mars reconnaissance or over of context image we have, Cliff. Now,
Speaker 2: at this time we have about fifteen the side fifteen
Speaker 2: or seventeen context image use of the face from various
Speaker 2: positions you know, natter which means directly overhead off, nator
Speaker 2: means you know, not overhead, so that could be anywhere,
Speaker 2: but you know, and different lighting conditions. So this this
Speaker 2: particular one who was released in twenty twelve. And now
Speaker 2: this is where photoclinometry, which is what doctor Mercolado uses
Speaker 2: and knows of and made the shape from shading program.
Speaker 2: That's a form of photoclinometry. This image out of all
Speaker 2: the other ones we have except maybe two, which comes
Speaker 2: to where I call the Goldilocks zone is the only
Speaker 2: image that gives us a true rendering of the accurate
Speaker 2: shape of the face. To do correct shape from shading
Speaker 2: with now, because the thing with shape from shading, it's
Speaker 2: all on light position. You have to have it and
Speaker 2: what I call the Goldielock zone light position, even though
Speaker 2: if it's overhead the sun acts as that Goldilocks position
Speaker 2: to where you can zoom in on an image and
Speaker 2: you can see christ detail looks great, But if you
Speaker 2: run it through shape from shading, it was more ridiculous
Speaker 2: than Nasaso's why because it's not at the right Goldilocks
Speaker 2: zone spart. You need the right zone area to get
Speaker 2: an accurate rendering of anything. The Pyramids of Geeza, the
Speaker 2: Eiffel Tower, cliftunning looking up at the sky as Google
Speaker 2: camera looks down on him. What are you doing near
Speaker 2: that pyramids on? You know what I'm saying. So this
Speaker 2: is a great detailed image, Nator, pretty much, Nator. Now
Speaker 2: notice both eyes pulding us the other eye, yeah, the
Speaker 2: other side and face it has a pupil, I mean,
Speaker 2: and notice this eye as a pupil. You know that
Speaker 2: this was centered because it's not just solely one face.
Speaker 2: You mentioned that earlier about symbology, Well, that's the greatest
Speaker 2: techno center. It's a symbol. This geometric designing, in this
Speaker 2: artistic designing, there's weapresent pations of things we're familiar with
Speaker 2: hominids and what Well, we're gonna look at that soon
Speaker 2: and get the answer to that. So let's go on.
Speaker 2: In two thousand and one, with the two thousand and
Speaker 2: one release, NASA made it. They yeah, using a hit
Speaker 2: piece release in two thousand and seven, they used the
Speaker 2: two thousand and one image to make a hit piece
Speaker 2: once and for all, to put the case of the
Speaker 2: face to bed. They killed it. They wanted to myrderalize it,
Speaker 2: and they it was no longer ever officially since two
Speaker 2: thousand and seven. Did you know this, Cliff and others?
Speaker 2: It was never officially anymore called officially the Face of Mars.
Speaker 2: It ended in this hit piece from two thousand and seven, okay,
Speaker 2: which they used the full face image of two thousand
Speaker 2: and one as its odyssey to bring that deception to us.
Speaker 2: Why do I say deceven? Okay, here's two thousand and seven.
Speaker 2: It gives us something to where people looked at it
Speaker 2: not a word. Crickets, you said, you gotta be kidding me.
Speaker 2: This show's not just offfu scation, a deliberate withholding of
Speaker 2: image data. Because remember, if this is the two thousand
Speaker 2: and one full face image, how did they release it
Speaker 2: to us? Did it look like this? In two thousand
Speaker 2: and one we looked at that image? Did you see
Speaker 2: it looking like this? Cliff? No, you see it black
Speaker 2: and white? Yeah, where'd the color image come from? It
Speaker 2: came out from Graybeard, Mike Maddlon's draw to use it
Speaker 2: as a hit piece and to tease us, which I'm
Speaker 2: going to do a data quality act and a foyer.
Speaker 2: He never released this image in nineteen, I mean in
Speaker 2: two thousand and one with the black and white version.
Speaker 2: He did.
Speaker 1: What camera are they using on this?
Speaker 2: This was the Morsel orbiter camera Aboards Global surveyor higher
Speaker 2: resolution than that Mars Reconnaissance litbit or context camera, but
Speaker 2: less resolution obviously than the high rise, so it's in
Speaker 2: between the context and the high rise. The resolution came well, ah, again, affuscation.
Speaker 2: They do it on purpose. Even with this, No one, Cliff,
Speaker 2: everyone else, Even though the Mores researchers proved me wrong.
Speaker 2: No other image This image has never been released by
Speaker 2: Mike Malon Mailan Space Science Systems until two thousand and seven,
Speaker 2: would a hit piece along with Moore's Express images, More's
Speaker 2: Express not saying nothing, then also putting out big release
Speaker 2: of their site of their More's Express image, Like we
Speaker 2: just looked at in this hit piece where NASA revealed
Speaker 2: this color image and no one said anything about it,
Speaker 2: you know what they're all focused on instead? What oh,
Speaker 2: before we get there and there's a point he said, look, look,
Speaker 2: what'd you say that it looks too What would you say, Well,
Speaker 2: we're exposed there you go, bring out the collar, bring
Speaker 2: out the detail better. It makes more sense, all right,
Speaker 2: But balloom does it. They can't have us seeing the
Speaker 2: face like this? What was just a mountain? It's a massive,
Speaker 2: it's a hill. It's a even a new a new
Speaker 2: a new human deficiency. That's hard fault. It's a mimotolith.
