[00:00:00 - 00:00:07] Valais title, Messengers of Deception, bears a curious resemblance to J. Edgar Hoover's [00:00:07 - 00:00:09] Masters of Deceit. [00:00:09 - 00:00:12] There the boogeyman was communism. [00:00:12 - 00:00:17] In Valais book we are told the new boogeyman is UFO phenomena. [00:00:17 - 00:00:20] Who chose the title for Valais book? [00:00:20 - 00:00:26] Was it Valais or the mysterious Major who is so helpful in guiding Valais down these [00:00:26 - 00:00:29] new avenues of speculation? [00:00:29 - 00:00:35] I believe that Valais, whether wittingly or unwittingly, is himself a messenger of deception [00:00:35 - 00:00:42] and has become the spearhead of a conscious effort to sow even deeper confusion in society [00:00:42 - 00:00:45] regarding UFOs. [00:00:45 - 00:00:49] We might say it is an effort foredoomed to failure. [00:00:49 - 00:00:56] The collective overmind of our species is the source of the UFO and its designs cannot [00:00:56 - 00:00:59] be deflected or turned aside. [00:00:59 - 00:01:05] Its viewpoint is one of thousands of years and its means, visionary and charismatic belief [00:01:05 - 00:01:13] systems which act to restore the balance between understanding of and reverence for the universe, [00:01:13 - 00:01:19] is a message more powerful than any offered by the profane materialist societies that [00:01:19 - 00:01:26] have grown so foolish as to imagine themselves the stewards of human destiny. [00:01:26 - 00:01:32] Everybody alone and each of us individually is the steward of human destiny. [00:01:32 - 00:01:37] This is the real meaning of the UFOs and the experiment at La Chorrera. [00:01:37 - 00:01:44] The UFOs are the most powerful and most powerful species in the universe. [00:01:44 - 00:01:49] They are the most powerful species in the universe. [00:01:49 - 00:01:54] They are the most powerful species in the universe. [00:01:54 - 00:01:59] They are the most powerful species in the universe. [00:01:59 - 00:02:04] They are the most powerful species in the universe. [00:02:04 - 00:02:10] Chapter 21 - Open Ending [00:02:10 - 00:02:18] My own ideas concerning the mechanics by which the Oversoul creates the UFO encounters might [00:02:18 - 00:02:21] take the following form. [00:02:21 - 00:02:28] Dimethyltryptamine, when smoked, snuffed, or injected, induces a brief and extremely [00:02:28 - 00:02:36] intense psychedelic experience whose overwhelming sense of contact with the other is unparalleled. [00:02:36 - 00:02:43] For the last decade or so, this extraordinary property of DMT has made it seem to many who [00:02:43 - 00:02:49] sought a chemical basis for schizophrenia to be a likely candidate for the long sought [00:02:49 - 00:02:51] schizotoxin. [00:02:51 - 00:02:55] Studies have proved inconclusive, however. [00:02:55 - 00:03:01] DMT concentration has not been proven to differ significantly in schizophrenic and normal [00:03:01 - 00:03:02] controls. [00:03:02 - 00:03:08] Studies have established the presence of DMT in the human body, however the origin and [00:03:08 - 00:03:12] significance of the DMT is unknown. [00:03:12 - 00:03:18] Although it may reflect endogenous synthesis, it could also result from diet, bacterial [00:03:18 - 00:03:23] byproducts, human laboratory error, or other sources. [00:03:23 - 00:03:30] Bearing in mind the bizarre power of the DMT experience, its presence and unknown role [00:03:30 - 00:03:37] in human metabolism, add one more fact, the strange aura of suggestibility that can precede [00:03:37 - 00:03:43] the onset of the intense hallucination phase of the DMT experience. [00:03:43 - 00:03:50] This period of suggestibility may last 15 seconds to a minute and is a time during which [00:03:50 - 00:03:57] the assumptions which the experiment projects concerning the unusual shift of sensory input [00:03:57 - 00:04:00] acquires enormous power. [00:04:00 - 00:04:06] A few moments later, the power of the now numinous assumption overwhelms the consciousness of [00:04:06 - 00:04:13] the observer with a scenario that while totally bizarre and outre, nevertheless is somehow [00:04:13 - 00:04:20] a complete psychological fulfillment of the expectations formed in the few minutes of [00:04:20 - 00:04:24] transition that preceded the visionary engulfment. [00:04:24 - 00:04:30] What I am proposing is that something like this happens during a UFO close encounter [00:04:30 - 00:04:37] and the cause may very well be something which must be partially sought in the human organism. [00:04:37 - 00:04:43] Imagine a person wandering alone in unfamiliar country. [00:04:43 - 00:04:49] Suddenly there is a hackle raising sense of weirdness, then a feeling of numbness in the [00:04:49 - 00:04:54] limbs, followed by a clearing of vision and a loud crackling sound. [00:04:54 - 00:05:00] At this point, the sense of strangeness