May 31, 2024 • 59 mins
According to our guest, Brit Elders, Swiss farmer Billy Meier did indeed capture evidence of extraterrestrial technology. Allegedly, Meier was in contact with extraterrestrials that he identified as Pleiadians. UFO…Contact from the Pleiades takes the reader back to a time before home computers, digital photography and easily accessible photo enhancement programs. Yet the evidence—analyzed in laboratories around the world—could not be easily dismissed and supported the claims of the contactee, Billy Meier. https://britelders.com/author%2Fco-author
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Episode Transcript
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You're listening to Mystic Lounge with AlanB. Smith, rebroadcast on the ONEX
Network Thursdays at eleven pm Pacific,Fridays at two a m. Eastern.
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However you are and whenever you are, welcome, good souls to Mystic Lounge.
I'm Alan B. Smith, yourhost, and tonight we're going to
take a look at a classic UFOcase, that of Swiss farmer Billy Meyer,
and we'll be discussing the photographic evidenceand the story of Billy Meyer with
my guests Britt Elders joining me injust a moment. As a friendly reminder,
(00:56):
if you like tonight's show and othershows on the Mystic Lounge channel coffee
and UFOs, please do subscribe andlike to help support the channel. It
makes a huge difference and we aresteadily growing, so I really do appreciate
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also helps the algorithm, so Ireally really appreciate your support. You can
also follow on Instagram at Paranormal Nowfor show updates and other content, and
(01:22):
on x at Paranormal underscore Now.According to our guest Britt Elders, Swiss
farmer Billy Meyer did indeed capture evidenceof extraterrestrial technology UFO contact from the plates
takes the reader back to a timebefore home computers, digital photography, and
(01:45):
easily accessible photo enhancement programs. Yetthe evidence analyzed in laboratories around the world
could not be easily dismissed and supported. They support the claims of contact Billy
Meyer. So yes, there hasbeen some controversy. There's debate whether the
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photographs are authentic UFOs. Did BillyMeyer actually have contact with Pleadians. We'll
discuss this with Brett Elder, butvery very briefly, I want to share
I was just talking to Britt beforewe started. I just want to share
a few photos of our recent tripto Mexico. So we went to go
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see Tiba Tua Kon and this isan image from the temple of ketz Aquadal
And we also went to the Museumof Anthropology. We also went to see
the Frido Callo Museum. That wasvery cool for anyone who's interested in Freda
and the art. And we startedour trip archaeologically speaking, in chichen Itza
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in the Yucatan, and that Ican hardly express how transported that experience was,
and we really got lucky with ourguides too. Of course, I
did have to ask our guide ifhe thought there was any chance that aliens
had anything to do with the buildingup of these temples and pyramids, and
he kindly disagreed. But in fact, I, for one, I think
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that the people at that time,the meso Americans, the pre Astecians,
were perfectly capable of figuring this outon their own. But that does not
mean they weren't inspired or made contactwith extra trestfuls. We certainly can't rule
the ancient aliens theory out. Here'sanother picture in Tea Tuan Tea Tayla Khan,
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the temple of Ketzequadal, and thenthis picture of a so Note this
was one of the most magical experiences, and there's a lot of other photos
that we took, but you know, it was such a personal experience.
I don't want to share too much, but that I think this really exemplifies
this underground cave with this extension ofa sonote. If anyone has a chance
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and really appreciates nature in the mostsacred way, I would definitely encourage you
go. We did have an encounterat one of the sonotes where there were
some Americans behaving a little too Americanand not really respecting the sacred space if
they were treating it more like awater park. So if you do go
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down there, please be respectful ofnature and of the people that that you
know that still live and own theselands. Okay, So Britain, now
that I've talked to plenty enough aboutour personal excursions, we'd like to hear
more about you and your your experiencewith the Billy Meyer case. Well,
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I love that and I have totell you when you go back, Yeah,
go to Tote Wa Khan. Askto see the plaza of the playades.
