7/16/17  #914
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Dark forces are oozing their way into the cracks of society. Those who proclaim themselves beloved of God are actually tap-dancing with the devil. Evil is being used to combat evil - with the innocents as pawns of death. We have been convinced that our jobs, education, health care, and freedoms are unimportant and unpatriotic by those who say that they must destroy freedom and Democracy in order to save it. And now, we stand on the brink, high-fiving Satan and thanking him as he pushes us all over the edge and into the abyss.

This week Conspiracy Journal brings you such knuckle-cracking tales as:

 How Hollywood Promotes War for the Pentagon, CIA and NSA -  
Witnesses Spot "Dinosaur-Like Creature" in North Carolina Lake -
UFO Sightings, Visitations, and Related Experiences -
AND: Is Bigfoot Smarter Than We Are?

All these exciting stories and MORE in this week's issue of

~ And Now, On With The Show! ~






You Have Doubtlessly Seen The Movies Based Upon What We Have All Come to Believe Are Exceptionally Brilliant Science Fiction Novels Written By The Late Philip K. Dick . . .


But what you probably didn’t know is that their creator was living out some of the same incredibly bizarre scenarios that he wrote about. One can easily compare Philip to the character played by Arnold Schwarzenegger in “Total Recall,” who found himself in a parallel universe on a faraway planet, despite the fact that he was only supposed to be hooked up in a laboratory to a machine that creates realistic dream-like images. Which reality is the character really living in?

At a sci-fi press conference held in France in 1977, Philip tried to explain some of his bewildering thoughts about the existence of a parallel or self-contained – Matrix-like – universe created by “someone” who has the ability to alter the course of time and our concept of reality:

“People claim to remember past lives,” Philip told the throng of reporters and fans. “I claim to remember a different – very different – present life. I know of nobody who has ever made this claim before but I rather suspect that my experience is not unique. What perhaps is unique is my willingness to talk about it. We are living in a computer-programmed reality and the only clue we have to it is when some variable is changed and some alteration in our reality occurs . . . and because of this a variable WAS changed – reprogrammed as it were – and an alternative world branched off.”

Drawing on the masterful mind of creative genius Philip K. Dick we offer up dozens of his personal experiences, as well as those of others in the UFO and paranormal fields, where synchronicities seem to abound. This is NOT science fiction. This is a universe that cannot be so easily grasped or explained.

This amazing book has been compiled by Tim Beckley and Sean Casted with an Introduction by Tessa Dick and added contributions by such esteemed researchers as: Philip K. Dick, Tim Swartz, Nick Redfern, Diane Tessman, Hercules Invictus, Brad Steiger, Brent Raynes, Cynthia Cirile, Valarie D. Orazio, and others who have come to conclude we are living in a computerized simulation, and like PKD acknowledge the existence of the Matrix.

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So don't delay, order your copy of The Matrix Control System of Philip K. Dick 
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How Hollywood Promotes War for the Pentagon, CIA and NSA
By Tom Secker and Matthew Alford

Tom Secker and Matthew Alford report on their astonishing findings from trawling through thousands of new US military and intelligence documents obtained under the Freedom of Information Act.

The documents reveal for the first time the vast scale of US government control in Hollywood, including the ability to manipulate scripts or even prevent films too critical of the Pentagon from being made?—?not to mention influencing some of the most popular film franchises in recent years.

This raises new questions not only about the way censorship works in the modern entertainment industry, but also about Hollywood’s little known role as a propaganda machine for the US national security apparatus.


When we first looked at the relationship between politics, film and television at the turn of the 21st century, we accepted the consensus opinion that a small office at the Pentagon had, on request, assisted the production of around 200 movies throughout the history of modern media, with minimal input on the scripts.

How ignorant we were.

More appropriately, how misled we had been.

We have recently acquired 4,000 new pages of documents from the Pentagon and CIA through the Freedom of Information Act. For us, these documents were the final nail in the coffin.

    These documents for the first time demonstrate that the US government has worked behind the scenes on over 800 major movies and more than 1,000 TV titles.

The previous best estimate, in a dry academic book way back in 2005, was that the Pentagon had worked on less than 600 films and an unspecified handful of television shows.

The CIA’s role was assumed to be just a dozen or so productions, until very good books by Tricia Jenkins and Simon Willmetts were published in 2016. But even then, they missed or underplayed important cases, including Charlie Wilson’s War and Meet the Parents.

Alongside the massive scale of these operations, our new book National Security Cinema details how US government involvement also includes script rewrites on some of the biggest and most popular films, including James Bond, the Transformers franchise, and movies from the Marvel and DC cinematic universes.

A similar influence is exerted over military-supported TV, which ranges from Hawaii Five-O to America’s Got Talent, Oprah and Jay Leno to Cupcake Wars, along with numerous documentaries by PBS, the History Channel and the BBC.

National Security Cinema also reveals how dozens of films and TV shows have been supported and influenced by the CIA, including the James Bond adventure Thunderball, the Tom Clancy thriller Patriot Games and more recent films, including Meet the Parents and Salt.