within and without the body would trigger a fear [00:05:00 - 00:05:02] reaction in most people. [00:05:02 - 00:05:08] The fear reaction causes a rapid and automatic search for a culturally validated explanation [00:05:08 - 00:05:14] of what is going on and an explanation will always be found. [00:05:14 - 00:05:21] It may range from "I am being bewitched by a demon" to "Surely it is a visitation of the [00:05:21 - 00:05:26] Holy Mother" to "My God, it must be a UFO!" [00:05:26 - 00:05:32] In each case, the abandonment of the ego to a culturally prescribed explanation of the [00:05:32 - 00:05:39] experience of the other causes the experience to exfoliate, exploit, and elaborate all the [00:05:39 - 00:05:44] themes that the culture's current myth of the other entails. [00:05:44 - 00:05:50] It is known that DMT binds preferentially to certain tissue when introduced into the [00:05:50 - 00:05:52] human body. [00:05:52 - 00:05:58] Is it not possible that we human beings are occasionally susceptible to a kind of visionary [00:05:58 - 00:06:06] seizure when, for reasons of stress or diet, these factors combine with psychodynamic factors [00:06:06 - 00:06:11] to initiate a sudden dumping of accumulated DMT? [00:06:11 - 00:06:17] Pheromones may play a part in this experience and isolation may be its trigger. [00:06:17 - 00:06:24] Whatever its cause, our conditioning as individuals causes the experience to plunge us into a [00:06:24 - 00:06:31] numinous scenario that reflects the deepest concerns and yearnings of the current culture [00:06:31 - 00:06:34] toward the other. [00:06:34 - 00:06:40] In our own time, this has given rise to the hope of friendly visiting extraterrestrials. [00:06:40 - 00:06:46] As late as 1917, the miracle at Fatima was interpreted worldwide as a manifestation of [00:06:46 - 00:06:48] the Virgin Mary. [00:06:48 - 00:06:53] Today, it would surely be hailed as an extraterrestrial contact. [00:06:53 - 00:06:59] If my suggestion regarding DMT were found to be correct, it would provide insight into [00:06:59 - 00:07:06] the way in which the cultural feedback thermostat explanation of UFOs put forth by Vallee and [00:07:06 - 00:07:09] others actually works. [00:07:09 - 00:07:15] Those people who experience the DMT seizure and are plunged into the current myth of the [00:07:15 - 00:07:23] other actually return as apostles of that myth, able to clarify and refine it, and by [00:07:23 - 00:07:30] those means to exert the tuning and control of historical development that may be the [00:07:30 - 00:07:34] purpose of the agency behind the UFOs. [00:07:34 - 00:07:41] Stress, generalized as an impending sense of historical crisis, may be the factor that [00:07:41 - 00:07:45] induces the UFO close contact experience. [00:07:45 - 00:07:52] As the historical crisis deepens, the number of contacts will increase until the atemporal [00:07:52 - 00:07:59] portion of the mass psyche has affected enough individuals that there is actually a turning [00:07:59 - 00:08:03] away from the stress-inducing course of action. [00:08:03 - 00:08:08] How well is the superego able to play the role of God? [00:08:08 - 00:08:15] Can it come in Saucerian splendor to save the world from the flames at the end of time? [00:08:15 - 00:08:20] Or can it only beckon and warn with visions and dire prophecy? [00:08:20 - 00:08:26] These are questions that we might answer if we diligently explore the states of mind that [00:08:26 - 00:08:29] DMT and psilocybin make available. [00:08:29 - 00:08:36] Perhaps the UFO encounters involve nothing more than an autonomous and negative psychic [00:08:36 - 00:08:43] complex able to emerge during the situation of unusual energy dynamics induced in the [00:08:43 - 00:08:45] psyche by psilocybin. [00:08:45 - 00:08:53] However, a different explanatory approach merges psyche and world by involving a continuum [00:08:53 - 00:08:58] whose modalities bisect each other with equal ease. [00:08:58 - 00:09:05] This is the approach which grants the phenomenological existence of the constructs seen in the stropharia [00:09:05 - 00:09:08] trance and in UFO encounters. [00:09:08 - 00:09:16] Indeed, the vast and dreamy world that we call imagination or the unconscious may merge [00:09:16 - 00:09:23] imperceptibly into autonomously existing worlds we would call hyperdimensional, indicating [00:09:23 - 00:09:30] the paradox of their simultaneous invisibility and their here and now-ness in the psilocybin [00:09:30 - 00:09:36] trance with a presence that belies the term hallucination. [00:09:36 - 00:09:42] Ahead of us lies the future where we can expect the ingression of the alternative dimension [00:09:42 - 00:09:44] to intensify. [00:09:44 - 00:09:49] It is therefore important for us to have a sense of the powers in that other world and [00:09:49 - 00:09:52] their shifting