Speaker 2: They don't know what to call this thing. But yet
Speaker 2: the colors, how do you explain the colors for a hill,
Speaker 2: a mountain, a massive or anything else. Look at you
Speaker 2: ornate beauty. It looks metallic. It looks metallic. And if
Speaker 2: it's metallic, now we know how this thing could survive
Speaker 2: from a round for maybe a few hundred million years.
Speaker 1: Yeah, you know, this is the first image I've seen
Speaker 1: that shows it looks like he's wearing a space helmet
Speaker 1: or some kind because that shade up and then bring
Speaker 1: that out for you. That forehead line that goes across
Speaker 1: from one side or the other is so straight. It's
Speaker 1: a it's a design element.
Speaker 2: It's uncanny, it's it's that's why you know. It falls
Speaker 2: back to the shape because the features that we're seeing
Speaker 2: is all part of surface relief. We know, this thing's
Speaker 2: fifteen hundred foot high, you said at the beginning of
Speaker 2: the show, as a giant sculpture. There's no greater techno
Speaker 2: signature anywhere in the Solar system that at least they've
Speaker 2: allowed us to see of which they so called discovered,
Speaker 2: than this. And that's why they all steer away from it.
Speaker 2: Why didn't they send them the rovers here? Think about
Speaker 2: it now, you people know, think for yourselves, or pack
Speaker 2: them and smoke them, let the hand of brainwash and
Speaker 2: go off, and then you'll be like, holy crap, now
Speaker 2: this is what everyone focused on. Cliff, I'll just do
Speaker 2: that for that hit piece. According to them, a true shape,
Speaker 2: a true three D shaping on the face, what it
Speaker 2: really looks like, and it is ridiculous. People didn't want
Speaker 2: to even want to notice the color. Again, I'm the
Speaker 2: only one, the only researcher, not a whole one of
Speaker 2: the whole team, and we were all connected, no one.
Speaker 2: They're all focusing on that bump. Oh that bump. Well
Speaker 2: there is a bump, but it's not where it is
Speaker 2: and it's not what that represents this image. Remember they
Speaker 2: used for a hit piece to put it to Bet
Speaker 2: to kill the discussion officially ever again even being considered
Speaker 2: being considered or talked about as valid. They made it
Speaker 2: as like a gravestone and the faces laying down in
Speaker 2: his gray dead. They killed it and they would yet
Speaker 2: teasing us. Here's some color data, but U sheep will
Speaker 2: notice that you'll focus on the gravestone, which is the bump.
Speaker 2: That's how I come to I know how they think.
Speaker 2: But notice how soft and everything. But like you said,
Speaker 2: it doesn't look what was that word again that you
Speaker 2: use for the color image? It looks on their process
Speaker 2: or whatever it was you said, it just doesn't look right.
Speaker 2: Well here it is, and they but yet look in
Speaker 2: this you can still see colors pinks, purples, you know,
Speaker 2: but you're like, I got to bring it out more.
Speaker 2: That's why what I had to do in this obviously,
Speaker 2: are you saying that it's not easy to do. It's
Speaker 2: not easy to do.
Speaker 1: And Gary, are you saying that this is a metal
Speaker 1: uh yes, sculpture or is it not earth?
Speaker 2: It's metallic in my opinion because look at the colors,
Speaker 2: and I don't know about you. Even though they're approximate
Speaker 2: colors near near reality, what do I mean by that? Now?
Speaker 2: When I did make an issue about the color data,
Speaker 2: I've had other resarchers to say, oh, that's More's expressed
Speaker 2: color data they put on it because More's a spec
Speaker 2: release colored data of the face and their version of
Speaker 2: the face. Also at the same time as it's his piece,
Speaker 2: Nassa used it, not allowed, not allowed, yes, say to
Speaker 2: say anything. They just put out their data. Let people
Speaker 2: download it. There's ZIP and it was all in control
Speaker 2: of Mike Malon and Nassa. Oh this pro is a
Speaker 2: face is not a face. Look at it. Look at it.
Speaker 2: There's a hill. But yet no one's mentioning her color.
Speaker 2: And someone said it's MOR's express color. I said, no,
Speaker 2: it's not because you can. First off, I know Mars
Speaker 2: Global Surveyor and Moore's Express. Mars Express has red, red, blue,
Speaker 2: green color filters for the camera. Mars Global Surveyor has CMYK.