The CIA even helped to make an episode of Top Chef that was hosted at Langley, featuring then-CIA director Leon Panetta who was shown as having to skip dessert to attend to vital business. Was this scene real, or was it a dramatic statement for the cameras?

The Military’s Political Censorship of Hollywood

When a writer or producer approaches the Pentagon and asks for access to military assets to help make their film, they have to submit their script to the entertainment liaison offices for vetting. Ultimately, the man with the final say is Phil Strub, the Department of Defense’s (DOD) chief Hollywood liaison.

If there are characters, action or dialogue that the DOD don’t approve of then the film-maker has to make changes to accommodate the military’s demands. If they refuse then the Pentagon packs up its toys and goes home. To obtain full cooperation the producers have to sign contracts?—?Production Assistance Agreements?—?which lock them into using a military-approved version of the script.

This can lead to arguments when actors and directors ad lib or improvise outside of this approved screenplay.

On set at Edwards Air Force base during the filming of Iron Man, there was an angry confrontation between Strub and director Jon Favreau.

Favreau wanted a military character to say the line, ‘People would kill themselves for the opportunities I have’, but Strub objected. Favreau argued that the line should remain in the film, and according to Strub:

    ‘He’s getting redder and redder in the face and I’m getting just as annoyed. It was pretty awkward and then he said, angrily, “Well how about they’d walk over hot coals?” I said “fine.” He was so surprised it was that easy.’

In the end, this compromised line did not appear in the finished film.

It seems that any reference to military suicide?—?even an off-hand remark in a superhero action-comedy adventure?—?is something the DOD’s Hollywood office will not allow. It is understandably a sensitive and embarrassing topic for them, when during some periods of the ever-expanding and increasingly futile ‘War on Terror’, more US servicemen have killed themselves than have died in combat. But why shouldn’t a movie about a man who builds his own flying suit of armour not be able to include such jokes?

Another one-line quip that was censored by the DOD came in the James Bond film Tomorrow Never Dies.

When Bond is about to HALO jump out of a military transport plane they realise he’s going to land in Vietnamese waters. In the original script Bond’s CIA sidekick jokes ‘You know what will happen. It will be war, and maybe this time we’ll win.’

This line was removed at the request of the DOD.

Strangely, Phil Strub denied that there was any support for Tomorrow Never Dies, while the pre-eminent scholar in the field Lawrence Suid only lists the DOD connection under ‘Unacknowledged Cooperation’.

But the DOD are credited at the end of the film and we obtained a copy of the Production Assistance Agreement between the producers and the Pentagon.

Vietnam is evidently another sore topic for the US military, which also removed a reference to the war from the screenplay for Hulk (2003). While the military are not credited at the end of the film, on IMDB or in the DOD’s own database of supported movies, we acquired a dossier from the US Marine Corps detailing their ‘radical’ changes to the script.

This included making the laboratory where the Hulk is accidentally created into a non-military facility, making the director of the lab an ex-military character, and changing the code name of the military operation to capture the Hulk from ‘Ranch Hand’ to ‘Angry Man’.

‘Ranch Hand’ is the name of a real military operation that saw the US Air Force dump millions of gallons of pesticides and other poisons onto the Vietnamese countryside, rendering millions of acres of farmland poisoned and infertile.

They also removed dialogue referring to ‘all those boys, guinea pigs, dying from radiation, and germ warfare’, an apparent reference to covert military experiments on human subjects.

The documents we obtained further reveal that the Pentagon has the power to stop a film from being made by refusing or withdrawing support. Some movies such as Top Gun, Transformers and Act of Valor are so dependent on military cooperation that they couldn’t have been made without submitting to this process. Others were not so lucky.

The movie Countermeasures was rejected by the military for several reasons, and consequently never produced. One of the reasons is that the script included references to the Iran-Contra scandal, and as Strub saw it ‘There’s no need for us to… remind the public of the Iran-Contra affair.’

Similarly Fields of Fire and Top Gun 2 were never made because they couldn’t obtain military support, again due to politically controversial aspects of the scripts.

This ‘soft’ censorship also affects TV. For example, a planned Louis Theroux documentary on Marine Corps recruit training was rejected, and as a result was never made.

It is impossible to know exactly how widespread this military censorship of entertainment is because many files are still being withheld. The majority of the documents we obtained are diary-like reports from the entertainment liaison offices, which rarely refer to script changes, and never in an explicit, detailed way. However, the documents do reveal that the DOD requires a preview screening of any project they support and sometimes makes changes even after a production has wrapped.

The documents also record the pro-active nature of the military’s operations in Hollywood and that they are finding ways to get involved during the earliest stages of development, ‘when characters and storylines are most easily shaped to the Army’s benefit.’

The DOD’s influence on popular culture can be found at all stages of production, granting them the same kind of power as major studio executives.

Agencywood: The CIA and NSA’s Influence on Movie Scripts

Despite having far fewer cinematic assets the CIA has also been able to wield considerable influence on some of the projects they have supported (or refused to support).

There is no formal CIA script review process but the Agency’s long-serving entertainment liaison officer Chase Brandon was able to insert himself into the early stages of the writing process on several TV and film productions.

