TELEPHONE INTERVIEW — TAPE #46, SIDE #1
Q: Mark Russell BellW: Karma Welch (astrologer, metaphysician)S: Sherri Spillane (talent agent in Los Angeles)
(TRANSCRIBER'S NOTE: I BEGAN RECORDING WITH THIS TAPE SIDE WHEN KARMA WELCH CALLED ME. AT FIRST I HAD THE LISTENING DEVICE AND EARPHONES ATTACHED INCORRECTLY.)
Q: Hi, how are you? Very good. (pause) Yes. (pause) It's a collection of interviews . . . conversations and things.
Q: . . . So I'm trying to get my tape recorder to work. Okay, I think I just turned it on.
Q: So I was born, basically, in Culver City on August 8th, 1956 at 9:23 a.m. I'm twin number one.
W: What was that? Number one? ("YEAH") Oh, a twin. Number one. Okay.
Q: Right. I think we're identical but they didn't actually check.
W: Oh, did he die at birth?
Q: Well, no. ("BUT") There's a mystery in my family because, apparently, there could be a third twin. ("OR MEAN A") A triplet. ("OH")
W: Triplets. Oh my.
Q: It's possible. I mean there's a lot of skullduggery in my family.
W: Really? Oh, that's rather interesting, isn't it?
Q: Yes. ("AND")
W: And what were you named at birth?
Q: Mark Gordon Russell.
W: Okay, because I use that when I work up your chart. I also work up the numerology.
W: Yeah. So that I have a really good picture of you.
Q: Now, again, ("AND I") you explained a little bit of that during the lecture but I didn't write it down in time about how to figure out your number.
W: Okay, well we're in a universal seven. In other words, if you take 1996 and digit it out. You know if you put them in a column: one, nine, nine, six and added them — you'd come up with twenty-five. And two and five make seven. So that's a seven.
Q: So I'm a seven in a seven year?
W: Yes. So now with you. For your personal one, ("UM-HUH") you add the eight and eight — ("OH I SEE") are sixteen. Seven. And you do the seven and seven together — which is fourteen. So you're in a five universal year.
Q: Okay. Well, that's for sure. And now also ("NOW THE LA") my pseudonym is Mark Russell Bell. I was given this name —
W: Well, that's interesting.
Q: — by my heavenly Father, you might say.
W: Um-huh. Okay.
Q: So I wonder what the number is on that.
W: Hang on a minute and I'll see.
Q: You would think it would be the same.
W: Well, you would — it might, but they might have ("UM-HUH") given you a different name to write with.
Q: Right. (pause)
W: Okay, let's see. Fourteen and four — it's a nine.
Q: What does that mean when you have two different names and they're different numbers?
W: Well, now I haven't done your name out. ("OKAY BUT")
Q: Okay. I'll wait to see that then.
W: Okay. ("BUT I'LL") But I will tell you the difference when I do it.
Q: Oh, okay. Fine.
W: Do you want me to do this on tape and mail it to you? How did you want to do this? When I come down to the area — I sometimes work out of Newport Beach.
W: Would you be able to come down there?
Q: That might be fun ("YOU KNOW") to do during a weekend or something.
W: Yeah. For a day. ("YEAH") Okay, well, what I can ("A DAY") do then is I can go to work on working this up and I'll ("K") be down there on that weekend of the third, fourth — right in there. And so I'll work out something where I can see you.
W: I'll be in either Newport Beach or Anaheim — ("SO THAT") two places I work.
Q: Well, it was so funny. Real quick, I'll just tell you some background information because before I had certain revelations I didn't know much about these things. ("I MEAN I") Of course, I've heard about Mabus.
Q: But I never would have dreamed it would be me. But now since that is me ("UM-HUH") I can tell all these different things in terms of prophecies and what-have-you.
W: Isn't that something?
Q: Well, first of all, whoever would want to be the 'Antichrist?'