Speaker 2: What we're seeing here is from CMYK, not red green blue,
Speaker 2: And in the CMYK image, you're I was able to
Speaker 2: various other color images like We're gone, I'm chaos, other
Speaker 2: areas to bring out the colors. Wow, it made it
Speaker 2: such a life, such vivid, beautiful compared it was even
Speaker 2: looking worse than what you see here at least. Yeah,
Speaker 2: you can see some colors trying to come through, and
Speaker 2: those images I worked on, but I knew there was
Speaker 2: there was there because again I focus on relief, and
Speaker 2: I always said that the colors would help reveal the tattoo. Now,
Speaker 2: so this is what they gave out as part of
Speaker 2: the hit piece. It's not a face. Now they say
Speaker 2: that's the true shape, and many people ever since then
Speaker 2: believe that is the true shape because why would not.
Speaker 2: Why look, there's a shape of the first Okay, is
Speaker 2: it really all right? Well, here's my more better color
Speaker 2: process view of it. You know, still looks ridiculous, but
Speaker 2: it looks moreful and making sense. And this does at.
Speaker 1: Least what is there another image of this on another ah,
Speaker 1: check this out?
Speaker 2: So this is what they release. So now what this
Speaker 2: iTunes too? On that same hit piece release, they put
Speaker 2: out a video, just an automation video, no sound, using
Speaker 2: that full on face image in color as you can
Speaker 2: see here as title Saydonia mensa the face of Mars
Speaker 2: two thousand and six Essa at all given and mailis
Speaker 2: face Sience systems. Yeah, two thousand and six. Well that's
Speaker 2: when they're more Express image of the face was taken,
Speaker 2: but they saved it to use out of the public
Speaker 2: hit piece because they had to work together with NASA
Speaker 2: dominant and control. That's why I believe More's Express had
Speaker 2: to be lower resolution too, because without NASA and the
Speaker 2: US they wouldn't have had a successful mission. So they
Speaker 2: had a total line. So they were allowed to put
Speaker 2: that off and not say nothing. But NASA has the dominant.
Speaker 2: Say so this was two thousand was from a video,
Speaker 2: So there you go. Boom boom boom. Now that's what
Speaker 2: they gave a show comparison. Now let's look at the
Speaker 2: true shape of the face. What they're off you, skating
Speaker 2: from you all. And what it took me to reveal
Speaker 2: using real science, using photoclinometry, and what they were using
Speaker 2: was mola crap pola. And think of it as like
Speaker 2: a wire frame image, right like like they used it
Speaker 2: in my computer games not long ago, splash screens. They
Speaker 2: make the wire frame and splash the image on it.
Speaker 2: Never mind the details, never mind the relief, but it
Speaker 2: all becomes part of the wire frame that you have
Speaker 2: set up for it. Right, So you can morph that
Speaker 2: thing to look like a pyramid. You can make it
Speaker 2: look flat, you can make it look like a crater.
Speaker 2: You put that data on that model, that's gonna be
Speaker 2: the shape of the true shape. Are you following me
Speaker 2: so far? Yeah?
Speaker 1: I want to see something a different angle of this.
Speaker 2: Are you gonna right now? All right? So here's a better,
Speaker 2: you know, higher resolution, correct size view of what they
Speaker 2: gave out that day, And make sure appreche Now why
Speaker 2: do I say metal? Look here clip, Look between those
Speaker 2: colors on the sides of the face. Clearly that looks
Speaker 2: like silvers. Look at the beautiful green one eye, Look
Speaker 2: at the goals.
Speaker 1: This is hard to conceive of, though, because the thing
Speaker 1: as you say it is, that would be an unheard
Speaker 1: of amount of of material. Yeah, I mean that's ridiculous.
Speaker 1: Look at the mouth. As ridiculous as that looks. It
Speaker 1: looks red and pink like a whip wood. I said,
Speaker 1: you can't pick the shit up. Everybody look at it.
Speaker 1: I was like, okay, very interesting. At least I'm doing
Speaker 1: my research. In my mind, I know this image is crap.
Speaker 2: I couldn't prove it then, but I knew it because
Speaker 2: I know the details of the face, and I had
Speaker 2: a conception already by the details of the face in
Speaker 2: my mind what the three D shape would potentially look like.
Speaker 2: Does that make sense now here? It is from the video. Well,
Speaker 2: I'm gonna show as it turns around in the video.
Speaker 2: I'm gonna just show you segments now, Cliff. When you
Speaker 2: see the colorized face up there, do you also see
Speaker 2: the where it says audio video participants chat. Do you
Speaker 2: see that? Or no?
Speaker 1: No?
Speaker 2: All right, good. I'm only seeing that because that's why
Speaker 2: I'm moving the image around just in case if you
Speaker 2: don't see.
Speaker 1: It, I'm lost on this. Where's the eyes?
Speaker 2: The eye is Look to the left where that purple
Speaker 2: dark corner bends. In look at the eye. You can
Speaker 2: see the pupil on top of.
Speaker 1: The eye is like, uh oh, I see it, okay,
Speaker 1: right there it is, so it's kind of weird.
Speaker 2: Note how flat it looks. But notice the big bump
Speaker 2: on the head on the corner of the head. Again,
Speaker 2: there is a bump, but that's not the bump and
Speaker 2: it's not represented as what it really is supposed to
Speaker 2: be in reality as that face structure.
