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Ian Carroll investigates claims about Michael Jackson's will. Allegations suggest he called Jews in the music industry leeches, but his family disputes the will's authenticity. John Branca, in charge of Jackson's estate, had a history with Sony. Branca and Sony Music CEO, Tommy Mottola, were accused of financial misconduct. This conflict emerged towards the end of Jackson's life, revealing a complex web of relationships and accusations.

The speaker expresses anger towards Will Smith, comparing him to Michael Jackson. They accuse Michael Jackson of setting them up and claim that he raped them as a child and their own children. The speaker threatens violence towards Michael Jackson and mentions the importance of honoring parents according to the Bible. They criticize Will Smith for portraying them as a rapist on a TV show, despite their belief that he is the one who committed the act.

Rabbi Shmuley claims he worked to save Michael Jackson's life, was his rabbi for two years, and loves and misses him. He says Candace Owens never met Michael Jackson and accuses her of saying the Jews killed Michael Jackson, showing contempt for people struggling with addiction. He denies being a murderer, stating he doesn't even have a speeding ticket. Speaker 0 alleges Rabbi Shmuley might have killed Michael Jackson. Speaker 0 claims Michael Jackson had songs about Jews destroying the music industry and himself. Speaker 0 notes that after Rabbi Shmuley started spending time with Michael Jackson, his hair was on fire and he died.

Michael Jackson blind item alleges that Ozempera and David Geffen funded the documentary "Leaving Neverland" to tarnish Jackson's memory. The blind item suggests that Geffen, Ozempera's friend, assaulted Jackson, leading to Ozempera's hatred towards him. Speculation arises that Ozempera may be stalking Paris Jackson. Paris Jackson's recent Instagram live sparked rumors, with some pointing fingers at the Smiths, but others suspect Ozempera and his tunnels.

The blind item suggests that Ozembra and David Geffen funded the documentary "Leaving Neverland" to tarnish Michael Jackson's memory. It alleges that Geffen, Ozembra's close associate, assaulted Jackson, leading to Ozembra's animosity towards him. The blind item hints that Ozembra may be behind the recent stalking of Paris Jackson. Paris Jackson's recent Instagram live sparked speculation, with some pointing fingers at the Smiths, but the blind item suggests Ozembra and his tunnels may be involved.

The speaker briefly mentions a shirt and someone named Michael. They comment on Michael's behavior and use some explicit language. They mention stepping on Michael's jacket and ask about people's thoughts on Michael Jackson. The speaker's thoughts on Michael are described as crazy.

Get a rainbow! I'm like a guy. Angry Michael, I’ll call the cops. You won’t do anything. I just stepped on your jacket, Michael. What’s up with that? It’s crazy. What do you think of Michael Jackson, people? You look alike!

The conversation centers on accusations about wrongdoing in the music industry and the role of Jewish people in media. Speaker 0 says that all the people who hurt you in the music industry are individuals and are not Jews, insisting they are human with opportunities who took them. Speaker 1 counters by saying that those individuals are Jewish, and notes that eight people who “would collude and talk without me” were in groups, implying organizational involvement. They discuss the idea of “Jewish control of the media.” Speaker 0 argues that it’s not correct to say there’s Jewish control of the media or that there is “Jewish media,” and pushes to call out individuals by name rather than labeling them by their Jewish identity. Speaker 1 maintains that there is a Jewish presence involved, stating, “I'm calling the industry out” and emphasizing that his lawyer, regulator, and others were Jewish, though he also acknowledges groups colluding without him. Speaker 0 challenges the framing, saying there is no Jewish media or Jewish control of the media, and questions the framing of “Jewish media” or “Jewish record label.” Speaker 1 presses on, insisting that there is a pattern of Jewish involvement in roles that facilitate wrongdoing, describing it as an engineering of the system by Jewish people, and saying, “If you're an engineer and you're not holding to the truth, that's not engineering.” The dialogue shifts to a call for naming individuals rather than Jews, suggesting, “Don’t call them Jews, call them by their name and start a war against those individuals.” Speaker 0 concedes frustration with those who “get fucked over in the music industry and in the media,” and asserts that Jewish people have suffered even in history, referencing the Soviet Union and the Holocaust, and implying that the suffering of Jews should be acknowledged. The exchange touches on the appropriateness of discussing Jewish identity in this context. Speaker 1 asks if it’s permissible to say “Jewish” aloud, while Speaker 0 questions whether saying “Jewish media” equates to anti-Semitism. The conversation ends with a concern about whether it is acceptable to say “Jewish” or “Jewish media” or “Jewish controlled media,” and they reference the term “JM” as a shorthand for their discussion. Key themes: disagreement over whether Jewish people control media, insistence on naming individuals rather than labeling groups by ethnicity or religion, the impact of industry practices on artists, and a confrontation over the boundaries of discussing Jewish involvement without becoming antisemitic.