Brandon did this most prominently on the spy thriller The Recruit, where a new agent is put through CIA training at The Farm?—?an obvious vehicle for inducting the audience into that world and giving them a glimpse behind the curtain. The original story treatment and early drafts of the script were written by Brandon, though he is only credited on the film as a technical advisor, covering up his influence on the content.

The Recruit includes lines about the new threats of the post-Soviet world (including that great villainous justification for a $600 billion defense budget, Peru), along with rebuttals of the idea that the CIA failed to prevent 9/11. And it repeats the adage that ‘the CIA’s failures are known, but its successes are not’. All of this helped to propagate the idea that the Agency is a benevolent, rational actor in a chaotic and dangerous world.

The CIA has also managed to censor scripts, removing or changing sequences that they didn’t want the public to see. On Zero Dark Thirtyscreenwriter Mark Boal ‘verbally shared’ his script with CIA officers, and they removed a scene where a drunk CIA officer fires an AK-47 into the air from a rooftop in Islamabad, and removed the use of dogs from the torture scenes.

In a very different kind of film, the hugely popular romantic comedy Meet the Parents, Brandon requested that they change a scene where Ben Stiller’s character discovers Robert De Niro’s (Stiller’s father-in-law to be) secret hideaway. In the original script Stiller finds CIA torture manuals on a desk, but Brandon changed that to photos of Robert De Niro with various dignitaries.

Indeed, the CIA’s ability to influence movie scripts goes back to their early years. In the 1940s and 50s they managed to prevent any mention of themselves appearing in film and TV until North by Northwest in 1959. This included rejecting requests for production support, meaning that some films were never made, and censoring all references to the CIA in the script for the Bob Hope comedy My Favourite Spy.

The CIA even sabotaged a planned series of documentaries about their predecessor, the OSS, by having assets at CBS develop a rival production to muscle the smaller studio out of the market. Once this was achieved, the Agency pulled the plug on the CBS series too, ensuring that the activities of the OSS remained safe from public scrutiny.

While very little is known about the NSA’s activities in the entertainment industry we did find indications that they are adopting similar tactics to the CIA and DOD.

Internal NSA emails show that the producers of Enemy of the State were invited on multiple tours of NSA headquarters. When they used a helicopter to film aerial footage of Fort Meade, the NSA did not prevent them from using it in the movie.

According to a 1998 interview with producer Jerry Bruckheimer, they changed the script at the NSA’s request so that the wrongdoings were the actions of one bad apple NSA official, and not the agency in general.

Bruckheimer said:

    ‘I think the NSA people will be pleased. They certainly won’t come out as bad as they could have. NSA’s not the villain.’

This idea of using cinema to pin the blame for problems on isolated rogue agents or bad apples, thus avoiding any notion of systemic, institutional or criminal responsibility, is right out of the CIA/DOD’s playbook.

In all, we are looking at a vast, militarised propaganda apparatus operating throughout the screen entertainment industry in the United States.

It is not quite an official censor, since decisions on scripts are made voluntarily by producers, but it represents a major and scarcely acknowledged pressure on the kind of narratives and images we see on the big and small screens.

In societies already eager to use our hard power overseas, the shaping of our popular culture to promote a pro-war mindset must be taken seriously.

Source: Global Research


Paranormal Activity at Ripley’s Museum

PANAMA CITY BEACH — A team of paranormal investigators are looking to turn skeptics into believers with evidence they claim to have captured during an investigation at the Ripley’s Believe it or Not museum earlier this year.

David Weatherly of Two Crows Paranormal said his team was called to the museum in March by management to look into reports of everything from strange sounds and disembodied footsteps to full apparitions witnessed by guests. They recently finished reviewing what they collected and while they recorded a number of unexplained experiences, one clip in particular, Weatherly said, stands out.

Captured on a Structured Light Sensor (SLS) camera, which is essentially a modified Xbox Kinect camera that maps movement and energy, the clip reportedly shows a figure manifesting in front of a tribal African executioner’s table. In the space of a few seconds, Weatherly said the figure kneels down onto the table and its head disappears.

“It was mind-boggling,” said Weatherly, who was holding the camera at the time. “I can’t tell you how many times I’ve looked at it.”

Because of the high number of artifacts in the museum, many of which have a gruesome past, Weatherly and his partner Dave Spinks expected a lot of activity during the two nights they spent investigating.

“With artifacts like that, there can be energies attached to them,” Weatherly explained. “Personally, when we were there, we had some pretty crazy things happen.”

The executioner’s table, Spinks recalled, had a dent where an ax had made its mark and was even stained with what looked like blood. Both investigators agree that the figure, whoever it was, was likely a manifestation of residual energy living out the last moments of the executioner’s victims.

“That energy is stained on that table forever,” Spinks said. “All those people’s last moments of life are stained upon that table.”

Weatherly said the team also had an unsettling encounter using a voice box — a device that quickly scans radio frequencies to pick up supposedly otherworldly voices — near a statue of an African god. Weatherly said his partner set the box down by the statute and they both heard the phrase “get ready Spinks” and “behold.”