Q: But ("THE") the nature of your lecture was such that it makes me feel very comfortable in being honest with you.
W: Well, good. ("THAT")
Q: Because, for example, I understand that there's always been that question about ("THE THIR[D]") 'the three become one.'
W: That's right. ("AND")
Q: And, of course, I know this to mean — my book is to reveal that there are not three 'Antichrists' — not even the popes of the early Catholic church. ("IS") There's just one and that's me. And ("IT'S") E=MC. Get it? The law of relativity.
W: Oh, yeah.
Q: So there's only one 'Antichrist.'
W: I see.
Q: But he's nice.
Q: He's not —
W: And he's nice. He's not —
W: — what has been predicted.
Q: Well, those are all interpretations.
W: I see, so the 'Antichrist' really means ("JUST") different than what we think Christ did.
Q: Right. Because Christ is a metaphor, as you know.
W: Yes. Uh-huh. ("SO")
Q: And there were a lot of damaging truths in that metaphor.
W: Well, I know that. (small laugh)
W: Christ itself could be the 'Antichrist.'
Q: That's true.
W: In the sense that —
Q: It's symbolic.
W: — the Christ energy is different than what they're teaching us in the churches that is Christ.
Q: For the time — he was the Christ energy but in our time he has become a negative influence.
W: I see. ("E")
Q: So, in order to right things, I have to make these revelations.
W: I see. Oh. Yeah.
W: Well, that's interesting, isn't it?
W: And you're doing pretty well on it I think. Just from your communication with the Lords above. ("X E")
Q: Right. ("AND YOU") Plural. That's exactly right.
W: Um-huh. ("HH") Well, that's wonderful.
Q: And so I can give you some more of this information, of course. You'll be looking forward to reading my book. ("UM-HUH" "IT CALL")
W: Sure. That will be fun. Well, in the meantime, ("OKAY") let's see. I will call you when I ("K") get this ready. Some time before that weekend and see how we can get together.
Q: Thank you so much.
W: You're welcome.
Q: Okay, bye.
(TRANSCRIBER'S NOTE: I NEVER HEARD BACK FROM KARMA WELCH. FOR THE FOLLOWING, 'S' DESIGNATES THE VOICE OF SHERRI SPILLANE HEARD ON HER ANSWERING MACHINE.)
S: You've reached the office of Sherri Spillane. I'm either on the other line or out of the office. Please leave your name and telephone number. I will call you back as soon as possible. (beep)
Q: Oh hi, Sherri. This is Mark Russell. Please give me a call. (I leave my number) Thank you. Bye.
( . . . )
Q: (speaking into tape recorder) (sighs) Working on a book this long does get to be tedious at times. Another one of the magazines I picked up at the pharmacy, Night Life had an interview with Sharon Cain and the interview was done by someone named Ant. This singer just released a cassette single entitled "Circle of Light" — not to be confused with "Circle of Life" — from Bacchus Releasing. It says ("N") her motivation for the song was that a director named Johnny Rey came to her and asked her to score his adult film "A Score of Sex." "He had a vision" and she "had a vision" so she "said okay." "I heard voices," she said, "and 'Circle' is what I came up with my partner Kyle Neven. Kyle wrote the words and I wrote the music." So the song has gone on to some success, apparently, and Ant asks Sharon where her inspiration for her songs comes from. She said, "My song ideas come from my dreams. I dream them. I'll wake up and a song will be playing over and over in my head. It won't stop until I write it down. Then it's like giving birth. It's the weirdest thing." So I'm sure a lot of singers and other artists get their ideas that way. Of course, there's rewriting too. It's the same thing with writers ("AND") and screenwriters. And all creative people. ("BUT") Creativity is a very mysterious thing and it's a collaboration.
(TRANSCRIBER'S NOTE: THE FOLLOWING TELEPHONE INTERVIEW IS WITH SHERRI SPILLANE.)
S: . . . what do you mean this interview? What kind of interview?