Speaker 1: I think that there there must have been some geological
Speaker 1: calamities that collapsed part of this face.
Speaker 2: There you go collapse, there's no collapse. There was a collapse,
Speaker 2: you would have a disruption in the flow of the art.
Speaker 1: So you're saying that these are the tattoo.
Speaker 2: Like let's say you got a tattoo cliff take a
Speaker 2: knife or some chick grabs or a cap scratches you.
Speaker 2: You know, then you could tell the distorted collapse of
Speaker 2: the skiff where it cuts away from the picture. But
Speaker 2: when if it was collapse, that's what things we would see.
Speaker 2: We would see chaos, breakage of the art. But there's
Speaker 2: no breakage of the art.
Speaker 1: Then there's only one conclusion, is not real this has
Speaker 1: been photo edited.
Speaker 2: That this is the This is from the video. They
Speaker 2: edited it. They edited it well. That this is a
Speaker 2: video of what they wanted us the same release day
Speaker 2: and the hippiece of two thousand and seven, they gave
Speaker 2: this little video on that release page, which is what
Speaker 2: Deza scenes from. All I did is bring out the
Speaker 2: color more. But it looked like this, you know, it
Speaker 2: looks like what you see on top spinning around. I
Speaker 2: just did this so it'll make it look at least
Speaker 2: a little better. You can focus on the details more,
Speaker 2: and it just makes the ridiculousness stand out even more. Now, Wow,
Speaker 2: when you considered a true shape, look at the difference
Speaker 2: on the very What a big difference The work below
Speaker 2: is you the work below, Well, it's from the processed
Speaker 2: image from this Yeah, the only image they ever gave
Speaker 2: us where we could get an accurate shape of the
Speaker 2: face or shape from shading.
Speaker 1: Okay, and that was.
Speaker 2: Given in twenty twelve. No one noticed it, not even
Speaker 2: Hobland boy. Maybe they threw it out there. Let's see
Speaker 2: how deep he goes down the rabbit hole with twenty
Speaker 2: twelve and NASA conspiracy, they gave us this image. I
Speaker 2: didn't notice until years later, but it was pretty funny,
Speaker 2: you know, I had it all this time, but it
Speaker 2: still until I started in studying photo klonometry and working
Speaker 2: with shape from shading, shape from shadow, I was able
Speaker 2: to show science by a scientific program proven by who
Speaker 2: what better source in doctor Mark Carlatto. Right, So there
Speaker 2: you go, this is Carlino's program, and with the right image,
Speaker 2: the right position, we're able to get a correct view.
Speaker 2: Why at NASA doing that with this? They're deliberately obvious
Speaker 2: skating to change the shape. Remember why look at it
Speaker 2: from one distance? Has to be because it a shape
Speaker 2: they don't want us seeing the face Legler. Even from
Speaker 2: the slide, people might say they see a mountain, but
Speaker 2: then they look at it, they're like, you know what
Speaker 2: that looks like? The sorry profoil of a freaky face. Yeah,
Speaker 2: and that's what it is. And that's how it really looks.
Speaker 2: It does not look at all what they tried to
Speaker 2: pull on us in two thousand and seven. So when
Speaker 2: Cliff you mentioned earlier about putting someone in handcuffs, get
Speaker 2: this guy who manipulated this shape and it has real
Speaker 2: in two thousand and seven, it's what we should be seeing.
Speaker 2: This is what NASA is really seeing. Oh my God,
Speaker 2: it is scary. It's too scary. It's too scary. This
Speaker 2: looks more comfortable. It leaves it to the mind. Well
Speaker 2: since theys, well, it don't look like a face like that,
Speaker 2: you know, I mean above maybe I can see somebody
Speaker 2: like this. But why would NASA alive now? But I'll
Speaker 2: take their word for it, fools, because look how about
Speaker 2: it now? Does it break your paradigm? That's a change?
Speaker 2: And Cliff, would you agree not? At least at least
Speaker 2: it makes more sense to the details we see from above?
Speaker 2: And well it makes more sense than this.
Speaker 1: Still pretty wrong. I mean, you play with it so much.
Speaker 1: You're seeing details that we can't conceive of because.
Speaker 2: You live on this. The details are all there, but
Speaker 2: it's still very raw details. All those details, the points
Speaker 2: of interest, like all those spiky points everything. Someone says spiky,
Speaker 2: Well it's not flat. Someone does a master artist on
Speaker 2: at work here and they use that for TRASA light
Speaker 2: in shadow and to make his forms. You could see
Speaker 2: this in the in the data two dimensionally. Here's the is.
Speaker 2: I didn't just do this and put it out overnight
Speaker 2: money for months and confirm that I'm seeing the data
Speaker 2: points before I said this is it, and believe it
Speaker 2: or not, there aren't some who aren't vocal. There's one
Speaker 2: who kind of is vocal, but too afraid to bring
Speaker 2: it out in the open. And they disagree because they've
Speaker 2: been too brainwashed by this. And also they really didn't
Speaker 2: know what they were looking at anyway, no effects, but
Speaker 2: that's the reality. So you see, that's safe. Here we go.