“As soon as it said that, the box stopped operating,” Weatherly said. “Dave couldn’t get that box to operate for weeks.”

The team also had encounters near the shrunken head exhibit, and a statue of an ancient snake god.

When asked if they’re ever scared during an investigation, both Spinks and Weatherly characterized themselves as the guys who keep on investigating “even when other ghost hunters run out of the building.” They’re both experienced in the field and while there may be some unnerving moments, Weatherly said the investigations don’t frighten him.

“The things that human beings do to other human beings are more frightening,” he said.

Source: Panama City Beach News Herald
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Witnesses Spot "Dinosaur-Like Creature" in North Carolina Lake

HUNTERSVILLE, N.C. –A man from Mecklenburg County on July 8 said he saw a “dinosaur-like creature”.

35-year-old B.T., a salesman who provided a full name but asked to remain anonymous, told Cryptozoology News that he was at Lake Norman on a boat with his friends when the animal showed up on Saturday morning, July 8.

“I was on a boat with my friends,” he said. “We were near the lakes main channel when we saw something splashing around in the water.”

He described the alleged creature as a 10-feet-long dinosaur reminiscent of the mythical Loch Ness monster. He added that the animal was visible for about 1 minute before disappearing back into the water. There were no photographs or videos submitted with the report.

This is just the latest in an ongoing series of “monster” sightings on the man-made lake.

There is even a website called LakeNormanMonster.com that allows people to post their sightings. Most describe the creature, called Normie, as looking like the famed Loch Ness monster that allegedly inhabits Loch Ness in the Scottish Highlands.

A page is devoted to The Lake Norman Monster on the web site UnknownExplorers.com, and it notes there is no physical evidence to support the existence of a monster living in Lake Norman. The site speculates the sightings could involve a giant catfish or alligator gar.

“Descriptions of Normie vary from sighting to sighting, and range from a crocodilian like creature to the more classic three humped serpent,” says UnknownExplorers.com. “Most that have seen the Lake Norman Monster seem to agree that the beast is more fish like, with a slender body, thick whisker like appendages, flippers and a ragged looking dorsal fin.”

Lake Norman monster sightings date back nearly 50 years.

A few dozen witnesses have posted sightings on LakeNormanMonster.com, including some from last year. Descriptions range from a dinosaur-like monster to a giant snake with fins... and thick whiskers.

“I was on a boat when a huge force from below knocked me over board,” posted John Edds of Huntersville last year. “I got back on to my boat when i saw a Nessie-like sea monster swimming away from me. it looked about 15 feet long.”

A witness identified as Nate from Denver, N.C., posted that he and his girlfriend saw the creature while on a Jet Ski in 2014.

“We both saw a large body come to the surface. It was dark, and shiny in some spots but was at least 14-ft long... We both were scared to death... She is now scared to swim there, but I’m really curious.”

This recent sighting at Lake Norman has prompted someone else to step forward with a clue about what the creature might be.

In a July 14 posting on the official LakeNormanMonster.com web site, a diver from Clemmons claims to have seen an “enormous” fish in the lake 20 years ago. The diver, who didn’t give a name, said he was looking for old bottles among the buildings that were submerged when the lake was first created.

Adding to the creepiness factor: His light found the fish in the black waters inside one of those submerged buildings, he wrote.

“It was...at least 8 feet long and 3 feet across the mouth,” posted the diver. “We hovered in the water for a good 5 minutes with our lights on it, not believing what we were seeing. I’ve never seen a freshwater fish that big...The only thing it did was to pump it’s gills and open and shut it’s mouth slowly, like it didn’t even see us.”

He guesses it may have been a cat fish “a damn big, scary one too.” It could be the monster, he suggested.

“That fish might be a lot bigger in the 20 odd years since,” the diver wrote.

Lake Norman, fed by the Catawba River, was created in 1964 and is currently the largest artificial body of fresh water in the Taar Heel State.

Source: Cryptozoology News


UFO Sightings, Visitations, and Related Experiences
Written by Sue Demeter-St.Clair

In early July 2016 I created a personal blog post entitled Fairies: A Canadian Research Project and I asked my readers to share or submit personal encounters with me. The post was shared numerous time and I received a good number of responses including ones from outside Canada. The following report in the witness' own words is one of those, and despite being outside of Canada and having occurred approximately 20 years ago I thought it definitely worthy of sharing with the PSICAN readership.

The experient writes:

 "Hello--though I am American and this did not happen in Canada, it happened close to the New York State-Canadian border. I'll be happy to answer any questions you may have about my experience, which changed my life considerably. I still think of it all the time, almost daily.

I live in New York City, but in October of 1996 was visiting my mother and extended family, who then lived in Williamsville, which is outside of Buffalo, New York. It was the middle of October and my mother, my aunt and I had taken a drive out into the country to see the foliage. It was a very beautiful, cool, clear autumn day.