allegiances. [00:09:52 - 00:09:58] In a traditional society, our exploration of these matters would be firmly embedded [00:09:58 - 00:10:02] in the extant shamanic mythos concerning these forces. [00:10:02 - 00:10:09] Techniques, tried and true, would be available to fortify our psychic constitution. [00:10:09 - 00:10:15] Since we are members of a profane society whose relation to the unconscious is one of [00:10:15 - 00:10:25] estrangement, we have no such consolation, no dispelling ritual or words of proven self-empowerment. [00:10:25 - 00:10:31] By reason and intuition we must attempt to conquer the fears that attend journeys into [00:10:31 - 00:10:32] the unknown. [00:10:32 - 00:10:39] But reason and intuition need data with which to construct maps of reality. [00:10:39 - 00:10:45] If we outdistance the inflow of fact, we move beyond the safety zone of the conjuring rod [00:10:45 - 00:10:48] of intuition and reason. [00:10:48 - 00:10:56] For these reasons we move slowly and steadily; we are human factors in a multivariable equation [00:10:56 - 00:11:04] where the shift of unseen parameters can trigger large perturbations and resonances of unexpected [00:11:04 - 00:11:05] types. [00:11:05 - 00:11:11] Knowing this, and knowing how little we do know, we should be excused for this defense [00:11:11 - 00:11:18] of caution when taking to ourselves the visions which the Stropharia brings. [00:11:18 - 00:11:25] Carl Jung's Mysterium Cununtiones reminds us of the reality of the situation that ensues [00:11:25 - 00:11:31] once the psyche is hooked into making the transference to the alchemical or Saucerian [00:11:31 - 00:11:32] goal. [00:11:32 - 00:11:42] Jung, citing Gerhard Dorn, stresses that "the materialization of the stone is only a prologue [00:11:42 - 00:11:49] to the experience of the perfected self, qua self, in the state of illumination." [00:11:49 - 00:11:57] Jung wrote, "Though we know from experience that psychic processes are related to material ones, [00:11:57 - 00:12:04] we are not in a position to say what this relationship consists or how it is possible [00:12:04 - 00:12:05] at all. [00:12:05 - 00:12:12] Precisely because the psyche and the physical are mutually dependent, it has often been [00:12:12 - 00:12:21] conjectured that they may be identical somewhere beyond our present experience." [00:12:21 - 00:12:25] Of what does this relationship consist? [00:12:25 - 00:12:33] My own hunch, and it is only a hunch, is that an explicitly spatial dimension of a codimension [00:12:33 - 00:12:41] inclusive of our continuum allows a hologram of other realized forms of organization, far [00:12:41 - 00:12:48] distant, to become visible at certain levels of quantum resonance in the synaptic field. [00:12:48 - 00:12:55] These levels have been damped by selection in favor of more directly relevant lines of [00:12:55 - 00:12:59] information relating to animal survival. [00:12:59 - 00:13:07] Evolution does not reinforce selectively the ability of an organism to perceive at a distance, [00:13:07 - 00:13:14] since such an ability has no selective advantage unless the information it conveys falls upon [00:13:14 - 00:13:22] the receptors of an organism already sophisticated enough in its use of symbols to abstract concepts [00:13:22 - 00:13:27] for later application in different contexts. [00:13:27 - 00:13:35] Thus, these quantum resonances carrying intimations of events at a distance only begin to acquire [00:13:35 - 00:13:42] genetic reinforcement once a species has already achieved sufficient sophistication to be called [00:13:42 - 00:13:45] conscious and mind-possessing. [00:13:45 - 00:13:52] The use of hallucinogens can be seen as an attempt at medical engineering, which amplifies [00:13:52 - 00:13:58] for inspection by consciousness the quantum resonance of the other parts of the spatial [00:13:58 - 00:14:02] continuum holographically at hand. [00:14:02 - 00:14:10] This experience is the vision which the UFOs and psilocybin impart, visions of strange [00:14:10 - 00:14:19] planets, life forms, perspectives and societies, machines, ruins, landscapes. [00:14:19 - 00:14:27] The Hierophonies all unfold in the nuke stands that has all space standing in it like a frozen [00:14:27 - 00:14:29] hologram. [00:14:29 - 00:14:35] Thus, experimentation with hallucinogens by human beings and the rise in endogenously [00:14:35 - 00:14:41] produced hallucinogens as one advances through the primate phylogeny could both be due to [00:14:41 - 00:14:48] a slow focusing on the phenomenon of imagination, imagination being the deepening involvement [00:14:48 - 00:14:57] of the species with things beheld but not actually existing in the present at hand. [00:14:57 - 00:15:04] The conclusion such an idea makes necessary is that it is upon the ideological content [00:15:04 - 00:15:09] of specific