It's quite amazing. It's one ofthe smaller little what was a pyramid
Now it's just the floor, butyou can actually place stones in several places,
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and it's the plates as they're crossingthe heavens. Because to the people
of the Wa Kan, they hadthe same belief that the hope he had
that the lighting of the fifty twoyear fire would take place. In fact,
we were down there for one ofthose years and at midnight when the
plates were directly overhead, that's whatthey would do. They would extinguish the
(05:29):
old fires and light the new fires. It was really something. But the
plaza of the plates is something youneed to see, very cool. I
wish we would have had time todo that or known to ask specifically get
access. Yeah, that's another reasonI've talked to my wife about them.
Or if there are so many amazingplaces around the world that people do make
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these connections with with extraterrestrials or nonhuman intelligence. For you, do you
really think that the humans of thepast not only witnessed extraterrestols, but did
they need their help to do theseamazing complexes and architecture. Yeah, wonders.
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You know, I'm not sure aboutthe archaeology part of it as far
as the buildings. But in everyhistory all around the world, all the
ancient histories discuss the connection with variousstar beings, not just the plates,
but arcturians, people from serious allof the different ones, and they talk
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about how these people influenced them,how they gave them knowledge, how how
they let them basically learn how tofarm better, learn how to be better
caretakers of the land, things likethat. And they do say that they
intermixed with the people that were livinghere, interbred with them, and so
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we basically have a hybrid society.And that's in oral histories, that's in
legends, sets in mythology, notjust American Indians, but all around the
world. Looking at the Billy Meyerphotographs and I'll put a couple up here
now for those who are watching onYouTube. How do we know? How
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do we look at something like thisand know that that is or believe that
that's actually UFO OFF world craft.Okay, let me tell you the process
we went through. It might beeasier if I explain it that way.
Absolutely. Yeah. We knew wherethe camera was positioned, so we could
take a measurement from the camera tothe tree, so we knew how big
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the tree was, what the diameterwas. That let us correlate the size
of the craft, which ended upbeing about twenty one feet in diameter.
The other thing is is when wehave this digitized down at the University of
Arizona with doctor Michael Mahlan and thenstarted looking at how the branches were actually
(08:09):
in front of the craft, itwas like wow, and that got everybody's
attention. So you enhanced it anddid you have the original slide? We
had a contact negative and innernegative.Yeah, and we took it. Here's
what happened with photographs. We tookseveral of them because we couldn't take the
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thousand or so that Billy had,so we took a smattering of all different
shots. We took them to doctorMichael Mahland. He did the digitization.
We saw what Jim Delatosa could dowith his equipment. He was great.
We ended up with Robert Post,the head of photography at JPL, Eric
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Eliason USGS. He was the headof the Mars photography projects for Voyager and
all of that as well. Sowe had these scientists that were so wonderful
because they would look at it andsay, we don't know what it is.
We can't tell you it's a UFO, we can't tell you it's from
any place specific. We can tellyou we cannot duplicate it, and we
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don't know how it was made.It was not superimposed. It was not
something that not take take your mindback several years, like forty five.
We didn't have photoshop. We didn'thave all of the technology we have today
where we can manufacture something like this. It looks real. So that that
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had everybody scratching their heads how doyou do this? Yeah, well,
most people would say it's it's aforced perspective and you're using light to sort
of glare out the fission line ifyou will, but fastpeed camera you throw
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something up in the air. Butlike you said, if indeed the branches
in this photo are actually in frontof the craft, you can actually see
the one to the left is justbarely. But there's something else with this
when and we made a model ourselves. We hired Wally Gentlemen, one of
the best special effects guys miniatures inHollywood, worked with Kubrick, worked with
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Coppola, did a lot of workall over the planet doing miniatures just for
films. He made us a modelbecause everybody was saying, oh, it's
a model hung on a string,So we used a monofilament line. We
put the model at the end ofa fishing pole and just took photographs with
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Billy's camera. Because he only hadone camera, a thirty five millimeter,
he could operate with one hand.Because he only had one arm, he
could turn the film, take thepicture. So we took that film and
we ran it through all the testswe did with everything else. The model
showed up to be about eight ornine inches in diameter, very small.
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You could see the monofilament line.Because when you digitize it, no matter
what tricks you play with light,you have an issue of that line is
still present in the film. It'sstill part of the grain. So we
found it. We knew we hada model, so it was good to
compare and that's why we brought Wallyin. But the other thing is that
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particular picture that you just showed isfrom Hassenbul and Hassenbol when Billy was there.
