Speaker 1: There are countless movies made in in concert and consultation
Speaker 1: with the CIA for many decades. There's a lot of
Speaker 1: different levels to this, you know. You can look at
Speaker 1: for example, Ian Fleming himself. The character of Bond was
Speaker 1: used as a Cold War symbol and as a form
Speaker 1: of Cold War propaganda, and so when Fleming was writing
Speaker 1: his stories, he was basing a lot of the Bond
Speaker 1: novels on real operations that he had been involved in,
Speaker 1: like Operation a Golden Eye, which was an anti Franco
Speaker 1: of anti fascist operation. You have Operation Mincemeat which he
Speaker 1: was involved in, which they've made films based on that.
Speaker 2: So YouTube a X it is at Jay Dyer and Caleb.
Speaker 2: I don't if you're going to throw all three books
Speaker 2: up there or just the most recent one. I don't
Speaker 2: know how Jay has time to do comedy. He's been
Speaker 2: writing so many damn books and doing so much work
Speaker 2: in his own educational training. Jay, welcome to the program.
Speaker 3: Thank you, doctor Drew. Glad to be here with you.
Speaker 2: I seriously, I don't know how you have time for
Speaker 2: comedy with all the writing and all the training you've
Speaker 2: been doing. But I'm glad you're here doing all of it.
Speaker 2: Thank you.
Speaker 1: Yeah, well, you know, that was not something that I
Speaker 1: really thought I would end up doing. But I think
Speaker 1: the way that media works now, you kind of do
Speaker 1: your own thing, and then the more of your personality
Speaker 1: that comes forth, you just kind of roll with it.
Speaker 3: And so I ended up kind of falling.
Speaker 1: In line with a lot of the comedian podcasts and
Speaker 1: doing shows with them and enjoying it quite a bit.
Speaker 1: And so I ended up writing for Sam Hi the
Speaker 1: last year for his show. So it's been a roller
Speaker 1: coaster ride. It's a lot of fun, but also like
Speaker 1: doing you know, the educational stuff. On the other hand
Speaker 1: as well.
Speaker 2: Sam is another bright guy, and that is not lightlifting
Speaker 2: writing for Sam, I assume. But let's talk about Sam
Speaker 2: is a really smart guy. Let's talk about Hollywood and
Speaker 2: the concerns and observations you have as somebody trained in
Speaker 2: certain kinds of psychology to how people are manipula. Well,
Speaker 2: let's talk about that first. Are you worried about as
Speaker 2: I am. I'll turn over my cards. The behavior of crowds.
Speaker 2: I feel like we have been a tendency to mob
Speaker 2: action that emerges periodically in history, whether you start with
Speaker 2: seventeen ninety France or you know, nineteen thirty two Germany,
Speaker 2: whatever it is, we're in one again. It feels like
Speaker 2: and there's lots of true believers flying around engendering chaos.
Speaker 2: Is this what's happening? Are you concerned about that?
Speaker 3: Yes? You know, you say chaos, chaos for chaos, and
Speaker 3: don't you know it's just chaos. Depends on what you mean, though,
Speaker 3: I couldn't help me.
Speaker 2: I thought you were going to go I thought you
Speaker 2: were going to go into maximwell smart, so.
Speaker 1: I had to go straight Jordan Peters. The word chaos
Speaker 1: triggers Peterson in my head. But you know, like you
Speaker 1: actually I studied the French Revolution pretty in depth as
Speaker 1: well when I was an undergrad and a professor who
Speaker 1: was a specialist in that. And you're right, I think
Speaker 1: to make the parallels between mob psychology, which was really
Speaker 1: kind of I guess a modern thought getting collated, I
Speaker 1: guess you could say, with socialism and communism and Marxism.
Speaker 1: But I just covered a book on my channel a
Speaker 1: few months ago by a He was an Allied psychologist
Speaker 1: during the time of World War Two.
Speaker 3: His name is Juice Mr.
Speaker 1: Lou and he wrote a book about mob psychology many
Speaker 1: many decades before, you know, doctor Malone talked about massformation,
Speaker 1: psychosis and this kind of stuff, and he said that
Speaker 1: he noticed that the socialist movements had really perfected this
Speaker 1: technique and quite a few chapters in that book that
Speaker 1: were applicable to Hollywood and the way Hollywood kind of
Speaker 1: forms attitudes and creates culture. Culture creationists so that we
Speaker 1: talk about a lot on my channel, but also kind.