visions that empirical attention should center. [00:15:09 - 00:15:17] What are the working details of the worlds whose presence impinges on ours so strongly? [00:15:17 - 00:15:24] What of the beings, sometimes confronted, often furtively sensed, who seem to have some [00:15:24 - 00:15:31] existence in a world of their own revealed by the psilocybin and in UFO contacts? [00:15:31 - 00:15:38] There may exist a vast communication network in the topological nature of things, a network [00:15:38 - 00:15:45] that becomes a fact only for those species or individuals who will but have the intelligence [00:15:45 - 00:15:48] enough to seek this vision. [00:15:48 - 00:15:53] It will by them be found to be persistent in the nature of things. [00:15:53 - 00:15:57] Alchemy thrives in a climate of such ideas. [00:15:57 - 00:16:04] To validate the idea of the worth of the visions of worlds at a distance, one must emerge with [00:16:04 - 00:16:11] some idea spawned by the visionary other but with a utility in the here and now. [00:16:11 - 00:16:17] The wave quantification of the I Ching is the only idea of this sort that I personally [00:16:17 - 00:16:19] have glimpsed in completeness. [00:16:19 - 00:16:25] It took years to elaborate and its relation to the here and now is still elusive. [00:16:25 - 00:16:28] Fragmentary themes abound. [00:16:28 - 00:16:29] Symbiosis. [00:16:29 - 00:16:36] Saucer lens vehicles whose possessors navigate the higher topological oceans in our heads. [00:16:36 - 00:16:40] All this could be transference and fancy. [00:16:40 - 00:16:47] In the classical sense of the word, the experimenter with hallucinogens pursues gnosis, privileged [00:16:47 - 00:16:55] knowledge concerning nature and vouchsafed by her in ecstasy. [00:16:55 - 00:17:25] The [00:17:25 - 00:17:31] history of consciousness is the halting exploration of the once irrational images and processes [00:17:31 - 00:17:34] met in dreams and trance. [00:17:34 - 00:17:41] Such images become concepts and discoveries as information flows through the multiple [00:17:41 - 00:17:48] continuum of being, seeking equilibrium yet paradoxically carrying everywhere images of [00:17:48 - 00:17:57] ways the flow toward entropy was locally reversed by this being or that society or phenomenon. [00:17:57 - 00:18:02] We are immersed in a holographic ocean of places and ideas. [00:18:02 - 00:18:06] We can understand this to whatever depth we are able. [00:18:06 - 00:18:11] The ocean of images and the intricacy of their connections is infinite. [00:18:11 - 00:18:18] It is perhaps why great genius proceeds by apparent leaps, because the revolutionary [00:18:18 - 00:18:27] idea which inspires the genius comes upon one complete, entire by itself, from the ocean [00:18:27 - 00:18:29] of mind. [00:18:29 - 00:18:35] History is the story of the search for the intuitive leap that will reveal the very mechanism [00:18:35 - 00:18:38] of that other dimension. [00:18:38 - 00:18:44] The need for such a leap for humanity will grow as we exhaust complexity in all realms [00:18:44 - 00:18:48] save the microphysical and the psychological. [00:18:48 - 00:18:54] My own method has been immersion in the images and self-examination of the phenomenon of [00:18:54 - 00:18:57] tryptamine hallucinogenesis. [00:18:57 - 00:19:04] This means taking Mr. Fairey's psilocybin and pondering just what this all may mean, [00:19:04 - 00:19:10] with confidence that as more people come to share this experience, time will deepen our [00:19:10 - 00:19:15] understanding, if not answer all questions. [00:19:15 - 00:19:21] For psilocybin argues that hallucinogens are windows into higher dimensions, that even [00:19:21 - 00:19:28] as a cone can yield circle, ellipse, or parabola to an act of two-dimensional sectioning and [00:19:28 - 00:19:35] yet remain intrinsically a cone, so reality is something that changes according to the [00:19:35 - 00:19:37] angle of regarding. [00:19:37 - 00:19:45] It argues that human beings are many forms over vast scales of time, that all life is [00:19:45 - 00:19:52] unified at some level, and all intelligence in the universe are but facets of the mystery [00:19:52 - 00:19:54] called humanness. [00:19:54 - 00:19:59] In probing the other, we shall always come back with images of ourselves. [00:19:59 - 00:20:04] In probing ourselves, we shall return with images of the other. [00:20:04 - 00:20:11] In the phenomenon of being itself, no less than in the phenomenon of the UFO encounters, [00:20:11 - 00:20:18] we are merely privileged observers of a relationship between what is naively called the world and [00:20:18 - 00:20:22] the transpersonal portion of the human psyche. [00:20:22 - 00:20:29] How this relationship came to be and what its limitations are, we cannot know until [00:20:29 - 00:20:34] we gain access to the transpersonal and