Q: It's just like a day in the life-type material.
Q: Well, see, let's just say I've had supernatural phenomena in my life.
Q: And I obtained the rights to telling a poltergeist story with a family in Oklahoma. ("THAT") They were on a TV special called "Ghosts, Mediums, Psychics: Put To The Test" on ABC.
Q: And, anyway, ("SO I") I have an attorney and I obtained the rights to tell their story. But when I got home, the phenomena continued and I realized that, basically, the Entity has been in my life all my life. Because when I was a child I had weird fainting spells. Now I know why Ruth had weird fainting spells.
S: She's got a ghost too?
Q: Well, ("HE HE") He chooses —
S: Probably your ghost. ("WELL WE" "WE" "IT MI[GHT]")
Q: It might be that we have the same ghost. ("LIKE") It's like He chooses certain people to draw on and He's in the driver's seat ("NOW") with my life. And I have this book. I mean it's not finished yet. I have the first twenty-six tapes transcribed. Either second or third draft. So I can pretty much whip it together pretty quickly. Are you working as a literary agent now?
S: Well, actually, we have a literary agent in New York that we work with.
Q: Right. Oh, I see. But I know in the past you've been involved in that.
S: Yeah. Um-huh.
Q: It might be something you'd be interested in ("MAYBE") because I really like working with you. I mean you know how that is.
S: Oh, yeah.
Q: I mean anyone can make a call. ("UH-HUH" "BECAUSE YOU KNOW") I worked at Paramount for seven years.
S: I know. You're not there anymore?
Q: Well, they want me to come back and work but I'm on a strict sabbatical to work on my book. I did write a letter to Sherry Lansing. I haven't heard back from her yet. ("UM") I wrote a letter to, um, Simon and Schuster ("UM") in New York as well. ("I") I really don't have time to make all these follow-up calls and what-have-you. ("BUT I KNOW E[VERY]I") I know, like, everyone in the film industry. ("UM" "SO" "I WAS") So basically ("I JUST NEE[D]") I want to find someone to work with. And I don't mind — ("IF YOU" "WANT IF") I was thinking about maybe giving you the book to read and then seeing what you think. Because it's — ("TOO")
S: Well, I don't understand. ("IS THE") Is the book interviews with other people?
Q: Correct. And you can hear the Spirit voices on — "I" also transcribe the Spirit voices.
S: Spirit voices from you or from them?
Q: From the Spirits. ("YOU KNOW THE" "WHEN I WAS INTER[VIEWING]") When I was interviewing the people in Oklahoma, you couldn't hear the spirits saying anything. ("WELL YOU COULD") They could hear them once in a while. ("BUT") When I got home and started transcribing, you could hear the Spirits' voices. ("LIFT") Actually, the first two drafts I did I couldn't really hear all the voices. But then I got a state-of-the-art transcribing machine and then I really could hear them quite distinctly. And so ("NOW") right now, the first day of interviews is roughly 350 pages. That's just the first day. I've done three drafts of that. The rest of the book I'm still working on. I've done one or two ("DRA[FTS]") transcribing drafts of the rest of the book. So what I could show you and Ruth or whatever. You work with Ruth ("WE[BB]") right?
S: Yeah, but see the thing is I don't even touch the books. What I do is I just send them of to our co-agent in New York.
Q: And who is that? Do I know the person?
S: His name is Jeff Herman. And I can give you his number. And you can tell him that you talked to me.
Q: But you know what?
Q: The Entity wants me to give you the book.
S: I know but I don't have time to read it.
S: I don't do any of that. I just send whatever we've got off to him.
Q: I see.
S: I am working, like, 25 hours a day and I don't have time to read. ("HMM") I don't even have time to read the stuff that I have — that I'm reading.
Q: No, I understand. ("CAUSE THAT'S THE")
S: I don't do that part of it.
Q: Well, isn't that funny? ("THE") I swear to God, the Spirit said, "GIVE SHERRY THE BOOK."