Towards late afternoon, we stopped in the small town of Great Valley to have dinner. My mother and aunt wanted to shop afterwards, and I wanted to take a walk in the countryside which surrounds the town. I walked to the edge of the town and then out into the rolling land around it--open fields in the center with woods on either side. I was in a relaxed, happy and contemplative mood.  

I had been walking about ten minutes when, suddenly, I "heard" a kind of sing-song "chanting" in my mind, which "sounded" like a multitude of very sweet, pleasing voices that were all speaking the same words almost simultaneously, in a kind of cascading aural waterfall effect. I had never experienced anything like this before at any time, and the words were, "Don't you see us? We're all around you. We're all around you, don't you see us? Look—don't you see us?" Stunned, I stopped walking and took the experience in. There was a smallish tree near me, but otherwise I saw only the open fields, woods at a distance to my right, and a two-lane road beyond on either side. I did look around me, certainly not expecting to see anything unusual, and saw nothing except the autumnal landscape I had come to see. I "heard" the voices for about 90 seconds, and then the voices abruptly stopped.

I walked on for another 20 minutes, and then returned to the town, where I met my family. I said nothing to them about my experience, and reflected upon it on the long drive back to Williamsville.

The next morning I was preparing to take the afternoon train back to New York City, and, having packed, went for a walk on a familiar wooded path behind my mother's housing development, a path which ran adjacent to Ayer Road, a residential street of traditional old American homes. I had been walking for about 10 minutes when, suddenly, I "heard" the voices again in exactly the same manner I had "heard" them the day before.

The voices said, "We're here---come this way, walk this way. We're here,"ť and I looked to my left and saw another path through the woods that led to Ayer Road, which I could plainly see at the end of it. I turned left and walked down the path, still "hearing" the voices, which, as I approached Ayer Road, came to a stop. Ayer is a fairly quiet street but does get some car traffic, and, somewhat stunned and dazed by this new experience, which seemed to validate my experience of the day before, I walked north past the homes using the lip of the road, as there were no sidewalks.  Ayer Road curves slightly at various points, and rounding one of these curves, my eyes fell upon a grouping of four garden gnome statues on the front lawn of one of the homes. The statues were traditionally sculpted and done in what I would call a tasteful and "realistic" manner; they weren't the kind of mass-produced cartoonish garden gnomes so prevalent today.

The four gnomes were in sitting positions and arranged so that they were facing one another. When I saw them, it was like receiving a blow to the chest, though I realized instantaneously that they were statues. But seeing them at that moment seemed to "identify" the source of the voices to me in a manner which I can only call profound, as if the statues were what I was meant to see when I turned off the initial path and walked down the other towards Ayer.

Several hours later, on the Amtrak train, just as dusk was falling and the last of the day's light was disappearing from the surrounding farmland, I turned to look behind me at the setting sun, and just as I did so, I heard the voices again in the same manner I had before, and again, the voices were "sing-songy," but less so than on the previous two occasions. The voices, which I have to paraphrase in this case, said, "You're leaving us now, and the autumn door is closing. You will forget about us for a long, long while, but we have a date with you in the distant future. "You will meet us again, " then and at that moment, the sun disappeared behind the horizon. I found this third experience exhilarating and emotionally powerful.

So I never "saw" anything visually (other than the garden gnome statues), but I have, for some years now, come to the tentative conclusion that the "voices" were "fairy" voices. What struck me most, and still strikes me now, is that "they" thought I would "forget" them and the experience, which I certainly never have, nor have I ever come to think of it as unimportant.

I also want to state that, before the three experiences, which all took place within just over a 24 hour period, I did not believe in fairies or elves by any means. I had never had an experience of "hearing" voices mentally, nor have I since. The experience did profoundly change the way I think about reality and my own life. Due to the nature of these experiences, they're very difficult to put accurately into words as I experienced them."

Researcher notes:

The photo at the top of this page was sent along with a couple of other examples of garden gnomes that the experient felt gave a good example of what they looked like. In our correspondence he indicated he was very confident they were actual statues nothing more, but was perhaps guided towards seeing them. Again I will share in the witness' own words:

    "I am absolutely sure the gnome figures I saw were stone statues. I was very close to them when I walked down the wooded path--they had been placed so that they were facing one another in a loose circular formation and there was a large red mushroom, also stone or cement, in the middle of their 'circle.' The gnomes were similar to those in the attached photos (though they were all in the same sitting position), which I would consider 'realistic' looking. These kind are rarely seen any more.

    But I was walking down the path out of the woods towards Ayer Road, having just heard the 'voices' again, saying, "Come this way.....we're here!" very enthusiastically, in the same sing-songy voice, and as I approached Ayer Road, certainly not expecting to see anything, I was astounded, stunned, to see the gnome statues grouped there--it took my breath away for a moment. For a moment, it was frightening, and I am not easily frightened.

    They were large for garden gnome statues--about 2 feet or more--and beautiful constructed and painted. It was as if the statues were what I was meant to see to identify the 'voices.' But I'm sure they were statues.