atemporal part of the psyche. [00:20:34 - 00:20:41] Of what this consists, we do not know, and no hypothesis can be ruled out. [00:20:41 - 00:20:48] My hunch is that if we could really comprehend death, then we could understand the UFO, but [00:20:48 - 00:20:55] that neither can be understood unless they are looked at in the light of the question, [00:20:55 - 00:20:57] what is humanness? [00:20:57 - 00:21:04] I believe that the transpersonal component of the human psyche is not distinct from matter, [00:21:04 - 00:21:09] and that therefore it can literally do anything. [00:21:09 - 00:21:13] It is not subject to the will of any individual. [00:21:13 - 00:21:19] It has a will and an understanding that is orders of magnitude more sophisticated than [00:21:19 - 00:21:25] any one of the individuals who compose it as cells compose a body. [00:21:25 - 00:21:32] It has a plan, glimpsed by individuals only as vision or religious herophany. [00:21:32 - 00:21:36] Nevertheless, the plan is unfolding. [00:21:36 - 00:21:42] There will be many more UFO sightings, many more close contacts. [00:21:42 - 00:21:49] Our belief systems are undergoing accelerated evolution via increased input from the other. [00:21:49 - 00:21:55] Somewhere ahead of us, there is a critical barrier where we will at last have enough [00:21:55 - 00:22:03] data to obtain an integrating insight into the riddle of humanity's relation to the UFO. [00:22:03 - 00:22:10] I believe that as this happens, the childhood of our species will pass away, and when this [00:22:10 - 00:22:18] is done, we will be free to use the staggering understanding that humankind and the UFO are [00:22:18 - 00:22:19] one. [00:22:19 - 00:22:32] We wish to express our grateful appreciation to the many friends who aided this project. [00:22:32 - 00:22:38] In South America, we were assisted by Michael Lasky, Erica Neitfeld, Sarah Hartley, and [00:22:38 - 00:22:45] by the Naval del Sur de Colombia, whose vessels were often our only means of transportation. [00:22:45 - 00:22:50] The Ritoto people of La Chorrera and the Mission of La Chorrera were most hospitable, the former [00:22:50 - 00:22:57] providing invaluable access to local psychoactive plants. [00:22:57 - 00:23:00] Special thanks to Jerry Young for her flexibility. [00:23:00 - 00:23:06] Thanks to Paul Herbert, Roy Tuchman, and Will Noffke for putting Terrence on the air. [00:23:06 - 00:23:12] Ernie Waugh, Chris Adam, and Kat McKenna helped fine tune the manuscript. [00:23:12 - 00:23:17] We appreciate Faustine Bray for her focusing energy and for conceptualizing the talking [00:23:17 - 00:23:18] book. [00:23:18 - 00:23:23] Brian Wallace for his perseverance, and both of them for their good taste. [00:23:23 - 00:23:28] Finn again McKenna provides the mythology and mirror. [00:23:28 - 00:23:32] We thank Clea McKenna for being very smart and funny. [00:23:32 - 00:23:35] Thank the mushroom. [00:23:35 - 00:23:37] Terrence is his own voice. [00:23:37 - 00:23:40] Dennis plays himself. [00:23:40 - 00:23:42] Kat remembers herself. [00:23:42 - 00:23:46] Bertrand Davies is Guzman and plays piano. [00:23:46 - 00:23:49] Ritotos speak Ritoto. [00:23:49 - 00:23:52] Philip Porter plays sitar and electric guitar. [00:23:52 - 00:23:55] Roy Tuchman plays synthesizer. [00:23:55 - 00:23:59] John Kluwe provides laughing and "Aha!" [00:23:59 - 00:24:01] Chris Jackson does "Aha!" [00:24:01 - 00:24:05] Makeup by Theophrastus Honig. [00:24:05 - 00:24:06] Ritotos play the piano. [00:24:06 - 00:24:07] Bill Bowen plays drums. [00:24:07 - 00:24:08] Bill Bowen plays drums. [00:24:08 - 00:24:09] Bill Bowen plays drums. [00:24:09 - 00:24:10] Bill Bowen plays drums. [00:24:10 - 00:24:11] Bill Bowen plays drums. [00:24:11 - 00:24:12] Bill Bowen plays drums. [00:24:12 - 00:24:13] Bill Bowen plays drums. [00:24:13 - 00:24:14] Bill Bowen plays drums. [00:24:14 - 00:24:15] Bill Bowen plays drums. [00:24:15 - 00:24:16] Bill Bowen plays drums. [00:24:16 - 00:24:17] Bill Bowen plays drums. [00:24:17 - 00:24:18] Bill Bowen plays drums. [00:24:18 - 00:24:19] Bill Bowen plays drums. [00:24:19 - 00:24:20] Bill Bowen plays drums. [00:24:20 - 00:24:21] Bill Bowen plays drums. [00:24:21 - 00:24:22] Bill Bowen plays drums. [00:24:22 - 00:24:23] Bill Bowen plays drums. [00:24:23 - 00:24:24] Bill Bowen plays drums. [00:24:24 - 00:24:25] Bill Bowen plays drums. [00:24:25 - 00:24:26] Bill Bowen plays drums. [00:24:26 - 00:24:27] Bill Bowen plays drums. [00:24:27 - 00:24:28] Bill Bowen plays drums. [00:24:28 - 00:24:29] Bill Bowen plays drums. [00:24:29 - 00:24:30] Bill Bowen plays drums. [00:24:30 - 00:24:31] Bill Bowen plays drums. [00:24:31 - 00:24:32] Bill Bowen plays drums. [00:24:32 - 00:24:35] Bill Bowen plays drums. [00:24:35 - 00:24:36] Bill Bowen plays drums. [00:24:36 - 00:24:37] Bill Bowen plays drums. [00:24:37 - 00:24:38] Bill