Well, so will you, for our listeners, because it is fascinating, will you give us a little bit of your background, your journey into the work that you do, and then maybe some of those moments that happened that changed some of the trajectory of your life?

Yeah, so I, you know, when I was a kid, I just happened to be blessed with this artistic talent.

I was always a kid, you know, in the art class.

I mean, I used to have a little cottage industry, you know, doing kids' art projects and getting, you know, 25 cents for it.

And I figured, go with your strengths.

God gave me this gift.

Like, why fight it, right? So I went to Pratt in Brooklyn.

Do you have any ideas for us or how do you anchor? What, what's the worldview that you kind of try to see this stuff through to make sure you're not getting bamboozled?

And then in what way do you think it's spiritual?

Wow.

Well, I had an experience two years ago.

My partner had a hemorrhagic stroke and she almost died.

I thought she was dying in my arms.

And she went into a coma, and she had non-combulsive seizures.

And at one point, she came out of this state of catatonic state and started laughing.

Would you be able to tell us kind of what she experienced during

Tell us about that trajectory.

Yeah, so as a young man, I started, I got out of art school.

I went to Pratt in Brooklyn, and I tried to make it as a, a fine artist, an editorial artist, and I just, I just didn't have the, the depth or the, um, the wisdom or the, even the talent at that time.

So- I got this job in advertising and, 'cause I needed a job.

And, um, that time in the '80s, advertising world was very lucrative place to be, and I, I s- you know, I, I worked for a studio for a year, and then I started my own studio, and I worked for all the Fortune 500 companies.

And I was making a lot of money.

I was successful.

So tell us about that work and how you came to start working with CJ Hopkins.

But for people who aren't familiar with you, anything you want to tell us about, uh, your background and the work, uh, you do, particularly the dissident, uh, art?

Yeah.

Well, you, you covered it pretty good.

I mean, I got into the game a little late 'cause I started in advertising and, um, I was an advertising illustrator, advertising designer, worked for all the big Madison Avenue guys, the Mad Men, Fortune 500 companies.

I had, I had my own studio in New York for 10 years.

And I was making a lot of money, so, you know, it was [laughs], it was a good run in the '80s to be in advertising.

But, um, I became disenchanted when I worked on this campaign called the Joe Camel campaign, and people might remember it.

Um, th- thoughts, uh, on that?

Yeah.

So it was made by the Obamas, who, you know, decided to start making movies after they got out of politics.

That's not a coincidence, you know.

They know that, uh, politics is downstream from culture, so you got, you know, you inform politics by creating a culture, which they've been s- very successful doing.

Anyway, I knew, I knew going in what this thing was gonna be, right? This doomsday porn where you're blaming it o- all the problems you have in your life are blamed on the political right.

It was political messaging.

It was pre-programming.

Cardiff: borrow better.

Yes.

And the defilement of God and the dishonoring of God, and the...

And we see the, um, you know, the result.

(laughs) Just look around you.

I mean, it's like there's demons everywhere.

And there's demons in high places and low places.

And, and, you know, as society rots from the top down, I think it starts with these people who just, who design these so-called utopias for us, like the AI post-human utopia.

That's it.