There are powerful people in the entertainment industry who have harmed both the speaker and Corey. The speaker believes that these individuals are still active in the industry and are pedophiles. When asked about parents who want to involve their children in the business, the speaker advises caution and warns against naivety. They emphasize that the industry is not all positive and highlights the seriousness of the issue. The speaker mentions that Michael Jackson was one person in the industry who did not take advantage of them and was not a pedophile.

Speaker 0 discusses the nature of the allegations surrounding Epstein and the broader “pedo” discourse. They begin by asking whether the situation is essentially pedophilia, noting a reluctance to voice this directly but concluding that they feel compelled to say it. They state: “This whole pedo thing, it's like, isn't it really pedophilia? I don't wanna be the one that has to say it, but I guess I'm being forced to say it.” They then attempt to distinguish between what some describe as trafficking and what they consider the case to be, saying: “It's not really pedophilia, okay? They weren't trafficking five year olds, it was like they were technically not legal. Big difference in my opinion.” They acknowledge this as a controversial perspective and proceed to articulate a position: “I know that's a controversial take, but that's not really the issue there, Okay? The issue is not that they were barely legal teens, which is what it is. It's horrendous, it's awful, it's pedophilia.” The speaker then shifts the topic away from the legality of the ages to a related, more conspiratorial claim, emphasizing that the core issue, in their view, lies in an alleged association between Epstein and a broader espionage context. They insist: “Okay, relax. No, the issue is that Epstein is a Jewish spy probably working with Israel.” They frame Epstein as being connected to Israeli intelligence, presenting this as the central dilemma rather than the specifics of the sexual exploitation allegations. Throughout, Speaker 0 presents a sequence of framed assertions: first, a provocative reframing of the ethical category involved (from illegal but not strictly illegal acts to pedophilia), then a qualitative judgment about the severity and nature of the acts themselves, and finally a shift to a geopolitical and intelligence-related conspiracy claim about Epstein’s possible affiliation with Jewish identity and Israeli intelligence. The speaker explicitly acknowledges the controversial nature of their viewpoint but maintains that the primary concern is not the legal characterization of the victims’ ages but the asserted espionage connection. No further context, evidence, or qualifiers are provided in the excerpt, and the speaker does not offer evidence supporting the espionage claim within this transcript. The emphasis remains on contrasting opinions about how to categorize the behavior, followed by a bold assertion regarding Epstein’s alleged role as a Jewish spy associated with Israel.