Speaker 2: You wanted other views. That's the other side of face.
Speaker 2: So what you see and look, notice you can still
Speaker 2: see the pupil in the eye, the open mouth from
Speaker 2: a side view where side views a concern profile. That's
Speaker 2: how it looks on this side. Yeah, and obviously it
Speaker 2: debunks NASA's pretty color view there. Same thing here you
Speaker 2: could tell WHOA then you're telling me NASA is telling
Speaker 2: us the truth everything you just said even before the show,
Speaker 2: Cliff and on it, you were completely right about NASA.
Speaker 2: They're deliberately going out of their way and that's what it.
Speaker 2: They said, crimes against humanity. So I support your thesis
Speaker 2: on that, and I think you should do a paper
Speaker 2: on that. Cliff, I think us slide on into it. Yeah,
Speaker 2: because it's a crime against humanity. We all have a
Speaker 2: right to know. You said to yourself. So but either
Speaker 2: way either so that's what let's let's continue around other
Speaker 2: perspective views. Do you do? Uh? Does does Maelan have a.
Speaker 1: Straight shot using this colorized image?
Speaker 2: Uh? Yeah, right here straight looking down? That was the face.
Speaker 2: That's this one. That's that one, okay, fun and that's
Speaker 2: the one from two thousand and one, that's one twelve.
Speaker 2: But you know we went over it already. So yeah, this,
Speaker 2: you know, that's from the two thousand and one image
Speaker 2: that they used from the two thousand and seven at
Speaker 2: piece and they used what they call the mola data
Speaker 2: is crap polar. That's why the chapter in the book
Speaker 2: Richard Oldland was cool and uh provided for me to
Speaker 2: contribute to the book to describe about that mola crapola
Speaker 2: how it has not show the real shape or let
Speaker 2: alone size of the face or any details. You got
Speaker 2: to get the book The Faces of Mars Beyond Metrix
Speaker 2: of the Latent Shadow to read it and or go
Speaker 2: to Enterprise Mission archives as how to make them, uh,
Speaker 2: how to make them face out of a molar hill?
Speaker 2: Know how to make a mountain out of a molehill?
Speaker 2: And he was right, how to make him out and
Speaker 2: out of a molar hill. Mola crap pola they wanted.
Speaker 2: They use mola to deceive us, though we cannot give
Speaker 2: us the true shape or any details as the basis
Speaker 2: to say, this is the true shape. But you got
Speaker 2: shape from shadow photoclinometry, something really scientific. Yeah, we get that. Yeah,
Speaker 2: and we got that right. And now we're spinning it
Speaker 2: because the animation spins around. I just grab certain frames
Speaker 2: just spinning around, just to show you example. And compared
Speaker 2: to how it would look from the real true shape
Speaker 2: of the face, which one makes it looks like in
Speaker 2: most sense the one on the bottom, it might be
Speaker 2: more scary. Throw some nuts, every one, because this is
Speaker 2: what NASA is really they're looking down at. This is
Speaker 2: what they're keeping us from. This is why you have
Speaker 2: international spacecraft that we had to also help get the
Speaker 2: Mars too, because the cats out of the bag, like
Speaker 2: Cliffs said, since the Soviets, so there had to be
Speaker 2: a policy and the means of bringing the world together,
Speaker 2: not just the US thing. And this one world to
Speaker 2: order is doomed. Good good, good olding trunk. Keep doing it,
Speaker 2: you know, won't piss me off.
Speaker 6: All right, So let's let's see here we go now
Speaker 6: watch this. Yeah, as we spin around as from the
Speaker 6: chin view. Now, Cliff, do you think at least the
Speaker 6: bottom might look make look like more sense than how nasaprivise? Yeah,
Speaker 6: I mean, you know, because now at least we see
Speaker 6: reasons of the relief that we're able to city two dimensionally.
Speaker 6: It's actually, like you said, it's been all carved and
Speaker 6: you can see carved features around the face. They all
Speaker 6: are escaped like little cells, like like dragon scale was
Speaker 6: like you know, and then the magnificent geometrical layouts and
Speaker 6: of the art, the only art.
Speaker 2: It's it's just so encompassing. It's freaky, to be honest,
Speaker 2: but hey, all the more power. That's why. Don't be
Speaker 2: a fraid Like my friend doctor John Brandenburg said, well
Speaker 2: why not because they're long deck. It's like inheritance. We're
Speaker 2: going to Mars, folks, We're going to Mars and this
Speaker 2: is what we're gonna see. Do you think that you're
Speaker 2: gonna see this? Oh, no reason to go there, nothing
Speaker 2: to see here. Stay away from Slidonia or man, you
Speaker 2: gotta get me on a rocket like tomorrow. Elon You
Speaker 2: know what I mean.
Speaker 1: I used to think Elon Musk would be the one
Speaker 1: who would out the government.