He took a series of photographs.This is just one of about twelve,
and you can track all the wayacross this whole area of sky until
it finally gets to that point whereit's behind the tree. Okay, so
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let's get a little more provenance.So can you tell us about Billy Meyer.
What's his roots story? Yeah,that began his seeming ability to captureos.
Okay, Well, Billy is aSwiss German Man. When he was
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five years old, he and hisfather were out walking and he looked up
and he saw a craft and heasked his dad what is that? And
his dad said, this was duringWorld War Two. That must be one
of Hitler's Flying Machines and left itat that. Billy's contacts with Semyasa,
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the Pladian that he originally met,was something that they had planned. Basically,
they being the Pladians. They toldhim they had studied him for ten
years to see if his frequencies hisenergy would be compatible with theirs. They
said they recognized him and his energyfrom past lives and that was the thing
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that triggered them in the contexts sothat they could sort of seek him out.
He was not educated like we thinkof education. I think he had
a fifth or sixth grade education asfar as schooling. But he was worldly.
He traveled the world. He traveledthe Middle East, India, he
was all over Europe. So hewas not naive or dumb, but he
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was not wealthy. He did nothave any of the technology necessary to make
these All of these things, andthere were more than just photographs as evidence.
We had movie footage, eight millimetermovie footage. We had audio recordings
to the craft, and we hadmetal samples. All of those were analyzed.
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None of the scientists could duplicate it. None of them could explain how
they were created. And with theaudio, they couldn't describe what it was
for. It was so unique andunusual. What was the audio like?
Wow, It was a series offrequencies, literal abstract frequencies. It would
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expand and then come together, andthen they would expand again and come together.
We had a gentleman by the nameof Rob Shellman who worked at the
Grouton Naval facility where they store allof the sounds, and he actually took
the sound in and tried to matchit to something. He never could find
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anything that it would correlate with.Then we took it to like Steve Ambrose,
who was Stevie Wonders sound engineer,was very familiar with synthesizers and what
could be done at that time,back in the seventies with synthesizers, And
to Nils Rognerut, another sound engineer. They all said, we don't know
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what this is for, but itis definitely not created here. And Nils
Rognerud went so far as to say, I couldn't duplicate it myself. Then
Steve came in and said, wedon't have synthesizers could do that even if
you brought synthesizers all around the roomand just filled it with synthesizers, you
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would not have the same frequencies changingat the same speeds and rates as these
do. Okay, and then youhave the metal. Yeah. Now I'm
curious about your testing because in recentdays you've had the historical our report which
says, hey, there's there's nothinghere the one whatever piece of metal we
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tested, it's it's mundane, that'searth. Me. I have to say,
where did they get it? Well, to be honest with you,
I think that they are misrepresented thedata because my my understanding is that they're
talking about the same piece of metalwhat some people refer to as arts parts,
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where it's a layered magnesium in thissmooth and zinc. Yeah, and
it's like this like almost perfectly layered, like manufactured layered like a sandwich.
Right. You see these these layersof each element that wouldn't otherwise be made
in the typical man you know,uh manufacturing process. It would be a
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very refined process. And you haveto consider that this material was collected some
like forty years ago. So thefact that they said there's no here here,
but they didn't actually show you theirtest results I found extraordinarily suspicious.
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Sad. That's how I find itutterly, utterly unscientific, because there are
results out there for that. It'sonline, you can find it. It's
there. There's something unusual about thatpiece of metal, and Yeat and the
report they say there's nothing unusual aboutit. But let's not tell you why
we think that. So it makesme curious because you have some sort of
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metal, right, is that somethingthat you could take to Arrow or present
your findings to arrow? You know, I can tell you right where to
find the findings one in the book, and we have a documentary film coming
out that shows you visually get tosee what Marcel Vogel and the other scientists
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were looking at and why they foundit so unique. So that's I mean,
it's there now. You just haveto look at it and make your
decision what you think, because it'sa personal thing when you're into UFOs and
all of this. But when Marcelstarted with it, the thing he found
interesting was that it was metal,crystalline and metal, and it was cold
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few. We didn't have cold fusion, not in nineteen seventy five when Billy
Meyer got that metal. We didn'thave it when it was originally tested at
IBM, and he had had itunder a scanny electro microscope, watching all
of this, looking at it,taking pictures of it, logging it down,
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and video recording everything he saw.The other thing about this metal that
was so unique is it had thuliumin it. Thulium is a rare earth
element, very difficult to find,extremely costly to extract. How would a
farmer with basically no education know howto incorporate thulium and where would he get
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it? So that was a bigquestion. Well, Marcel got so involved
with this and he couldn't answer thequestions that he had because he knew he
couldn't duplicate it and he was ametallurgist. He called him forty two.