The discussion centers on the Epstein files’ implications for Michael Jackson, Hollywood power, and international intelligence networks. The speakers present a narrative in which Jackson is portrayed as a target of a smear campaign by those who themselves were implicated in abusive behavior, and where financial and institutional interests—labels like John Branca, Sony, and broader music-industry power structures—played a decisive role in shaping public misperceptions and legal outcomes. Key points raised: - Michael Jackson faced multiple accusations in the 1990s: one civil settlement for sexual abuse claims and a criminal trial in which he was acquitted. Jackson maintained his innocence, asserting that he had only tried to help children and that the accusations were a nightmare used to condemn him. - Macaulay Culkin and Corey Feldman provided counter-narratives about Jackson’s character, with Culkin stating that Jackson protected him from going to Epstein’s island. Aaron Carter recounted how FBI agents and his mother pressured him for statements about Jackson, which he resisted, arguing that Jackson was hospitable and kind. - Ian Carroll, an independent journalist, argues that the smear campaign against Jackson was sustained by media and industry interests, and that the FBI’s decade-long investigation found no credible evidence, despite persistent public narratives. He suggests the timing of accusations aligned with Jackson’s challenges to industry power. - Cui bono (who benefits) framing is used to trace Jackson’s fortunes to John Branca, Sony, and the broader record industry. Jackson’s contested revised will, signed while the family claimed he was not in Los Angeles, is cited as evidence of manipulated assets and power dynamics after his death. Carroll and others propose that Jackson’s death may have involved murder or entrapment tied to financial and industry interests. - The group discusses how Epstein’s network intersects with major power players, including Ehud Barak and Leslie Wexner, and how Epstein fostered a web of influence spanning entertainment, finance, and intelligence communities. They propose that blackmail—often leveraging sexual proclivities or drug use—was a tool used to control powerful figures, with Bill (Jackson’s long-time head of security) and Faheem Muhammad (who later joined Diddy’s security) highlighted as examples of how security teams can serve as leverage points. - The conversation connects Epstein’s trafficking network to Hollywood and music executives, arguing that the industry routinely uses celebrities and talent-disposition toward manipulation, entrapment, and blackmail to protect vested interests. - The panel raises questions about the role of media silence and biased reporting. They critique headlines and coverage (such as claims of Jackson being a pedophile) as sensationalist, arguing that some outlets published prosecutors’ opinions as facts and that this feeds broader misinformation. - They discuss the broader Epstein ecosystem—its links to Israel’s intelligence circles, transhumanist funding, Palantir and other surveillance technologies, and the potential for a global intelligence-driven “blackmail economy” that intersects with corporate and political power. They emphasize that Epstein’s network extended beyond celebrity abuse to technological and geopolitical frontiers, including genetics, cybersecurity, and digital governance. - The conversation also touches on how some public narratives attempt to shift blame or reframe individuals (for example, via racial framing or antisemitism accusations) to obscure the underlying structural abuses and blackmail networks. They caution against easy judgments based on identity politics, urging careful examination of the documented connections and the evidence. - Towards the end, they debate who might still benefit from reviving allegations about Jackson, noting that the Epstein materials resurfaced in late 2020s-era reporting and that some outlets used salacious Epstein-Jackson linkages to repackage old stories. They stress the difficulty of disentangling truth from manipulation when powerful actors have incentives to suppress or distort information. Additionally, the speakers highlight: - The existence of a broader, ongoing intelligence and corporate machinery behind Epstein’s operations, suggesting that the real story lies not only in salacious accusations but in how such networks influence media, politics, science funding, and technological development. - The importance of transparency and deeper investigation into the layers beneath public celebrity scandals, including the roles of security personnel, gatekeepers, and financial controllers who may shield or advance these criminal networks. Overall, the dialogue emphasizes a pattern: prominent figures in entertainment and business become targets of complex, multifaceted suppression and manipulation by powerful interest groups, with Epstein’s and Jackson’s cases presented as illustrative of a wider system of control and blackmail rooted in money, media influence, and intelligence contacts.

I have a dream, like Martin Luther King, that people will not be judged by their race or skin color. The people who have screwed artists over in the music industry are individuals who took opportunities, not Jews. My lawyer was Jewish, and my manager was Jewish, as were eight people who colluded without me. It's wrong to say that there's Jewish control of the media; that's a lie. Is it anti-Semitic for me to say "Jewish"? There is no Jewish media. Call out the individuals by name, not as Jews. People get screwed over in the music industry and the media. I grew up in the Soviet Union, I'm Jewish. The words about Jews are not the words of a samurai. Don't say "Jewish media" or "Jewish-controlled media". Is it okay for me to say that, or is that anti-Semitic?

Michael Jackson speaks about his frustrations with Sony and Tomy Mottola, describing Mottola as a devil and alleging Sony exploits artists. He claims to have generated several billion dollars for Sony and says they believed his focus would always be on music and dancing, but he asserts that he’s outsmarted them as a free agent. He describes leaving Sony after one more album, a box set containing two new songs he wrote long ago, and explains that he writes at least 120 songs per album. He says he can complete the box set and give Sony the two songs, thereby leaving Sony as a free agent while claiming to own half of Sony. He notes that Sony is very angry about this move but maintains he did good business. He adds that the way Sony seeks revenge is by trying to destroy his album, but he believes that “art good art never dies” and expresses affection for his work on Unbreakable. Michael references Diana and Waldo and thanks them, stating his love for them and others present, and mentions turning off or taping something, with an aside that he doesn’t mind and to tape it. In a separate recounting, he says Mariah Carey came to him crying after a divorce, describing her distress and saying that “this is an evil man” who taps her phones and is “very, very evil,” and that they must continue their drive until he is terminated. Overall, the statements portray allegations of exploitation by Sony and Tomy Mottola, a plan to leave Sony while claiming ownership of half the company, a claim about an intent to destroy his album as retaliation, strong feelings about Mariah Carey’s claims of harassment, and appreciation for Diana and Waldo.