Speaker 3: Of predicting what social media would do.
Speaker 1: And then when you get this sort of melding of fame, internet, fame,
Speaker 1: social media with the idea of Hollywood and influencers kind
Speaker 1: of being the new A listers and this kind of stuff,
Speaker 1: it's a very toxic, dangerous mix. But it's also something
Speaker 1: that social engineers have studied to perfect in order to
Speaker 1: kind of control society.
Speaker 2: And do you are you seeing evidence of that kind
Speaker 2: of premeditated activity from Hollywood?
Speaker 1: Yeah, you know, one of the things that I focused
Speaker 1: on in my grad work, and I ended up just
Speaker 1: kind of putting that work into more of a popular
Speaker 1: readable book rather than something that was you know, academic
Speaker 1: that nobody's ever going to read, you know, this master's
Speaker 1: thesis or anything like that.
Speaker 3: It's just going to sit there on a shelf.
Speaker 1: I thought, why not take this information and kind of
Speaker 1: make it accessible and readable. And I think everybody's probably
Speaker 1: familiar with the way Hollywood uses product placement. You know,
Speaker 1: that's a classic style of getting people to purchase a
Speaker 1: product because James Bond was associated with it or.
Speaker 3: Something like that.
Speaker 1: But it gets a little more nefarious as you get
Speaker 1: deeper into subliminals. I think everybody's sort of that kind
Speaker 1: of stuff. But beyond that, there's also war propaganda. There
Speaker 1: are countless movies made in in concert and consultation with
Speaker 1: the CIA from many decades. That was something that was
Speaker 1: done a long time ago, more on the down low,
Speaker 1: from the nineteen forties, even back to the nineteen twenties.
Speaker 1: Howard Hughes, you know, he would make war propaganda films.
Speaker 1: The OSS would work with Hollywood to make certain screenplays
Speaker 1: and films, and even a less actors have been famous spies.
Speaker 3: All over the place. Yeah, it was in those films, exactly. Absolutely.
Speaker 1: Jimmy Stewart was an FBI produced movies. You have people
Speaker 1: like Julia Child, the famous chef TV chef. She was
Speaker 1: actually an OSS operative, which people don't know that before
Speaker 1: she was a chef. But yeah, well you know, in
Speaker 1: the third book, actually it did a whole chapter just
Speaker 1: on this because it was so fascinating to see all
Speaker 1: these people that people didn't know about. Sterling Hayden. He
Speaker 1: was an operative for the OSS. John Ford made films
Speaker 1: in concert with the OSS. And then as you get
Speaker 1: up into the seventies and eighties, same thing going on there,
Speaker 1: even to the point of, you know, Ben Affleck recently
Speaker 1: was touting the CIA and how glad he was to
Speaker 1: work with him to make films like Argo. You have
Speaker 1: films like Zero Dark thirty all being made openly with
Speaker 1: the CIA. So what used to be kind of a secretive,
Speaker 1: you know, behind closed doors things, is now kind of an.
Speaker 2: Open ster hates Sterly holloways Wennie the Pooh, who was
Speaker 2: Sterly Hayden.
Speaker 1: Well, he was one of the A listers back in
Speaker 1: the forties, very very prominent, kind of you know up
Speaker 1: there with like Humphrey Boguard and Cary Grant and Carry Grant.
Speaker 3: By the way, it was a spy too, he would
Speaker 3: he would spy for us.
Speaker 2: So I want to I want to I want to
Speaker 2: push back a little bit and say because I've been
Speaker 2: around all this stuff too for a long time, and
Speaker 2: whenever somebody's producing anything for media consumption, they just they
Speaker 2: they get kind of captured by what works. They kind
Speaker 2: of ab tests a lot, and then what works, they
Speaker 2: go and they launch into it, and then they builds momentum.
Speaker 2: So it's rarely, in my experience, premeditated. And the same
Speaker 2: thing with the CIA involvement. They get the CIA in
Speaker 2: and the FBI and and the military and to tell
Speaker 2: us how it really happens, to give us the dal
Speaker 2: we want this to be authentic, and then they don't
Speaker 2: understand that with that authenticity comes a bunch of subliminal
Speaker 2: messages that the CIA make sure they put into their films.
Speaker 2: So in a way, they're just useful idiots.