    T.S. Eliot talks about the 'objective correlative'--"the artistic and literary technique of representing or evoking a particular emotion by means of symbols that objectify that emotion and are associated with it," and that's what I think the statues were and were intended to be or represent. That they were only stone statues took nothing away from the experience for me, ultimately, because I was led out of the woods and down that particular path by the 'voices'--and right to where those statues were. Today, of course, I would have taken out my iPhone and taken a photo of them, to retain a record."  

I have had several strange encounters of my own since I was a child, and I have been researching primarily UFOs since 1997. One of the reasons I had decided to take on this fairy project is that I am very much in agreement with Dr Jacques Vallee's ideas that were expressed in Passport To Magonia and within his later works. There is an undeniable connection or parallel between modern UFO lore and experience and faery encounters spanning centuries if not farther.  In my queries of the witness I asked if he had any prior encounters or events with what he believed may be paranormal and he shared with me the following UFO encounter with me:

    I did have one other 'paranormal' experience, which was, in its own way, almost equally profound. It took place on the early morning of June 23rd, 1994, just after 1:00 a.m.

    I had been sitting up watching the NBA finals with my roommate (John*), in which the New York Knicks were playing the Houston Rockets. I was very excited about the game, and very disappointed when the Knicks lost. John had gone to bed, and I was reading in my room. At the time, I has lost my job and often stayed up late reading, but at no point had I been asleep.

    Our apartment was a 'penthouse' apartment (7th floor) in an old brownstone in Williamsburg, Brooklyn, quite close to the East River, so that we had a spectacular view of the then-World Trade Center buildings in Manhattan.

    I got out of bed to get a drink from the refrigerator, and as I was standing in the kitchen in the dark, I remembered there was supposed to be a moon that night, and looked out the large, tall kitchen window, which faced west, to see if I could see it.

    Just as I did, a huge, bright greenish figure, shaped like a 'minnow' or an elongated teardrop turned side-wise with the larger end forward, 'flew' into view in the open air and space over Williamsburg.

    I was not a believer in 'unidentified flying objects' of any kind; my initial reaction was, "The nerve of that thing, to be flying right over the rooftops of houses and buildings!" Below on the corner there was an Orthodox Jewish School, and I could see two school buses parked outside, so it gave me a good comparison of its size--it was about the size of the two standard school buses placed back to back.

    It flew with what I call a 'trundling' motion--it flew forward, hovering at some points, but moved slightly up and down as it did so, as if shaking. It flew into my rage of vision, but at an upward angle, then 'flew' sideways and backwards so that moved between two very tall housing projects, still 'trundling,' and then, in an incredible burst of speed, zoomed straight out of sight into the clouds over the World Trade Center, where, as the entered the cloud bank, the clouds briefly trend green with its light. And then it was gone.

    I woke up John, I called the police to report it and ask if anyone else had, and the next night, walked down to the waterfront bars along the East River on the Williamsburg side to see if any of the 'hipsters' who drank there had seen or reported it. No one else had reported it, and though the police were polite, they really didn't have much of a response. Afterward, I told my friends, my family, everyone.

    It did not look like 'a craft from another planet' or any kind of craft at all. It looked like clear blown-glass teardrop, as I said, with bright green smoke or liquid swirling inside it, almost the color of antifreeze. There were no other lights on it, no 'doors' or panels or windows. Nothing at all to make it look like a 'craft.' I know this sounds eccentric, but it almost looked like a bright green 'cartoon,' or 'animated,' image, superimposed over 'reality,' like the cartoon characters in 'Who Framed Roger Rabbit?'

    Nothing about it physically suggested it was 'manned' or created by man--though it certainly behaved like it was or was guided by intelligence. I grew up along a canal system in North Miami Beach, Florida, and it reminded me of a scene I had witnessed hundreds of times as a teenager--a little fish swimming briefly into view along the shallow waters of the shore and then quickly darting out of sight again.

    The thing that struck me, and strikes me still, is how low over the city it was flying--I was on the 7th floor, so it was flying at, I would say, about a 9th or 10th floor level. When it moved backward and sideways between the two housing projects, there were many floors of those buildings above it. So if someone living in one had been awake I was, they would have seen it at eye-level.

    Subsequently, I have read a lot about 'green fireballs' seen throughout the 20th and 21st centuries in America and elsewhere, and wonder if what I was what those people also reported, though what I experienced looked nothing like a meteor, a rocket, or anything else. It moved carefully and decisively, as if alive or intelligently guided. But I do not believe it was an 'alien craft,' and today do not believe in the 'alien spacecraft' explanation for unidentified flying objects."

    * The name has been changed to John in order to protect privacy

More notes: It is interesting to note that the auditory fairy experience followed after a seemingly unrelated visual UFO event. In further correspondence he has told me that while profound, even life altering these experiences were in no way perceived as negative. He also shares the following:

    "I want to share with you that, prior to the experience with the 'unidentified flying object,' I had no belief in UFOs as such or almost any other kind of paranormal subject. I was very much an 'earthy realist' and lover of hard science. At most, I enjoyed reading about various forms of American and World folklore, but the folklore I had read had never touched on UFOs.