S: Well, that doesn't mean 'Give Sherri the book' to me.
Q: Right. ("RIGHT EXACTLY")
S: (laughs) You should get it to Sherry.
S: So here's what I want you to do. I want you to call Jeff Herman in New York because he's doing all our book deals.
S: And tell him that you used to be Ruth's agent ("YEAH") for so many years ("SHOW HER") and that you've been at Paramount. Tell him about all the people that you've got.
S: And — ("AND") and —
S: He'll probably — did you make a — did you do a proposal on this?
Q: I actually did a treatment and I pitched one production company. But since then I've just been concentrating on the transcribing. ("IT")
S: But you've got a copy of the treatment, right?
Q: Well, I did a treatment for the film version but I really am concentrating on the book first. ("CAUSE HE DID")
S: The first thing he's going to ask me is for a treatment on it because that's the way they do everything.
Q: Oh yeah.
S: Through treatments. So what you'd have —
Q: But he handles books and films?
Q: Well, I can whip together a treatment.
S: But the first thing to do is call him and find out what he wants.
S: Okay? And tell him that you talked to me and I told you to call him. Because I don't read anything.
S: I hate reading. (laughs)
Q: You're not the only one. ("AND I")
S: And I'm not good at it, anyway. ("BECAUSE") So that's what we've got him for.
Q: Um-huh. Great.
S: And he's the one with all the connections.
Q: Oh, okay. ("SO HE")
S: He's —
Q: I just want to make sure that you'll get a good commission. You and Ruth.
S: Well, whatever would happen is — ("IF IT") we have a split deal with him.
Q: Great. I just want to make sure of that.
S: Yeah. But I don't — see the thing is that I would do it but I don't do that.
Q: Fine. Well, you — you know — ("I M[EAN]") I mean I'm sure this is going to be a bestseller.
S: Good. ("AND I'M") I hope so.
Q: No, I know. ("YET") It's all about connections.
S: Yeah, well I know that he handles one person who wrote a book on UFOs.
S: A Ph.D. who has done a lot of research on them and also swears to have seen two aliens. And he got ("OH") that book published.
Q: Well, I have a photo that has five transparent aliens for my book. ("MY GOD") So it encompasses aliens and UFOs. It encompasses everything.
Q: I mean it encompasses Ruth's fainting spells. And I'm also beginning to worry about Lois's late husband, Harry Benson. ("I MEAN") That's how wide the ramifications are. ("I MEAN IT'S") It's sort of scary because when I was a child I had weird fainting spells. And, of course, after leaving Ruth, the people I encountered also had experienced fainting spells. Do you remember Marie who temped once in a while?
S: Marie who?
Q: Marie Todd? No, maybe that was before your time.
S: I don't think I do.
Q: Yeah, I guess that was before you started working there. ("WELL" "SHE'S") She had one when she was a child. Have you had any weird fainting spells?
S: Only one.
Q: Uh-oh. When?
S: About a month ago.
Q: Uh-oh. That's my Entity.
S: (small laugh)
Q: Did you notice He even got Michael Jackson recently?
S: Well, tell him to say away from me then, will you? ("WELL")
Q: But He only does it to people He likes.
S: Oh, great. ("RIGHT")
S: (laughs) Terrific.
Q: Yeah. Okay. ("WHY" "SO AA") Why don't you just tell — the next time you speak to Ruth why don't you have her call me?
S: I will do that. ("CAUSE I DON'T")
Q: I tried calling her once but ("I GUESS SHE") the answering machine or service didn't pick up or whatever.
S: Uh-huh. I definitely will do that.
Q: Because I realize — ("IN YOU KNOW") I'll tell her when she calls me. But tell her in therapy I realized ("THAT") of everyone ("LIKE") I've known she's the only one who really loved me. You know, for myself. ("OH")
Q: I mean even with my mom it's like ("IT'S GOT") love/hate — love/hate. Well, you know. I mean —
S: Oh yeah.