Speaker 1: Yeah, I mean, I don't want to be overly, you know, simplistic,
Speaker 1: as if it's all or nothing, as if everyone's part
Speaker 1: of a grand conspiracy. I certainly don't believe that. I
Speaker 1: think there's a lot of different levels to this. But
Speaker 1: you know, there's a lot of things on record that
Speaker 1: have come out, things that were declassified the National Archives,
Speaker 1: things like that that I've covered in the third book.
Speaker 1: But you know, you can look at, for example, Ian
Speaker 1: Fleming himself. What I focused on in my grad work
Speaker 1: was the way that the character of Bond was used
Speaker 1: as a Cold War symbol and as a form of
Speaker 1: Cold War propaganda. And so when Fleming was writing his stories,
Speaker 1: he was basing a lot of the Bond novels on
Speaker 1: real operations that he had been involved in, like Operation
Speaker 1: a Golden Eye, which was an anti Franco of anti
Speaker 1: fascist operation. You have Operation Mincemeat which he was involved in,
Speaker 1: which they've made films based on that. So there's different
Speaker 1: levels to this, but there's also that level of propaganda
Speaker 1: which I think most people can kind of connect with,
Speaker 1: and a lot of times.
Speaker 3: That's the big blockbusters.
Speaker 1: Usually blockbusters have a decent amount of propaganda inserted into them,
Speaker 1: but like you said, you know, it's not every director
Speaker 1: or every person being you know in some some kind
Speaker 1: of agent or something like that, and so I think.
Speaker 3: It's more sparse than that.
Speaker 1: But you know, Edward Burneese said that Hollywood is the
Speaker 1: greatest engine of propaganda the world has ever seen, and
Speaker 1: he put that in his famous book Propaganda. So they've
Speaker 1: known this for a long time, and it's just a
Speaker 1: tool that I think has been utilized and are often,
Speaker 1: but it's not, you know, something that always is making
Speaker 1: everybody an agent or something.
Speaker 2: No, listen, you look no further than how COVID. You
Speaker 2: know how the news media and the various outlets were
Speaker 2: used during COVID, and then then they marched on into
Speaker 2: the social media world and tried to manipulate that and
Speaker 2: now this, thank god, some pushback, but it's it all
Speaker 2: seems like business as usual to me. And they get
Speaker 2: compliance by various meats, paying people off, mustling them, you know,
Speaker 2: sort of inserting stuff, you know, without their knowledge into it.
Speaker 2: But it be that as it may. I want I
Speaker 2: want to ask two things, what are the differences amongst
Speaker 2: the three books? Why did you need to write three?
Speaker 2: And what am I going to learn from each? And
Speaker 2: then I want to go back to the Juice Borloo
Speaker 2: and the Madness of Crowds. So let's talk about your
Speaker 2: books first.
Speaker 3: Yeah, thank you.
Speaker 1: So the first book was something that came about that
Speaker 1: I didn't expect it to be a book.
Speaker 3: So I've been writing a lot of essays and.
Speaker 1: Excuse me, treatments of film from a more of an
Speaker 1: academic perspective, or if you take a college class. You'll
Speaker 1: you'll do what's called a close reading, where you kind
Speaker 1: of read Dostievsky or somebody like that at different levels
Speaker 1: and try to decode it and pick out the symbolism
Speaker 1: and the meaning. And so I sort of started writing
Speaker 1: movie analyses in the same way. Eventually a publisher reached
Speaker 1: out and said, hey, you should do it. You should
Speaker 1: do a book with the style of analysis that you do.
Speaker 1: That's really the first one, which mainly focused on the
Speaker 1: big director, So I focused on Kubrick. I focused on Hitchcock, Spielberg,
Speaker 1: a lot of the big names and their blockbusters and.
Speaker 3: What was good and what was bad. It's not all
Speaker 3: a critique.
Speaker 1: It's just sort of an analysis of the way that
Speaker 1: symbols are used in film to program us, both on
Speaker 1: a conscious and in a subconscious level.
Speaker 3: So it's a lot of different things.
Speaker 1: There's you know, Carl Jung style union analysis comes into
Speaker 1: it at times, propaganda, the history behind this or that film,
Speaker 1: and relationship to Ucia consultation or whatever.
Speaker 3: So it's a lot of different things.