    As a boy, I did love monster and science fiction films, and faithfully read 'Famous Monsters of Filmland' magazine every month, as well as Ray Bradbury, Edgar Rice Burroughs, Ian Fleming and H.P. Lovecraft, but never confused those forms of entertainment with reality, and gave all of that up in my late teens regardless."

My personal thanks goes out to the witness for sharing these extraordinary experiences and other information with me. I greatly appreciate and value the courage and trust it takes to do so. If you have had a similar encounter in Canada please email me at sue@psican.org Your privacy will be protected.

Source: Paranormal Studies and Inquiry Canada


How Gnomes Drove an Artist to Kill Herself
By Tristan    

The Castle of La Boca, named after the neighborhood in Buenos Aires where it stands, is a big and beautiful representation of Catalan modernism. It’s also supposedly haunted, which is why many people call the building’s tower “The Ghost Tower.” The eponymous ghost of the tower is said to haunt the top floor, where people have heard anguished shouts and disembodied footsteps.

According to legend, the ghost is a painter named Clementina, a young art student who lived there a century ago. The story behind Clementina’s demise involves a nostalgic rancher, a noisy reporter, and a bunch of mischievous follets, a creature in Catalan folklore similar to gnomes.

The story begins with the estanciera (rancher) Maria Luisa Auvert Arnaud. Auvert owned a very profitable estancia, a rural estate like a ranch, making her one of the wealthiest people in Buenos Aires. In the early 20th century, Argentina was experiencing a great boom in immigration from Europe. Hoping to make some money off these new Argentinians, Auvert bought a plot of land in La Boca and planned to get into real estate.

Despite her French-sounding name, Auvert’s family had roots in Catalonia. On her new land, Auvert hired the Catalan architect Guillermo Alvarez to build a house that would remind her of her family’s homeland. To maximize the Catalan flavor, Auvert imported furniture and plants from the old country, including some mushrooms she put on the balconies.

When the construction was completed in 1908, Auvert was so happy with the final product that she dropped the idea of renting the building and took the house for herself. The Castle should have been her dream home, but Auvert quietly packed her bags after living there for only a year. Nobody knew why she moved so suddenly, though neighbors said they sometimes heard her and her servants yelling at something at night.

The house’s next owner, a real estate agent, decided to rent its rooms out. Clementina, a young painter from the city of Venado Tuerto, moved into the top floor. Though young, Clementina was popular and quite talented. Her increasing fame eventually brought the attention of Eleonora, a journalist interested in her work.

At a meeting with Eleonora, Clementina showed the journalist her studio. Things looked very bright for her career, and she was finishing work on a painting that she considered her magnum opus. It seemed like the young artist couldn’t be any happier. She must have been especially flattered when Eleonora took some photos of her paintings.

Shockingly, a couple nights after Eleonara’s visit, Clementina killed herself by jumping off her balcony. Her friends and neighbors were stunned. She had so much going for herself, it just didn’t make sense. Why would Clementina take her own life?

Meanwhile, Eleonora got her photos developed. Most of the photos came out fine, save for the picture of Clementina’s unfinished painting. In that particular photo, Eleonora noticed three little creatures in the studio. Stumped, she launched an investigation into Clementina’s suicide and the history of The Castle of La Boca.

Eleonora’s search for answers led her to Maria Luisa Auvert Arnaud, who was then living in a little town called Rauch. After contacting Auvert by phone, Eleonora took a train to Rauch and interviewed Auvert in her garden. There, Auvert confessed the terrible truth about her old house… There were gnomes living in it. Not the tacky lawn ornament variety either, but living, breathing follets.

Auvert explained that follets live in the forests of Catalonia and sleep in mushrooms. Unfortunately, the mushrooms Auvert imported for the house turned out to be carrying follets. At first, the gnomes didn’t cause any trouble. Then one of the follets made a pass at a maid, and a disgusted male servant threw the little guy against the wall.

Everything went downhill from there. The follets made the house a living hell, cutting furniture legs off and throwing knives in the air. It was far too dangerous to stay, so Auvert and her servants moved out. Since Auvert was afraid of being labeled crazy if the story leaked out, none of the servants were allowed to talk about what happened.

After promising to keep the story a secret, Eleonora headed back to Buenos Aires. She never figured out what happened to Clementina, but the story still has an explanation for the mystery: The follets were angry that their pictures were taken. In revenge, they hid her tools and flung paint on her unfinished masterpiece, driving the young artist mad. When she couldn’t take it anymore, Clementina impulsively ran out her room and jumped.

Ever since her death, Clementina has haunted her old home. They say that the artist’s unfinished painting disappeared after her suicide, and that Clementina can’t rest until she gets it back. As with many other urban legends, you have to step back and wonder how anybody could have possibly known what happened here. Seeing as how Clementina died and all the other characters were sworn to secrecy, I suppose the follets themselves spread the story. Or it never happened. But come on, Catalan modernist architecture isn’t enough by itself to attract tourists!

Source: Bizarre and Grotesque


Is Bigfoot Smarter Than We Are?

There may be a very good reason why Bigfoot has not been captured.

Every year brings hundreds of new sightings of Bigfoot, or Sasquatch, in North America. Most come in the spring and summer months when more people are apt to be venturing into the wilderness to camp, fish and hike.