Bowen plays drums. [00:24:38 - 00:24:39] Bill Bowen plays drums. [00:24:39 - 00:24:40] Bill Bowen plays drums. [00:24:40 - 00:24:41] Bill Bowen plays drums. [00:24:41 - 00:24:42] Bill Bowen plays drums. [00:24:42 - 00:24:43] Bill Bowen plays drums. [00:24:43 - 00:24:44] Bill Bowen plays drums. [00:24:44 - 00:24:45] Bill Bowen plays drums. [00:24:45 - 00:24:46] Bill Bowen plays drums. [00:24:46 - 00:24:47] Bill Bowen plays drums. [00:24:47 - 00:24:48] Bill Bowen plays drums. [00:24:48 - 00:24:49] Bill Bowen plays drums. [00:24:49 - 00:24:50] Bill Bowen plays drums. [00:24:50 - 00:24:51] Bill Bowen plays drums. [00:24:51 - 00:24:52] Bill Bowen plays drums. [00:24:52 - 00:24:53] Bill Bowen plays drums. [00:24:53 - 00:24:54] Bill Bowen plays drums. [00:24:54 - 00:24:55] Bill Bowen plays drums. [00:24:55 - 00:24:56] Bill Bowen plays drums. [00:24:56 - 00:24:57] Bill Bowen plays drums. [00:24:57 - 00:24:58] Bill Bowen plays drums. [00:24:58 - 00:24:59] Bill Bowen plays drums. [00:24:59 - 00:25:00] Bill Bowen plays drums. [00:25:00 - 00:25:01] Bill Bowen plays drums. [00:25:01 - 00:25:02] Bill Bowen plays drums. [00:25:02 - 00:25:03] Bill Bowen plays drums. [00:25:03 - 00:25:04] Bill Bowen plays drums. [00:25:04 - 00:25:05] Bill Bowen plays drums. [00:25:05 - 00:25:06] Bill Bowen plays drums. [00:25:06 - 00:25:07] Bill Bowen plays drums. [00:25:07 - 00:25:08] Bill Bowen plays drums. [00:25:08 - 00:25:09] Bill Bowen plays drums. [00:25:09 - 00:25:10] Bill Bowen plays drums. [00:25:10 - 00:25:11] Bill Bowen plays drums. [00:25:11 - 00:25:12] Bill Bowen plays drums. [00:25:12 - 00:25:13] Bill Bowen plays drums. [00:25:13 - 00:25:14] Bill Bowen plays drums. [00:25:14 - 00:25:15] Bill Bowen plays drums. [00:25:15 - 00:25:16] Bill Bowen plays drums. [00:25:16 - 00:25:17] Bill Bowen plays drums. [00:25:17 - 00:25:18] Bill Bowen plays drums. [00:25:18 - 00:25:19] Bill Bowen plays drums. [00:25:19 - 00:25:20] Bill Bowen plays drums. [00:25:20 - 00:25:21] Bill Bowen plays drums. [00:25:21 - 00:25:22] Bill Bowen plays drums. [00:25:22 - 00:25:23] Bill Bowen plays drums. [00:25:23 - 00:25:24] Bill Bowen plays drums. [00:25:24 - 00:25:25] Bill Bowen plays drums. [00:25:25 - 00:25:26] Bill Bowen plays drums. [00:25:26 - 00:25:27] Bill Bowen plays drums. [00:25:27 - 00:25:28] Bill Bowen plays drums. [00:25:28 - 00:25:31] Bill Bowen plays drums. [00:25:31 - 00:25:32] Bill Bowen plays drums. [00:25:32 - 00:25:33] Bill Bowen plays drums. [00:25:33 - 00:25:34] Bill Bowen plays drums. [00:25:34 - 00:25:35] Bill Bowen plays drums. [00:25:35 - 00:25:36] Bill Bowen plays drums. [00:25:36 - 00:25:37] Bill Bowen plays drums. [00:25:37 - 00:25:38] Bill Bowen plays drums. [00:25:38 - 00:25:39] Bill Bowen plays drums. [00:25:39 - 00:25:40] Bill Bowen plays drums. [00:25:40 - 00:25:41] Bill Bowen plays drums. [00:25:41 - 00:25:42] Bill Bowen plays drums. [00:25:42 - 00:25:43] Bill Bowen plays drums. [00:25:43 - 00:25:44] Bill Bowen plays drums. [00:25:44 - 00:25:45] Bill Bowen plays drums. [00:25:45 - 00:25:46] Bill Bowen plays drums. [00:25:46 - 00:25:47] Bill Bowen plays drums. [00:25:47 - 00:25:48] Bill Bowen plays drums. [00:25:48 - 00:25:49] Bill Bowen plays drums. [00:25:49 - 00:25:50] Bill Bowen plays drums. [00:25:50 - 00:25:51] Bill Bowen plays drums. [00:25:51 - 00:25:52] Bill Bowen plays drums. [00:25:52 - 00:25:53] Bill Bowen plays drums. [00:25:53 - 00:25:54] Bill Bowen plays drums. [00:25:54 - 00:25:55] Bill Bowen plays drums. [00:25:55 - 00:25:56] Bill Bowen plays drums. [00:25:56 - 00:25:57] Bill Bowen plays drums. [00:25:57 - 00:25:58] Bill Bowen plays drums. [00:25:58 - 00:25:59] Bill Bowen plays drums. [00:25:59 - 00:26:00] Bill Bowen plays drums. [00:26:00 - 00:26:01] Bill Bowen plays drums. [00:26:01 - 00:26:02] Bill Bowen plays drums. [00:26:02 - 00:26:03] Bill Bowen plays drums. [00:26:03 - 00:26:04] Bill Bowen plays drums. [00:26:04 - 00:26:05] Bill Bowen plays drums. [00:26:05 - 00:26:06] Bill Bowen plays drums. [00:26:06 - 00:26:07] Bill Bowen plays drums. [00:26:07 - 00:26:08] Bill Bowen plays drums. [00:26:08 - 00:26:09] Bill Bowen plays drums. [00:26:09 - 00:26:10] Bill Bowen plays drums. [00:26:10 - 00:26:11] Bill Bowen plays drums. [00:26:11 - 00:26:12] Bill Bowen plays drums. [00:26:12 - 00:26:13] Bill Bowen plays drums. [00:26:13 - 00:26:14] Bill Bowen plays drums. [00:26:14 - 00:26:15] Bill Bowen plays drums. [00:26:15 - 00:26:16] Bill Bowen plays drums. [00:26:16 - 00:26:17] Bill Bowen plays drums. [00:26:17 - 00:26:18] Bill Bowen plays drums. [00:26:18 - 00:26:19] Bill Bowen plays drums. [00:26:19 - 00:26:20] Bill Bowen plays drums. [00:26:20 - 00:26:21] Bill Bowen plays drums. [00:26:21 - 00:26:22] Bill Bowen plays drums. [00:26:22 - 00:26:23] Bill Bowen plays drums. [00:26:23 - 00:26:24] Bill Bowen plays drums. [00:26:24 - 00:26:27] Bill Bowen plays