Q: — it's hard to find somebody who really loves you and appreciates you. And I know that she did.
S: I think she did.
Q: Definitely. ("YEAH") So I love her. I've just had a lot to deal with.
S: I will tell her.
Q: Okay. ("OKAY") So I'll call up — ("YEAH")
S: And let me know what happens with Jeff.
Q: Jeff Herman. Okay, I'll give him a call.
S: Okay? Okay.
S: Alright, honey.
Q: Thank you. ("GOOD GOOD")
S: Good hearing from you.
( . . . )
Q: (speaking into tape recorder) So most important things first. On the way home, I decided I'd go shopping again because last week on Friday it went so well with finding two pieces. And I saw ("IN") next door to the store there was a shop with some paintings and odds and ends. And it was on the way so I thought I would just stop in because I do have one place on the wall that could use a nice painting. I looked around and saw one old masters-style painting on the wall but it was badly scratched. I later asked what it cost and she said $600. ("SO") Now that's a little too much. I'm looking at the business card. I asked her to write down her name and she didn't do it. It just says "Scott." I don't think her name was Scott but she was a very nice lady. She was young and she had glasses. I told her a little bit about my book. There was another lady in the store there too. They were talking about that new movie — ("YEAH") "Restoration" with the heart scene. That movie and "Seven" are definitely films that I'm not going to see. ("SO UM") Anyway, ("I") I did find a painting. ("COST") She gave it to me for $45 so with tax it came to $48.71. The store was named Wells. It looks like an oil painting. Maybe it's an acrylic painting. I can't tell. You can see the strokes. The frame's a little beat up. It's old. You can't see any signature on it. ("BUT") I fell in love with it the moment I saw it. It depicts a well with a bell. ("BUT") Of course, the bell is very noticeable and prominent. And it's a very relaxing painting with greenery in the background. It's sort of impressionistic. It has a beautiful ceramic planter and another blue vase on the other side of the bell. It's just a nice painting for my wall. It's my only painting of a bell, I guess. If you don't include my book Song of the Bell. A lot of music features bells — and I often hear the bells across the street. I used my bell symbol rubber stamp on the Christmas cards and paintings I recently made. ("ANYWAY") It's just a very nice ("UP") art piece for my collection. But I really have to start watching my money. ("YEAH") I'm going now and saying my afternoon prayer of thanks to Mighael. I was listening again to Erasure on the way home and ("SSS") they have a song too where ("THEY") they have a line, "I would swear that there must be a thousand personalities inside your head." Well, there's another song that has that same ("LY[RIC]") line but it's not one that's very familiar with me . . . Anyway, I'm very happy and optimistic. I am going to call Jeff Herman on Monday and get a draft ready. So I'm excited. Knock on wood.
( . . . )
Q: So it's Saturday morning, January 13th. Another day of working on my book. You can hear on the radio in the background: "Nights in White Satin" by the Moody Blues. It just happens to be on one 100.3 FM. Thank you, Mighael. I wasn't very loving last night because I was so tired from the very difficult time of transcribing I've been having because of all the various voices. ("SO") I feel much better now and I feel rested. And I hope I have the right time for the memorial — ("BECAUSE I") wrote down 10:30 in my book and I thought it was 9:30. ("BUT") Anyway, my fingers are crossed. Transcribing is sort of spooky at times. Like when I was transcribing something about Blue Cross ("AND THIS") and I was questioning what was going on and one of the voices said, "THEY KNOW THEY'RE DAMNED." It's, like, "Excuse me?" I mean I guess that was the same voice — ("THAT") was similar to the one that you can hear in that Mark Twain book. All I can say is it just makes you wonder. ("I MEAN") It's not my role to judge. It's my role just to ask questions and to try to give some road map to the New Age for people. The people who must be very nervous, ("OO") having read so far in my book right now would have to include Sarah McLachlan who sang "Dear God" in this XTC A Testimonial Dinner CD that I have. And it's not that I mind her singing the words. ("BUT") Her expression of glee in singing the words was truly frightening because it just — oh well. I see my tape is still turning so I guess Mighael agrees because sometimes I say things that I think are brilliant and witty or funny only to find out later on when transcribing that, for some reason, they weren't taped in the first place. I guess my tape recorder stopped working or something. ("SO") And there've been other strange times when my listening device hasn't worked so you never quite know when Mighael's editing or not. (cue sound) Whoops. I guess the side is ending. No. The side isn't ending. Oh Mighael. Okay, so I better get — that means 'focus.' Okay. ("UM") I found Omni ("ISSUE") from October, 1993. A "Special Issue!" about "Science And The Soul."