Speaker 2: But I think that he's complacent. I don't think, well,
Speaker 2: he's gotta be he you know, they're they're the ones
Speaker 2: that are really gonna be funding it. In my opinion,
Speaker 2: NASA I don't have much respect for anymore. And I
Speaker 2: mean them as a political agency, not those who have
Speaker 2: to suffer and go through the deceptions and force people
Speaker 2: to lie to us and becompliicit. They got to get paid, right,
Speaker 2: Everyone's got families. It's the organization and what they did
Speaker 2: to us regards to all this, it's just so embarrassing.
Speaker 2: But they they're not no longer considered a scientific agency.
Speaker 2: Not a science agency, never a straight answer. There's so
Speaker 2: many acronyms, you know that and euphemisms. This stands for
Speaker 2: when you know, when we're faced with something like this,
Speaker 2: where it takes someone like me, no matter what you think, Yeah,
Speaker 2: I studied that. I learned how to do what I
Speaker 2: need to do to reveal what NASA will not reveal
Speaker 2: to you. This is the reality, what they're really looking at.
Speaker 2: You think that if they showed us this in nineteen
Speaker 2: ninety eight, as I'm showing here now, you know why
Speaker 2: they didn't want to look down at it, and you
Speaker 2: know they wanted to try to make it look as
Speaker 2: smooth as possible. They were trying to adde the shape
Speaker 2: of the face to make it look as flat as possible.
Speaker 1: Right this get some conclusionary remarks, Gary, give us the
Speaker 1: last work.
Speaker 2: Look that from the Darius Angeles you we're closing it down.
Speaker 2: We're closing it down. So again, this is the show
Speaker 2: what the true science is that NASA's not giving you,
Speaker 2: and how NASA presents us. But it's still interesting to
Speaker 2: look at. And as you study this, and who knows,
Speaker 2: maybe it'll inspire you. What do you think of all this?
Speaker 2: Do you think your kids have the right to see this?
Speaker 2: Do you think you want to run next door and
Speaker 2: you know, go stamp your neighbors, steal their shit and
Speaker 2: they all set the world on fire because we have
Speaker 2: this left there? Or does it make you feel more
Speaker 2: inspired like we used to be, Cliff, growing up with
Speaker 2: store trep that gave us the vision. That can't help
Speaker 2: get NASA get money for space for what, only for
Speaker 2: them to lie and control it and hide it from us.
Speaker 2: That's why I agree with Oh, that's another point I
Speaker 2: want to bring up, Cliff, know it is Google Earth.
Speaker 2: They use Molla data too. Where's the big bump on
Speaker 2: the forehead, They still change the shape, that's Mulla data.
Speaker 2: How NASA presents it to the world and yet as
Speaker 2: far from the truth because it's deception. They don't want
Speaker 2: to show us what it really looks like.
Speaker 1: Oh, Google Google Mars right, right.
Speaker 2: Google Earth, Google Mars. Correct, And that's what his base.
Speaker 2: They had to run like as scientists do, and the
Speaker 2: essay had to do under NASA's tarte and control on
Speaker 2: how things get presented as real does so, not only
Speaker 2: do we have them cought busted with the two thousand
Speaker 2: and one image for a two thousand and seven hit piece,
Speaker 2: we're able to bust them for that as well as
Speaker 2: the color as well as the true shape. Here it is.
Speaker 2: You have some mad marsh and Morezavilla showing it to
Speaker 2: you all in twenty twenty six at this point. And
Speaker 2: you know, and there's a book on it called The
Speaker 2: Faces of the Mars Beyond Mere Tricks of Light and Shadow.
Speaker 2: I would appreciate you all getting it. It's my first book.
Speaker 2: The next one is going to start being made. The
Speaker 2: Pyramids and Mores Oasis of the damns. But so check
Speaker 2: that out. This is how Google Earth presents it. It's
Speaker 2: really disgusting, you know, and you know, and social intelligence.
Speaker 2: This is those my intebligence, more than what NASA showed
Speaker 2: in two thousand and seven, because Cliff, Cliff, I didn't
Speaker 2: know that. You know, the erosion is so bad. It's
Speaker 2: changing shape, you know, over a couple of years now.
Speaker 2: So there's again side views just to compare and show
Speaker 2: you that this is deliberate on their end. I'm deliberate
Speaker 2: on my end showing you the truth to call them out.
Speaker 2: They're cold busted and I'm gonna have freedom of information
Speaker 2: acts going, believe me something starting this year too. So
Speaker 2: again there's a you know, another view. And notice here, Cliff,
Speaker 2: what's amazing. I believe that there's a purpose s position
Speaker 2: because of the mouth being opened at certain times or
Speaker 2: angles and positions. Look what we see between the mouth
Speaker 2: on the other side, on the ground away from the face,
Speaker 2: what is that thing sticking up? Pointy thing? And as
Speaker 2: it turns, it matches up directly with the lines of
Speaker 2: the face, the car tours of the face. As it turns.