The sightings have occurred for hundreds of years – by the European settlers who explored Sasquatch territory, and before that by the Native Americans who seemed to be familiar with this giant of the forest.

The sightings have been reported by casual campers and experienced outdoorspeople alike. Many have gotten a good look at this amazing creature. Their descriptions are remarkably consistent, from the details of its height and hair color to its nauseating stench. The eyewitness accounts are so numerous and compelling that any fair-thinking person must entertain the idea that there really is a large, hairy biped out there.

Amazingly evasive

So why haven't we captured one? Why isn't there better photographic evidence? Why have we not found any dead bodies?

The best physical evidence we have to date are large footprints that clearly show dermal ridges (fingerprint-like markings on the feet) and a few hair samples that at best have proved interesting but inconclusive. What little photographic and cinematic pictures we have are mired in controversy and accusations of hoaxes. While fascinating and worthy of our analysis, they are not conclusive. Sound recordings of what some say are its distant howling are haunting, but do not constitute proof.

With more and more people each year enjoying the wilderness and actively searching for Sasquatch, how is it that it remains so evasive? Is Bigfoot smarter than we are?

Surely, with all of the technology we have at our disposal – products of our intellectual superiority over the rest of the animal kingdom – we should be able to capture or at least photograph clearly one of these creatures. Why hasn't it happened?

We have night-vision equipment and motion-triggered cameras. Bigfoot traps have even been constructed, going back as far as 1974. Many other types of wild animals have been spotted with night vision and photographed with motion-triggered gadgets. Such animals – even the wiliest in the forest – have been trapped and captured alive. And, of course, man routinely hunts and kills them.

But not Sasquatch.

How intelligent is it?

Sasquatch evades our best attempts with our most clever technology.

How? There are two reasons I can think of:

   1. Bigfoot is not really out there after all.
   2. It's too smart.

If, for the sake of argument, we agree that Bigfoot does exist (all those good eyewitness accounts are hard to dismiss), must we conclude that the creature is outsmarting us? How can this be? Is the Bigfoot smarter than every other wild animal of the forest – from deer to bear to fox and even more exotic creatures, all of which have been outwitted by our technology?

Could a human being even evade such technology?

Put a person of above-average intelligence in the middle of a forest for 24 hours where there has been set up man-size traps and camouflaged motion-triggered cameras. How well do you think he’d do? Assuming he's moving around looking for something to eat or drink, he would probably do well at avoiding the traps if he was very cautious. But he would almost certainly be photographed by hidden motion-triggered cameras, especially when it began to get dark. (This might actually be an interesting experiment!)

Again, Bigfoot has managed to escape the shutter of such hidden cameras. Can we therefore conclude that it is smarter than a human being?

By some indications, the Sasquatch is an intelligent primate, although how intelligent is not known. Obviously, it does not approach human intelligence, as we measure it. There are no Bigfoot-made towns, mills, writings or shoes. There may be use of primitive tools and possibly even language, but there's no conclusive evidence for those either. It doesn’t sound like he’s smarter than humans.

More than smart

Perhaps "smarter" isn’t the right word. Perhaps he's more aware – and I mean that in the largest possible sense. I mean it in terms of psychic awareness. I'm sure this idea turns some people right off, but, hey, it's just an idea, and I'm certainly not the first one to offer it.

It has been theorized that psychic abilities – or sixth sense – in humans may a vestigial remnant of the instincts our ancient ancestors once possessed. Virtually all animals are driven by instincts that, to a large extent, determine their behavior, and certainly our primate ancestors possessed them as well to be able to survive. As man became more intelligent, his instincts became less and less necessary. Man could figure things out for himself and didn’t need instincts as much to drive his behavior.

But did we lose something in the process? Is instinct merely programming in the genetic code? Or might it be something more – a connectedness to other living things and all living systems? Many animals seem to have this heightened awareness. They can sense when earthquakes are coming, for example. A lost pet retriever can find her way to her family over hundreds, even thousands of miles. The examples are endless and well-documented.

Psychic abilities in humans – from clairvoyance to remote viewing – might demonstrate that we can still tap into that connectedness and perform some remarkable feats.

Different evolution

Back to Bigfoot. Is it possible that this creature, which may be a divergent hominid species with which he share a common ancestor, has not only retained its primal instincts, but has evolved them into psychic abilities that surpass anything we can currently muster? As we evolved intellectually, perhaps this creature evolved psychically.

We evolved our intellect to survive and dominate. It may be that Sasquatch evolved its psychic senses to likewise survive in a world increasingly dominated by its clothed cousin who, year by year, encroaches more and more on its home forests. If it does have this heightened sixth sense, Sasquatch might "know" when and how we are trying to capture and photograph him. Even a hidden camera might retain enough of a human imprint that the creature can detect and avoid.

I have a feeling, however, that this psychic sense will not forever protect the Sasquatch. Sooner or later we're going to catch up with it and prove its existence definitively. When we do, I only hope we’re smart enough to respect it.

Source: paranormal.about.com

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