Michael Jackson's legacy is being reexamined in light of new allegations against P Diddy, who is accused of running a sexual blackmail operation in the music industry. Notably, Fahim Mohammed, who was Michael's security chief, later worked for Diddy. The lawsuit suggests that top record executives were aware of Diddy's activities. Jackson faced numerous accusations of misconduct, but investigations found no evidence against him. The media has often portrayed him negatively, overshadowing his charitable acts and personal struggles. Additionally, Jackson's controversial remarks about the music industry and his estate's management raise questions about his treatment and the power dynamics within the industry. His later security connections and the circumstances surrounding his death invite further scrutiny of the events leading up to it.

Michael Jackson had a list of enemies in the industry, all of whom were Jewish. There was controversy over his will, signed in LA while he was in New York, leaving his estate to those he distrusted. He accused his former manager and Sony of financial misconduct. Rabbi Shmueli threatened the speaker, who was warned not to "mess with Jews."

Speaker critiques the term 'Jewish media,' asking to "Don't call them Jews, call them by their name and start a war against those individuals." They're not Jewish. They ask, "But if that's the case, will you help me with that?" The dialogue notes, "These people get fucked over in the in the music industry and get fucked over in the media. Get fucked over all over the place." They state, "Torture Jewish people. What's my bullshit? I'm Jewish. Jewish media, Jewish That's not bullshit. Jews are controlling the voice." They reference growing up in the Soviet Union and the "Holocaust of Nazi Germany," claiming, "You're not giving a fuck about the suffering of the Jewish people across the world." "Because they were." Kanye West doesn't care about Jewish people. They ask, "Yay. I gotta say these words and the words about Jews is not the words of a samurai. Or is that anti Semitic?"

The speaker recounts a sequence of events following a party, culminating in a confrontation with FBI agents. After leaving the party, the speaker says he smoked with someone nicknamed “nickel,” then got into a limousine and returned to the Sheraton Hotel at Universal, where four FBI agents were waiting in the hotel room. The speaker’s mom was present, urging him to tell the agents what happened. When asked to recount events, the speaker says the agents asked “super sexually exploiting, you know, questions, back backside questions,” and he immediately questions the premise: “are y’all crazy? I said, what do think I'm gonna do? Tell you that Michael did something bad so that we we can sue him for money?” He looks at his mom and expresses disbelief at why she would allow such questions, asking, “Why are you letting this happen?” The speaker states his perspective on Michael, saying, “That man did nothing but be hospitable, kind, loving, giving, everything you could think of.” He explains that they had spent time together riding four-wheelers for several hours in the mountains at night after Michael’s birthday party, and that he, Michael, and Chris Tucker hung out and talked “pretty much all” of the time. The speaker emphasizes that the encounter with Michael was positive and that he did not understand why the FBI was pressing the sensitive questions or why his mother suggested there might be wrongdoing. In summary, the speaker describes a night of hospitality and camaraderie with Michael (and Chris Tucker), followed by an FBI interview at the hotel room the next day in which intrusive questions were asked, prompting the speaker to defend Michael and challenging the motives behind the investigators’ line of questioning. The account highlights the contrast between the speaker’s personal memory of generosity and friendship with Michael and the formal, accusatory nature of the FBI interrogation.