Speaker 1: The second film focused thematically on different topics within a
Speaker 1: bunch of different films. So I talked about the relationship
Speaker 1: of Hollywood to organize crime, what's real and what's not
Speaker 1: real between various mob movies, and how you know, we
Speaker 1: kind of were sold the picture of the villain being
Speaker 1: the good guy through a lot of mafia movies, and
Speaker 1: so now we kind of look to the you know,
Speaker 1: Tony Soprano is the good guy, and that kind of
Speaker 1: stuff's a lot of inversion when it comes to morals
Speaker 1: and ethics. And then in the third book, because I'd
Speaker 1: had so many people say over the years, hey, you
Speaker 1: never did this movie. You never did Christopher Nolan movies,
Speaker 1: you never did Marvel movies.
Speaker 3: I'm not a huge Marvel fan.
Speaker 1: But I decided that, well, they're the biggest blockbusters the
Speaker 1: last twenty years. So if I say the blockbusters are
Speaker 1: a lot of propaganda, I guess I should cover them.
Speaker 1: So first eighty pages is Christopher Nolan and Union archetypes
Speaker 1: and Marvel analysis. I have a really extensive sixty page,
Speaker 1: seventy page critique of feminist some in Hollywood and how
Speaker 1: there's a sort of a presentation that women are all
Speaker 1: now supposed to be what men typically are, which I
Speaker 1: think is kind of an intentional, subversive, subversive approach to storytelling.
Speaker 1: And then I get into fun stuff. There's comedic stuff.
Speaker 1: There's b movies that we cover that I thought were
Speaker 1: kind of funny. And then I get into relationship between
Speaker 1: CIA in Hollywood and how Hollywood is presented in times
Speaker 1: in apocalypse films, which I think is fascinating because Hollywood's
Speaker 1: kind of dying. It's on its own little apocalypse, and
Speaker 1: then it's turning into this other thing of influencers and
Speaker 1: you know game basically gaming is kind of taking over unfortunately.
Speaker 2: But yeah, so lightlifting, like decoding Dostyevsky. So's there sounds
Speaker 2: sounds mind evangel just I just trying to read Dostoevsky's
Speaker 2: and penetrate it as hard enough.
Speaker 3: So well, it's not that hard. Fascinating example, I just
Speaker 3: thought of an example. It's not as bad as.
Speaker 2: Suf It's not that hard, well.
Speaker 3: At all, challenge.
Speaker 2: Yeah, but it all sounds very fascinating and worth. I mean,
Speaker 2: it's sort of historically significant. I'm glad you're putting it
Speaker 2: down for the record because when people do look back
Speaker 2: at this time, film is one of these things that
Speaker 2: is you know, I look at it all as just
Speaker 2: these technologies that come along, and you know, but before
Speaker 2: there was stage and then stage lights, and then there
Speaker 2: were then there was amplification, and then this celluloid thing
Speaker 2: comes along, and then this television thing comes along, and
Speaker 2: then vinyl records, and these are all technologies that get
Speaker 2: exploited in massive ways by people that produce content for
Speaker 2: these things. What I find really interesting is they always
Speaker 2: tend to go towards it's it's sort of performers that
Speaker 2: kind of use it, uh to it to put their
Speaker 2: material out far and wide, and then it gets hidden
Speaker 2: or sort of protected under the sheath of art. It's art,
Speaker 2: don't you understand? It's art, But it really to me
Speaker 2: just looks like, yeah, there's artists involved, but it's it's
Speaker 2: a commercial enterprise to taking advantage of a new technology,
Speaker 2: and then the computer and then the social media and
Speaker 2: here we are down the road.
Speaker 3: Yeah.
Speaker 1: I think the artists are kind of like products, uh
Speaker 1: and they do, you know, sell what's on.
Speaker 2: My bed, but but they hide behind it. Oh, something's
Speaker 2: in your bed and somebody says something on there, so
Speaker 2: so I don't know, I don't see.
Speaker 1: It out on the bed. It's a dead body back there,
Speaker 1: so I guess.
Speaker 2: Yeah, it's it's uh we'll put you on the Travel
Speaker 2: channel as some sort of phantom flying around. I can't
Speaker 2: quite see it. Oh good, all right? Uh and and
Speaker 2: but I I really think they they use art as
Speaker 2: a as a veil to do whatever they want to do.