drums. [00:26:27 - 00:26:28] Bill Bowen plays drums. [00:26:28 - 00:26:29] Bill Bowen plays drums. [00:26:29 - 00:26:30] Bill Bowen plays drums. [00:26:30 - 00:26:31] Bill Bowen plays drums. [00:26:31 - 00:26:32] Bill Bowen plays drums. [00:26:32 - 00:26:33] Bill Bowen plays drums. [00:26:33 - 00:26:34] Bill Bowen plays drums. [00:26:34 - 00:26:35] Bill Bowen plays drums. [00:26:35 - 00:26:36] Bill Bowen plays drums. [00:26:36 - 00:26:37] Bill Bowen plays drums. [00:26:37 - 00:26:38] Bill Bowen plays drums. [00:26:38 - 00:26:39] Bill Bowen plays drums. [00:26:39 - 00:26:40] Bill Bowen plays drums. [00:26:40 - 00:26:41] Bill Bowen plays drums. [00:26:41 - 00:26:42] Bill Bowen plays drums. [00:26:42 - 00:26:43] Bill Bowen plays drums. [00:26:43 - 00:26:44] Bill Bowen plays drums. [00:26:44 - 00:26:45] Bill Bowen plays drums. [00:26:45 - 00:26:46] Bill Bowen plays drums. [00:26:46 - 00:26:47] Bill Bowen plays drums. [00:26:47 - 00:26:48] Bill Bowen plays drums. [00:26:48 - 00:26:49] Bill Bowen plays drums. [00:26:49 - 00:26:50] Bill Bowen plays drums. [00:26:50 - 00:26:51] Bill Bowen plays drums. [00:26:51 - 00:26:52] Bill Bowen plays drums. [00:26:52 - 00:26:53] Bill Bowen plays drums. [00:26:53 - 00:26:54] Bill Bowen plays drums. [00:26:54 - 00:26:55] Bill Bowen plays drums. [00:26:55 - 00:26:56] Bill Bowen plays drums. [00:26:56 - 00:26:57] Bill Bowen plays drums. [00:26:57 - 00:26:58] Bill Bowen plays drums. [00:26:58 - 00:26:59] Bill Bowen plays drums. [00:26:59 - 00:27:00] Bill Bowen plays drums. [00:27:00 - 00:27:01] Bill Bowen plays drums. [00:27:01 - 00:27:02] Bill Bowen plays drums. [00:27:02 - 00:27:03] Bill Bowen plays drums. [00:27:03 - 00:27:04] Bill Bowen plays drums. [00:27:04 - 00:27:05] Bill Bowen plays drums. [00:27:05 - 00:27:06] Bill Bowen plays drums. [00:27:06 - 00:27:07] Bill Bowen plays drums. [00:27:07 - 00:27:08] Bill Bowen plays drums. [00:27:08 - 00:27:09] Bill Bowen plays drums. [00:27:09 - 00:27:10] Bill Bowen plays drums. [00:27:10 - 00:27:11] Bill Bowen plays drums. [00:27:11 - 00:27:12] Bill Bowen plays drums. [00:27:12 - 00:27:13] Bill Bowen plays drums. [00:27:13 - 00:27:14] Bill Bowen plays drums. [00:27:14 - 00:27:15] Bill Bowen plays drums. [00:27:15 - 00:27:16] Bill Bowen plays drums. [00:27:16 - 00:27:17] Bill Bowen plays drums. [00:27:17 - 00:27:18] Bill Bowen plays drums. [00:27:18 - 00:27:19] Bill Bowen plays drums. [00:27:19 - 00:27:20] Bill Bowen plays drums. [00:27:20 - 00:27:23] Bill Bowen plays drums. [00:27:23 - 00:27:24] Bill Bowen plays drums. [00:27:24 - 00:27:25] Bill Bowen plays drums. [00:27:25 - 00:27:26] Bill Bowen plays drums. [00:27:26 - 00:27:27] Bill Bowen plays drums. [00:27:27 - 00:27:28] Bill Bowen plays drums. [00:27:28 - 00:27:29] Bill Bowen plays drums. [00:27:29 - 00:27:30] Bill Bowen plays drums. [00:27:30 - 00:27:31] Bill Bowen plays drums. [00:27:31 - 00:27:32] Bill Bowen plays drums. [00:27:32 - 00:27:33] Bill Bowen plays drums. [00:27:33 - 00:27:34] Bill Bowen plays drums. [00:27:34 - 00:27:35] Bill Bowen plays drums. [00:27:35 - 00:27:36] Bill Bowen plays drums. [00:27:36 - 00:27:37] Bill Bowen plays drums. [00:27:37 - 00:27:38] Bill Bowen plays drums. [00:27:38 - 00:27:39] Bill Bowen plays drums. [00:27:39 - 00:27:40] Bill Bowen plays drums. [00:27:40 - 00:27:41] Bill Bowen plays drums. [00:27:41 - 00:27:42] Bill Bowen plays drums. [00:27:42 - 00:27:43] Bill Bowen plays drums. [00:27:43 - 00:27:44] Bill Bowen plays drums. [00:27:44 - 00:27:45] Bill Bowen plays drums. [00:27:45 - 00:27:46] Bill Bowen plays drums. [00:27:46 - 00:27:47] Bill Bowen plays drums. [00:27:47 - 00:27:48] Bill Bowen plays drums. [00:27:48 - 00:27:49] Bill Bowen plays drums. [00:27:49 - 00:27:50] Bill Bowen plays drums. [00:27:50 - 00:27:51] Bill Bowen plays drums. [00:27:51 - 00:27:52] Bill Bowen plays drums. [00:27:52 - 00:27:53] Bill Bowen plays drums. [00:27:53 - 00:27:54] Bill Bowen plays drums. [00:27:54 - 00:27:55] Bill Bowen plays drums. [00:27:55 - 00:27:56] Bill Bowen plays drums. [00:27:56 - 00:27:57] Bill Bowen plays drums. [00:27:57 - 00:27:58] Bill Bowen plays drums. [00:27:58 - 00:27:59] Bill Bowen plays drums. [00:27:59 - 00:28:00] Bill Bowen plays drums. [00:28:00 - 00:28:01] Bill Bowen plays drums. [00:28:01 - 00:28:02] Bill Bowen plays drums. [00:28:02 - 00:28:03] Bill Bowen plays drums. [00:28:03 - 00:28:04] Bill Bowen plays drums. [00:28:04 - 00:28:05] Bill Bowen plays drums. [00:28:05 - 00:28:06] Bill Bowen plays drums. [00:28:06 - 00:28:07] Bill Bowen plays drums. [00:28:07 - 00:28:08] Bill Bowen plays drums. [00:28:08 - 00:28:09] Bill Bowen plays drums. [00:28:09 - 00:28:10] Bill Bowen plays drums. [00:28:10 - 00:28:11] Bill Bowen plays drums. [00:28:11 - 00:28:12] Bill Bowen plays drums. [00:28:12 - 00:28:13] Bill Bowen plays drums. [00:28:13 - 00:28:14] Bill Bowen plays drums. [00:28:14 - 00:28:15] Bill