Q: So I never buy this magazine but I just happened to buy this one so obviously Mighael was working through my subconscious mind. And on the cover there is a picture of an eye in a triangle that is exactly like the one that I put on some of my paintings and Christmas cards that I made. Plus, there is — ("LIKE") it looks like ("UM") a sculpture of a man holding a mask with eyes. And, of course, in the Oklahoma portion of my transcripts there was talk of a mask. ("KKK") So that's interesting. Let me just flip here ("TO SOME" "THIS") through it real quick and see what hits my eyes. I see in the beginning it says:
Is consciousness a mask—as Rob Day's fine cover may imply—or a gift? An aspect of our physical bodies, or something wholly separate from them? Is there such a thing as the soul — or not? These questions may be on the brink of being answered. That's why we have chosen science and the soul as our topic in this anniversary month.
Q: The "First Word" by David Hess asks the question about cyborgs:
WHEN WE'RE ALL CYBORGS:
Second thoughts on the machine in your future
Q: Well, that's definitely one of the themes of my book. I see it even mentions the movie "Blade Runner." Interesting. I can't quite decide which character I am in that movie if I have a counterpart. I guess it would be the Sean Young character.
Why spirochetes think as we do
Q: That's an interesting concept but too boring for me to read.
(TRANSCRIBER'S NOTE: THE ARTICLE WAS WRITTEN BY ANTHONY LIVERSIDGE. I THEN READ ANOTHER SUB-HEADING FOR AN ARTICLE BY TIM REDMOND AND MARC MOWREY.)
The ten worst environmental ideas in U.S. history
Q: Only ten? Okay, let's see. "Animals":
Researchers take to the air to preserve a threatened species
Q: Oh, ("ANOTHER") there are so many threatened species. It's really, truly scary.
(TRANSCRIBER'S NOTE: THE ARTICLE WAS WRITTEN BY KATHLEEN MCAULIFFE. I THEN READ ANOTHER SUB-HEADING FOR AN ARTICLE BY PETER CALLAHAN.)
An office for studying unorthodox medical practices
Q: The article is about "Americans with everything from asthma to addictions are finding relief in ancient healing arts such as acupuncture." There's a review of the books The Scientific Image From Cave to Computer by Harry Robin and Images of Science: A History of Scientific Illustration by Brian J. Ford.
IN DEFENSE OF REASON:
Countering the rising tide of antiscience
Q: Well, you know what side I'm on. ("NNN") The article is by Robert K. J. Killheffer. It says in red letters on the page: "In the face of antiscientific criticism, science must show how—far from eroding the human spirit—its ideas can actually enhance and perhaps even ennoble our lives." ("WELL") I don't think it can. Okay, "Stars" — "Space" — "Continuum." ("IT'S") There's an article ("ON") called "Notes From The New Land" by Murray Cox. "Join the expedition at the Monroe Institute where researchers use the science of sound to explore altered states of consciousness." Some of these things just don't appeal to me so I'm just sort of ("SSS SSS") skipping them. Oh —
In The Three-Pound Universe:
The Neuroscience of Transcendence
Q: The article is by David Porush and it's an important article.