Speaker 2: So you can't you can't. You know, it's it's it's
Speaker 2: I'm creating art. It's pretty art. You can't criticize it,
Speaker 2: all right, you don't understand. No, they're creating a commercial enterprise.
Speaker 2: But let me go back to Juice More Loop because
Speaker 2: I I, and I'm sure you're aware of there's a
Speaker 2: there's a elaborate sort of cartoon online that goes through
Speaker 2: all of Juice More Lou's theories. Right, you've seen that?
Speaker 2: Have you seen that?
Speaker 3: No, it's very good, it's very good. Yeah.
Speaker 2: Oh well, well, there's somebody that did a whole sort
Speaker 2: of it's not really juicemr Loo for dummies, but it
Speaker 2: is sort of that, and it has a whole visual
Speaker 2: attached to it if somebody sort of sketching things out
Speaker 2: as his theories are presented. It's very good. It's very good.
Speaker 2: I recommend it. Just look up go to YouTube, look
Speaker 2: up Juice mor Loop. But it sent me I guess
Speaker 2: I was. I already had read Extraordinary Popular Delusions and
Speaker 2: the Madness of Crowds. It sent me back to read
Speaker 2: Lebon's The Crowd again, and then I got downstream to
Speaker 2: a book called The True Believer, which I find is
Speaker 2: one of the most fascinating because I think, I think
Speaker 2: you'll agree with me that these mass formations or whatever
Speaker 2: you want to call them, have about ten or twenty
Speaker 2: percent of the crowd that is true believer. They're they're
Speaker 2: really bought into this stuff, and they're the ones that
Speaker 2: propagate some of these things. And this I think the
Speaker 2: guy was like a it's like an engineer or something.
Speaker 2: He was not trained in psychology, was not trained in anything.
Speaker 2: He just wrote down his observations of the behavior of crowds.
Speaker 2: And man, I think he just nails The True Believer.
Speaker 2: He just nails it and nails it and nails it.
Speaker 2: I recommend it most highly. I've read it like three
Speaker 2: times now. But what are your thoughts on this this
Speaker 2: construct and why is it coming up again? And you know,
Speaker 2: why did why did the left grab on to it
Speaker 2: so hard? Since the Jacobins give me your thoughts.
Speaker 1: Yeah, I think that it's been perfected from the vantage
Speaker 1: point of social engineering and you know, steering and controlling
Speaker 1: the crowd. And this is again what Walter Lippmann wrote
Speaker 1: about when he talked about public opinion.
Speaker 3: Coming out of the Tavistock Institute.
Speaker 1: He figured out that you could really steer the masses
Speaker 1: by giving them the impression that, well, if you're not
Speaker 1: in with the end group with the high percentage of well,
Speaker 1: the majority of the public supports the war, you don't
Speaker 1: want to be seen as an outsider. So they were
Speaker 1: really figuring this stuff out back in the nineteen twenties,
Speaker 1: and then they perfected that technique with what we have today.
Speaker 1: And of course, you know, after the koof as I
Speaker 1: call it, from twenty to twenty to twenty twenty two,
Speaker 1: they were using, as Harvard admitted, Harvard style psychological warfare techniques.
Speaker 1: The Canadian government admitted they were using psyops to really
Speaker 1: get everybody on board with the mass formation psychosis. So
Speaker 1: I think that they've applied these techniques to the way
Speaker 1: that a listers and celebrities had that type of power,
Speaker 1: you know, decades ago, and now it's the influencer. Now
Speaker 1: it's the you know, the social media person that's taking
Speaker 1: that role on and I think we've seen a lot
Speaker 1: of phony, fake you know, the social media people that
Speaker 1: push whatever the establishment wants. Sometimes these people are boosting
Speaker 1: in the algorithm. So that's where we are now. Is
Speaker 1: just the new instantiation of the same tricks and tactics.
Speaker 2: What's the antidote? What do we have to do here?
Speaker 2: I feel like raising awareness of it, calling it out,
Speaker 2: mocking it work small is better than anything. What do
Speaker 2: we do comedy or into comedy now? Maybe maybe more imitations,
Speaker 2: more and more impersonations. We just a love life?
Speaker 4: Is this Doctor Drew and the love line just probably
Speaker 4: the best, probably the best love line on right now.
Speaker 4: We're going to make sex great again, Doctor Drew, You
Speaker 4: and I together probably going to make it great probably.