The transcript centers on a controversial set of statements made by Michael Jackson and surrounding reactions. It opens with Speaker 0 stating, “I'm shocked. Jew me, sue me, kick me, kite me. Those are the words that he told us that he would never use,” highlighting a phrase Jackson allegedly defended as not something he would say. Speaker 1 adds, “I want people to get the picture. So they shut up talking about, don't Jew me. You understand? Yep.” The implication is that the language became a focal point in discussions about Jackson, not necessarily a verdict about his character, with Speaker 1 suggesting that people should stop saying “don’t Jew me” and that “Michael Jackson is a to be convicted of this child molestation because he said don’t you me in a storm,” though the phrasing is ambiguous in the transcription. Speaker 2 notes that “this can depend on the testimony of the child accuser,” while Speaker 3 discusses the general reliability of a child’s recall, stating, “In general, the child will be able to recall and recollect with some detail the incident, and that is persuasive to a jury even if it is the only testimony that is available.” Speaker 4 asks, “Should we light the candle?” and Speaker 3 confirms, “Yeah. Let's do it.” The scene shifts to Jackson’s legal status: “Jackson gave a wave when he was released after booking. He's scheduled for arraignment in January,” per Speaker 2. Speaker 5 mentions Michael Jackson’s long residence at Trump Tower and describes how Donald Trump defended Jackson in a Larry King interview by attacking the accuser’s mother, saying she has “plenty of experience at going after people, and she goes after them viciously and violently.” The speaker adds that Jackson spent time with Trump’s children and “loved children,” asserting, “He was not a child molester.” Another voice claims, “They murdered Michael Jackson after he started talking about Jews,” acknowledging that while the speaker does not judge the content of Jackson’s statements, it is a “fact of history” that he was in Brazil to shoot the music video for “They Don’t Care About Us,” and that he angered Jewish groups by the controversial lyrics—though he later changed the song under pressure, the controversial lyrics were back when performed in Brazil. Speaker 6 reiterates Jackson’s controversial stance, saying, “There’s been another issue raised in a song you say, and some people are saying that that is antisemitic. It’s not antisemitic because I’m not a racist person. I could never be a racist. I love all races of people from Arabs to Jewish people, like I said before, to blacks. But when I say Jew me, sue me, everybody do me, kick me, kite me, don’t you black or white me, I’m talking about myself as the victim.” Finally, Speaker 3 reports, “Apparently, Michael Jackson suffered cardiac arrest this afternoon. He was rushed to UCLA Medical Center.”

Outrage over lyrics: rabbi Marvin Hyer, activist for Jewish causes, was outraged because last June Jackson sent him a letter of apology for singing those lyrics. "I'm shocked. Jew me, sue me, kick me, kite me. Those are the words that he told us that he would never use." The report notes Jackson's critics debating the lyric's impact, and cites testimony concerns as "In general, the child will be able to recall and recollect with some detail the incident, and that is persuasive to a jury even if it is the only testimony that is available." Jackson gave a wave when released after booking and is scheduled for arraignment in January. He had been a longtime resident of Trump Tower; "the Donald strongly reiterated his defense of Jackson with Larry King by going after the accuser's mother." He was not a child molester. In Brazil, for They Don't Care About Us, "Last year, he angered Jewish groups when he sang these words." He changed the song under pressure, but in Brazil, the controversial lyrics were back. "There's been another issue raised in a song you say, Jew me, and some people are saying that that is antisemitic." "It's not antisemitic because I'm not a racist person... when I say Jew me, sue me, everybody do me, kick me, kike me, don't you black or white me, I'm talking about myself as the victim." "Apparently, Michael Jackson suffered cardiac arrest this afternoon. He was rushed to UCLA Medical Center."