Speaker 2: It's deliberate, it's deliberate, and I could show that video wise,
Speaker 2: then you do understand that better. But I just wanted
Speaker 2: to say it to make note. So this thing's fascinating
Speaker 2: and it looks then it looks kind of scary. It
Speaker 2: definitely makes more sense than now Massive presenting it, because
Speaker 2: at least now it makes a little bit more sense.
Speaker 2: And then it should make more sense because why are
Speaker 2: you seeing it now through me? And they're avoiding at
Speaker 2: all courts to show this. Yeah, and this is we're
Speaker 2: almost done here. This is all like the second to
Speaker 2: last image we got from high Rise. This is how
Speaker 2: Massive presents it. Wow, they give it to the world.
Speaker 2: Remember is your money you pay for this. That's why
Speaker 2: I want down a quality act, because why they're giving
Speaker 2: us crapolay we pay them. We should be seeing what
Speaker 2: they're able to see. They're obvious skating. Look at this,
Speaker 2: there's the ie, there's the mouth. Oh yeah, you see
Speaker 2: subtle details smoothed out everywhere. That's nice. But if you
Speaker 2: don't know what you're looking at at the first glance,
Speaker 2: like you said, who the hell's gonna see what I do? Right, Cliff,
Speaker 2: you brought that up early. It's a great point. I
Speaker 2: should have put that in a book. But anyway, my
Speaker 2: next one, and I'll even throw your name in front
Speaker 2: of quote. Now, this is how they give it out.
Speaker 2: Here's the true version by process from the raw.
Speaker 1: Wow, they really overexpose it.
Speaker 2: Image big, big, and they soften it to hide the relief,
Speaker 2: to hide all the artistical relief, not just on the face,
Speaker 2: but away from it. Because now you could see, if
Speaker 2: you follow the lines, you could tell this is not natural.
Speaker 2: This is not erosion, This is permanent, this is esched,
Speaker 2: this is ordnately carved. This is something unfathomable because, like
Speaker 2: you said, the size and scale of the face itself
Speaker 2: bewilders you. What about everything else that sits on I'm crazy, right, No,
Speaker 2: this is what they're looking at and what they're steering
Speaker 2: away from. Yeah, not just in this area, by the way.
Speaker 2: So here's an upright view of it of that same image. Okay,
Speaker 2: that was the second the last image. We got one
Speaker 2: release to us a few weeks back, and the previous
Speaker 2: one that was released to us this is that one.
Speaker 2: So again we have like fifteen or seventeen different images,
Speaker 2: and every single one is released like this to the public.
Speaker 2: Oh so what do I do? I go to the
Speaker 2: row I still haven't found anyone here to China, England
Speaker 2: and Russia wherever no one else is processing these images apparently,
Speaker 2: I would love to if you could do it, people,
Speaker 2: please show it. I one colloberative, discussion, colloperative, you know,
Speaker 2: maybe even work to reveal what's there? Am I wrong?
Speaker 2: Prove me wrong? The data is only because I could
Speaker 2: prove me wrong, and maybe you could help me even
Speaker 2: bring out more with skills you might have that I'm
Speaker 2: lacking to get through every little thing that I believe,
Speaker 2: Like Cliffs even said, layers of different things to bring
Speaker 2: out what we should be able to see easily. But
Speaker 2: it's pretty amazing, though, what did you a Greek cliff?
Speaker 2: You've done? You would expect this from NASA, right, not me? Yeah?
Speaker 2: Well me in my lifetime.
Speaker 1: If they actually catch the Malane group that deceived everyone,
Speaker 1: they're probably gonna heads will roll. I have always said
Speaker 1: that heads should roll, So all right, hey, well listen,
Speaker 1: this is amazing. My guess it has been Gary Lazier.
Speaker 1: The book is The Face on Mars Beyond Mere Tricks
Speaker 1: of Light and Shadow. It came out last I think
Speaker 1: you said, October. It's available on Amazon and it is
Speaker 1: three hundred pages plus, and it is filled with all
Speaker 1: these images we have presented. If you would rather see
Speaker 1: it up close and personal, now you can go to
Speaker 1: the Facebook page. Go to Earth Ancient's Facebook and Gary's presenting.
Speaker 1: I think he's going to give us at least ten
Speaker 1: images that you can see. Plus he's throwing in a
Speaker 1: video I believe, right, Yeah.
Speaker 2: Yeah, you could link to or in bed you can
Speaker 2: link to the video where you have what NASA's presenting
Speaker 2: and what Gary exposes.
Speaker 1: So, hey, man, you've done exemplary work. It's fantastic.
Speaker 2: I'm glad you read the book. So in your opinion,
Speaker 2: what would you give it to the people should they
Speaker 2: bite the book?
Speaker 1: How many stores would you give it? Out of five
Speaker 1: I'd give it. I'd give it close to five. I
Speaker 1: give it four plus.
Speaker 2: Wow. Thanks, there you go, and I all the replies
Speaker 2: I've got so far, believe it or not, of five stars,
Speaker 2: I have more than twenty some reviews through good read
Speaker 2: to positive.
Speaker 1: I haven't read the whole book, though, Gary, I need
Speaker 1: to read the whole book. That's why I should.