Speaker 3: Yeah.
Speaker 1: I mean, I think ridicule is a really powerful tool
Speaker 1: for mocking these types of things.
Speaker 3: You know, when you go back to.
Speaker 1: Ten years ago, one of the reasons that they really
Speaker 1: had to institute a lot of the censorship online was
Speaker 1: that the left was becoming so sensitive when when they
Speaker 1: were being made fun of that they just had to
Speaker 1: shut down memes, They had to shut down anything that
Speaker 1: was perceived as mocking them because it's quote hurtful. Of course,
Speaker 1: again that's very subjective in terms of what's hurtful in
Speaker 1: regard to free speech, and there's already laws in place
Speaker 1: for that, so they had to really I think clamp down.
Speaker 3: We saw that as well with the COVID mandates and
Speaker 3: doctor doctor Fauci. It's all gunstantly getting. You know, could
Speaker 3: take to I am sayad sayatzayats.
Speaker 1: And then everybody just made fun of Fauci. There was
Speaker 1: a remember when they said that he was the sexiest
Speaker 1: man alive.
Speaker 3: I mean, it's like what he's like Actually, they.
Speaker 1: Were putting out a poll He's the sexiest man alive,
Speaker 1: and it's like people just made fun of this, and uh,
Speaker 1: I think that was a huge, you know, blow to
Speaker 1: the system. And so that was also why they needed
Speaker 1: the you know, Twitter files collusion between government and in
Speaker 1: big tech to shut this stuff down because they know
Speaker 1: the comedians are the tip of the spear when it
Speaker 1: comes to moving the Overton window back towards rationality.
Speaker 2: Well, they were absent during COVID. That was that was
Speaker 2: one of the things I kept saying. If you're looking
Speaker 2: at old the streams around, I was like, where are
Speaker 2: the comedians. What happened here? Corolla never sin Yeah, I know.
Speaker 2: I Corolla kept saying, you're a bunch of postings, You're
Speaker 2: a bunch of shoot what are you doing? If we stopped,
Speaker 2: we stop following you, this thing would end tomorrow. Uh.
Speaker 2: And he's been the same ever since and was the
Speaker 2: same before, trust me. But it's very interesting, and we
Speaker 2: live in a time where we have to, you know,
Speaker 2: because persuasion works, even when you know somebody is hypnotizing
Speaker 2: you or persuading you or brainwashing you. We have to
Speaker 2: come up with techniques to kind of, you know, tie
Speaker 2: ourselves to the mast. We literally have to tie ourselves
Speaker 2: to the mast, and we have to tie a bunch
Speaker 2: of people there with us so we are not taken
Speaker 2: by the sirens song. And I agree, I think mockery
Speaker 2: is one of the antidotes, but we got to come
Speaker 2: up with a bunch of others.
Speaker 3: Absolutely.
Speaker 1: I mean, I think just presenting you know, logical refutations
Speaker 1: and critiques, which is something.
Speaker 3: That we're big on on my channel.
Speaker 1: You know, we do a lot of debate, reviews, do
Speaker 1: a lot of analysis, and that has a lot of effect.
Speaker 1: I think it's very powerful with people who haven't lost
Speaker 1: their mind, who are still rational, who are still sensible.
Speaker 1: So we really push learning basic logical fallacies to recognize
Speaker 1: when you're being propagandized, when the left is giving you
Speaker 1: bad arguments.
Speaker 2: It's great if we can just get that seventy percent
Speaker 2: in the middle. There up up to speed to be amazing. Well, listen,
Speaker 2: I appreciate what you're doing. I love talking with you.
Speaker 2: I know dubtas talk to you again. At some point
Speaker 2: I am immediately subscribing to your YouTube channel because this
Speaker 2: stuff all fascinates me. That's a at, Jay Dyer. Is
Speaker 2: there somewhere else?
Speaker 1: I go for the YouTube Now, that's my YouTube and
Speaker 1: then you can find me in the same name everywhere else.
Speaker 2: Is it out as a pod also, not that really
Speaker 2: matters anymore.
Speaker 1: It is. It's on iTunes in terms of podcasts, but
Speaker 1: if you want to get the book, it's on my
Speaker 1: website Jasonalysis dot com.
Speaker 2: Great, Jay, thank you for joining me us. Talk to
Speaker 2: you soon.
Speaker 3: Thank you absolutely