The transcript centers on a controversial, repeatedly asserted claim that Jewish people run or control the media. The speakers discuss Kanye West’s position on Jewish influence, repeatedly insisting that “the Jews run the media” and that interviewing a Jewish host on a Jewish platform implies media control. Specific points raised include: - A speaker asserts that “Artists over in the music industry are individuals. They're not Jews. Can you say They are they are Jewish,” followed by a quick retort, and the line “Nigga. They are. Lex fucking Friedman?” to imply Lex Friedman is Jewish and part of the media. - A speaker says, “The Jews do run the media,” and argues that a Jewish person interviewing Kanye on a video podcast proves media control, calling Lex Friedman a “Jew” and a “fucking Jew,” and claiming the interview demonstrates media control by Jews. - The discussion frames the media as Jewish-owned or Jewish-run, referencing Lex Friedman, YouTube’s leadership (Susan Wojcicki), and positions within the media ecosystem to support the claim of Jewish influence. - One speaker states, “There is [Jewish control of the media],” while another questions whether it is antisemitic for Ye (Kanye) to say “Jewish” aloud, with the other replying that there is “no Jewish media” and then contradicting that with “There is.” - The dialogue inserts biographical claims about Jewish individuals in media leadership, including “Susan Wojowski” (Susan Wojcicki), noting she ran YouTube for a decade, and suggesting this corroborates the premise of Jewish control of media. - The conversation touches on personal experiences and accusations about people in the industry, including allegations that a Jewish lawyer and a regulator were connected through groups, and that a “head of YouTube” being Jewish supports the claim. - The speakers criticize Lex Friedman’s interview style, calling him “boring,” and claim his position on Jewish media is inconsistent with his role as a media figure, while reiterating the assertion that “the Jews run the media.” - The discussion broadens to reference other examples, including Logan Paul’s crypto project and the broader pattern of alleged exploitation by “Jewish media” or “Jewish” entities in various industries, including music and media. - The dialogue ends with continued questions about whether mentioning “Jewish media” is acceptable, and a repeated concern with naming individuals to “start a war” against those perceived as part of the media establishment, insisting that the media is “Jewish” and “run by Jewish people.” Overall, the transcript presents a persistent, unnuanced narration asserting Jewish control of media institutions, interwoven with personal grievances, confrontations about antisemitism, and critiques of specific media figures.

Michael Jackson conspiracy theories resurface due to P. Diddy's sexual blackmailing scandal. Evidence suggests Diddy ran a similar operation in the music industry for 30 years. Despite accusations, FBI found no evidence of Jackson's wrongdoing. Media smear campaigns against Jackson are highlighted. Allegations of anti-Semitic remarks and financial disputes with Jewish music executives are mentioned. Connections between Jackson's security team and Diddy's illegal activities are raised. Revisiting Jackson's life story in light of new information is encouraged. The parallels between Jackson and Kanye West are briefly noted.

Speaker 0 addresses the topic of the Epstein situation, expressing a controversial viewpoint about labeling the matter. They begin by saying, "This whole pedo thing, it's like, isn't it really pedophilia? I don't wanna be the one that has to say it, but I guess I'm being forced to say it." They then attempt to clarify their stance by asserting, "It's not really pedophilia, okay? They weren't trafficking five year olds, it was like they were technically not legal. Big difference in my opinion." The speaker acknowledges that this interpretation is controversial, adding, "I know that's a controversial take, but that's not really the issue there, Okay, the issue is not that they were barely legal teens, which is what it is." They continue to differentiate between the legality and the ethical horror, insisting, "It's horrendous, it's awful, it's pedophilia, okay." However, despite labeling it pedophilia, they pivot to a different focal point, stating, "No, the issue is that Epstein is a Jewish spy probably working with Israel." The speaker characterizes Epstein as being "probably working with Israel" and frames this as the underlying dilemma. They conclude by reiterating their position, "He's working with Israeli intelligence," emphasizing that this supposed affiliation constitutes the core of the dilemma discussed.

People on TV claim to be experts on me, even though they don't know me. I knew Michael Jackson well, and he lived in Trump Tower. I've seen him perform and he was an incredible entertainer. He was a friend of mine, a perfect gentleman, and we never had any problems. He's gone through a lot, and I will defend him because nobody else is. He lived in Trump Tower for a long time and we had many great times together at Mar-a-Lago in Palm Beach.

Michael Jackson conspiracy theories resurface due to P. Diddy's sexual blackmailing lawsuit. Evidence suggests Diddy ran a similar operation to Epstein in the music industry for 30 years. The media and record executives were aware of Diddy's actions. Despite FBI investigations, no evidence of criminal conduct was found on Jackson. Jackson's odd behavior was influenced by his troubled upbringing. Allegations of anti-Semitic remarks were linked to his disputes with Jewish figures in the music industry. Jackson's security connection to Diddy raises questions about his death. Reevaluate Jackson's story and lyrics in light of industry corruption. The parallels to Kanye West are intriguing.

There are suspicions about who really controls things, with mention of Jews and dark forces. Michael Jackson's negative comments about Jews are brought up, along with his concerns about being mistreated. The idea of selling one's soul or worshipping Satan is discussed in relation to those in power.