Speaker 2: I gotta get a twist, you gotta get to go
Speaker 2: through a twist.
Speaker 1: I'll hold off my stars until after I finished the book.
Speaker 2: So fair enough.
Speaker 1: Hey, but listen, man, you're doing excellent work. I want
Speaker 1: to thank you for joining me. And when the next
Speaker 1: book comes out, let's have you back.
Speaker 2: Definitely, what even, Cliff, if you want to set up
Speaker 2: just to show about more sometimes I got it. I
Speaker 2: got many funds. We could get into showing some pyramids,
Speaker 2: you know, talking about you know, the prep for the
Speaker 2: next book. Maybe if you want so, don't be a stranger,
Speaker 2: my friend, as long as you call me and invite
Speaker 2: me back. And if you're listeners, fans, audience, you know,
Speaker 2: I would like to see more of other things. And
Speaker 2: you know, see my crazy face here, my crazy words.
Speaker 2: You know, if you all, thank you very much. Cliff,
Speaker 2: you rock.
Speaker 1: You may have heard me mention that we will have
Speaker 1: a gallery. Gary, he just has sent me a really
Speaker 1: nice gallery of photographs, including the enhanced images he was
Speaker 1: speaking about. But obviously there's a lot of photographs that
Speaker 1: we can't include in the gallery because it would be
Speaker 1: too big. And to see those, go to Earth Ancients
Speaker 1: on YouTube. Go YouTube Earth Ancients and the Punch in
Speaker 1: the Face on Mars with Gary Lazier L E. G.
Speaker 2: G I E. R.
Speaker 1: E and all that information will be there, and of
Speaker 1: course his book The Face on Mars is available on
Speaker 1: Amazon or wherever you get your books. The other thing
Speaker 1: is that he has a well no he doesn't have
Speaker 1: a audible version of it, but there's enough images in
Speaker 1: the gallery that you get a sense of what's going on.
Speaker 1: And it's amazing because he's able to remove the photoshop
Speaker 1: application that NASA has put on and extract a lot
Speaker 1: more detail, which is very I mean, Mark Carlotto can
Speaker 1: do that to a degree, but Gary's been practicing a
Speaker 1: lot longer, and it's it's a lot of work because
Speaker 1: sometimes you take a portion of the face off or
Speaker 1: some of the Sidonia region and you can't get it back.
Speaker 1: It's just amazing that they're doing this, you know, they
Speaker 1: do it with a lot of portions of the planet.
Speaker 1: I have a photograph that was leaked that I talked about.
Speaker 1: It's by a lake. It's Atlantis Chaos portion of Mars,
Speaker 1: and there's a city by the lake, and it's so revealing.
Speaker 1: You can actually see roads and buildings and steeples and
Speaker 1: things like that. It's really really strange. I always joke
Speaker 1: that I've had it for about four or five years.
Speaker 1: When I show it to an archaeologist, they go, well,
Speaker 1: how much have they excavated? And I don't tell them
Speaker 1: it's Mars. They tell them it's a place on Earth.
Speaker 1: And when I say that, I say it's Mars. They quiet,
Speaker 1: They get very quiet all of a sudden, which is fascinating.
Speaker 1: So I fully expect that when NASA is outed, and
Speaker 1: they can be added by China, or they can be
Speaker 1: added by Russia or by India. All three of those
Speaker 1: countries have very active space programs, although I'm not familiar
Speaker 1: with a rover that is active with Russia or with India.
Speaker 1: Those are extremely expensive. The rovers that America has there
Speaker 1: are a couple of billion each, I mean billion with
Speaker 1: a bee, and I don't think I don't think other
Speaker 1: people other than China and America can afford it. So
Speaker 1: but when you see rover footage, I mean, they're doing
Speaker 1: everything they can to keep that thing away from ruins,
Speaker 1: but they bump into them all the time. So this
Speaker 1: is a real problem. This is a serious, serious problem
Speaker 1: of this cover up, and I fully expect. I mean,
Speaker 1: I can't imagine the administration of NASA keeping their jobs
Speaker 1: when they're outed, when they are showing photographs of ruins,
Speaker 1: and Manassa goes, well, we didn't know they were there.
Speaker 1: I mean, they're going to be humiliated, and rightly so.
Speaker 1: We're spending our tax dollars on their joke of an
Speaker 1: experiment to let us think that there's only microbes and
Speaker 1: bits and places where there's a little bit of water.
Speaker 1: There's entire forests that we didn't even talk about today
Speaker 1: on Mars that have been documented. So anyhow, I hope
Speaker 1: you enjoyed that. Remember to go to Facebook, go to
Speaker 1: Earth Anxious and see the footage of the presentation. All right,
Speaker 1: that's it for this program. I want to think my
Speaker 1: guest today, Gary Lazier, coming to us from Colorado as always,
Speaker 1: the team of Gail Tour, Mark Foster, and Feya Pavar.
Speaker 1: You guys rock all right, take care of you well,
Speaker 1: and we will talk to you again really soon.
Speaker 4: All