Bowen plays drums. [00:28:15 - 00:28:16] Bill Bowen plays drums. [00:28:16 - 00:28:19] Bill Bowen plays drums. [00:28:19 - 00:28:20] Bill Bowen plays drums. [00:28:20 - 00:28:21] Bill Bowen plays drums. [00:28:21 - 00:28:22] Bill Bowen plays drums. [00:28:22 - 00:28:23] Bill Bowen plays drums. [00:28:23 - 00:28:24] Bill Bowen plays drums. [00:28:24 - 00:28:25] Bill Bowen plays drums. [00:28:25 - 00:28:26] Bill Bowen plays drums. [00:28:26 - 00:28:27] Bill Bowen plays drums. [00:28:27 - 00:28:28] Bill Bowen plays drums. [00:28:28 - 00:28:29] Bill Bowen plays drums. [00:28:29 - 00:28:30] Bill Bowen plays drums. [00:28:30 - 00:28:31] Bill Bowen plays drums. [00:28:31 - 00:28:32] Bill Bowen plays drums. [00:28:32 - 00:28:33] Bill Bowen plays drums. [00:28:33 - 00:28:34] Bill Bowen plays drums. [00:28:34 - 00:28:35] Bill Bowen plays drums. [00:28:35 - 00:28:36] Bill Bowen plays drums. [00:28:36 - 00:28:37] Bill Bowen plays drums. [00:28:37 - 00:28:38] Bill Bowen plays drums. [00:28:38 - 00:28:39] Bill Bowen plays drums. [00:28:39 - 00:28:40] Bill Bowen plays drums. [00:28:40 - 00:28:41] Bill Bowen plays drums. [00:28:41 - 00:28:42] Bill Bowen plays drums. [00:28:42 - 00:28:43] Bill Bowen plays drums. [00:28:43 - 00:28:44] Bill Bowen plays drums. [00:28:44 - 00:28:45] Bill Bowen plays drums. [00:28:45 - 00:28:46] Bill Bowen plays drums. [00:28:46 - 00:28:47] Bill Bowen plays drums. [00:28:47 - 00:28:48] Bill Bowen plays drums. [00:28:48 - 00:28:49] Bill Bowen plays drums. [00:28:49 - 00:28:50] Bill Bowen plays drums. [00:28:50 - 00:28:51] Bill Bowen plays drums. [00:28:51 - 00:28:52] Bill Bowen plays drums. [00:28:52 - 00:28:53] Bill Bowen plays drums. [00:28:53 - 00:28:54] Bill Bowen plays drums. [00:28:54 - 00:28:55] Bill Bowen plays drums. [00:28:55 - 00:28:56] Bill Bowen plays drums. [00:28:56 - 00:28:57] Bill Bowen plays drums. [00:28:57 - 00:28:58] Bill Bowen plays drums. [00:28:58 - 00:28:59] Bill Bowen plays drums. [00:28:59 - 00:29:00] Bill Bowen plays drums. [00:29:00 - 00:29:01] Bill Bowen plays drums. [00:29:01 - 00:29:02] Bill Bowen plays drums. [00:29:02 - 00:29:03] Bill Bowen plays drums. [00:29:03 - 00:29:04] Bill Bowen plays drums. [00:29:04 - 00:29:05] Bill Bowen plays drums. [00:29:05 - 00:29:06] Bill Bowen plays drums. [00:29:06 - 00:29:07] Bill Bowen plays drums. [00:29:07 - 00:29:08] Bill Bowen plays drums. [00:29:08 - 00:29:09] Bill Bowen plays drums. [00:29:09 - 00:29:10] Bill Bowen plays drums. [00:29:10 - 00:29:11] Bill Bowen plays drums. [00:29:11 - 00:29:12] Bill Bowen plays drums. [00:29:12 - 00:29:15] Bill Bowen plays drums. [00:29:15 - 00:29:16] Bill Bowen plays drums. [00:29:16 - 00:29:17] Bill Bowen plays drums. [00:29:17 - 00:29:18] Bill Bowen plays drums. [00:29:18 - 00:29:19] Bill Bowen plays drums. [00:29:19 - 00:29:20] Bill Bowen plays drums. [00:29:20 - 00:29:21] Bill Bowen plays drums. [00:29:21 - 00:29:22] Bill Bowen plays drums. [00:29:22 - 00:29:23] Bill Bowen plays drums. [00:29:23 - 00:29:24] Bill Bowen plays drums. [00:29:24 - 00:29:25] Bill Bowen plays drums. [00:29:25 - 00:29:26] Bill Bowen plays drums. [00:29:26 - 00:29:27] Bill Bowen plays drums. [00:29:27 - 00:29:28] Bill Bowen plays drums. [00:29:28 - 00:29:29] Bill Bowen plays drums. [00:29:29 - 00:29:30] Bill Bowen plays drums. [00:29:30 - 00:29:31] Bill Bowen plays drums. [00:29:31 - 00:29:32] Bill Bowen plays drums. [00:29:32 - 00:29:33] Bill Bowen plays drums. [00:29:33 - 00:29:34] Bill Bowen plays drums. [00:29:34 - 00:29:35] Bill Bowen plays drums. [00:29:35 - 00:29:36] Bill Bowen plays drums. [00:29:36 - 00:29:37] Bill Bowen plays drums. [00:29:37 - 00:29:38] Bill Bowen plays drums. [00:29:38 - 00:29:39] Bill Bowen plays drums. [00:29:39 - 00:29:40] Bill Bowen plays drums. [00:29:40 - 00:29:41] Bill Bowen plays drums. [00:29:41 - 00:29:42] Bill Bowen plays drums. [00:29:42 - 00:29:43] Bill Bowen plays drums. [00:29:43 - 00:29:44] Bill Bowen plays drums. [00:29:44 - 00:29:45] Bill Bowen plays drums. [00:29:45 - 00:29:46] Bill Bowen plays drums. [00:29:46 - 00:29:47] Bill Bowen plays drums. [00:29:47 - 00:29:48] Bill Bowen plays drums. [00:29:48 - 00:29:49] Bill Bowen plays drums. [00:29:49 - 00:29:50] Bill Bowen plays drums. [00:29:50 - 00:29:51] Bill Bowen plays drums. [00:29:51 - 00:29:52] Bill Bowen plays drums. [00:29:52 - 00:29:53] Bill Bowen plays drums. [00:29:53 - 00:29:54] Bill Bowen plays drums. [00:29:54 - 00:29:55] Bill Bowen plays drums. [00:29:55 - 00:29:56] Bill Bowen plays drums. [00:29:56 - 00:29:57] Bill Bowen plays drums. [00:29:57 - 00:29:58] Bill Bowen plays drums. [00:29:58 - 00:29:59] Bill Bowen plays drums. [00:29:59 - 00:30:00] Bill Bowen plays drums. [00:30:00 - 00:30:01] Bill Bowen plays drums. [00:30:01 - 00:30:02] Bill Bowen plays drums. [00:30:02 - 00:30:03] Bill Bowen plays drums. [00:30:03 - 00:30:04] Bill Bowen plays drums.