Other side, they've worked with himon it, saying we don't know how
it's made, we can't make itourselves. And these are people that this
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is what they do. They knowspecifically the area and the field that they're
in, in all dimensions that wehad at that time. So that that
and the fact that Marcel's statements arein the book and the video is also
in the new documentary coming out becauseactually it's an old documentary for eighty two,
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but it it's great because it getsyeah, right, and no revisions.
The only thing we did was colorbalanced, sound balanced it a bit.
And the publisher is bringing it out. Yeah cool. And what's the
title? UFO contact from the playIt is a documentary film. There you
go, all right, everybody lookout for it. Do you know when
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it's coming out? It's available rightnow and next week should be on Amazon.
Okay, I'll definitely look forward toit. Okay, So let's get
back to some of these photos dohere? Actually, before that, I
want to continue a little bit withBilly Meyers. What about him to you?
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Made him credible? He was justso real. He never turned away
from any question we had. Heanswered everything. And if he didn't know,
he said, I don't know,and I thought, okay, oh
that's kind of interesting. But hewas a very earthy man. When we
first met him, he was washinghis face in a horse trough and that's
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because they didn't have indoor plumbing intheir house. So that was a whole
hmm. This is interesting. We'rein the twentieth century and this guy's still
living this way. He wasn't Hewasn't taken by much of anything. He
was just normal. And when peoplewould show up at his house no matter
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what time of the day, hewould sit down and talk to him and
answer their questions. And that gotto be a bit of a problem with
he and the family because everything wasso disrupted with people coming, primarily from
Europe and demanding his time. Buthe was just a nice, earthy guy.
He wanted to answer questions, didn'thide from anything. The first trip,
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when we went in to meet withhim, he said, look,
wherever you want to open whatever youwant to. He gave us free rein
of his house and we took advantageof it. We walked the property,
we went through the house, weopened drawers, cabinets. We couldn't find
anything that indicated that he had inany way hoaxed anything. And that was
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before we knew there were other formsof evidence, like the movie footage and
the sounds and the metal. Wethought we were only dealing with photographs when
we first went in. Is themovie footage in the documentary? Yes,
okay, cool? And it's socool because there's there's a UFO and there's
a road underneath it, and there'scars going underneath this ufo. It's wild.
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Yeah, And I'm guessing it's beenenhanced right, So no, it's
a straight eight millimeter clip that waslaid down on the original sixteen millimeter film
that we shot. Oh wow,how did you get access to Billy?
What? How did that connections?A friend of ours brought some photographs to
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us and said, because we hadan investigative firm called Intercept, and we
basically kept Fortune five hundreds and banksfrom being eavesdropped on and wiretapped. So
we had an investigative background because wehad a huge company that surrounded that.
But a friend that came with thesephotographs, he says, you got to
look into this. And we lookedat the photos and said, huh,
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they're too good to be true.We're not going to risk our reputation on
a UFO case. Well, thefollowing year, we were in Switzerland meeting
Meyer for the first time. Becausehe went over he came back with more
photographs. He says, this isremarkable. We happened to be in London,
so we popped into Switzerland to meetMeyer. We thought we would debunk
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the case. We couldn't. Instead, we came home five days later with
all this evidence to be analyzed.So was it the credibility of your company
that allowed you to get access toall these people in the music industry in
Hollywood and NASA to investigate and pairup with you. In many respects,
yes, because we had worked witha lot of Fortune five hundred companies.
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And it was so funny because wewould tell them, look, we're into
something, you're not probably gonna like, just let us do our thing,
and they'd say what is it.We'd say UFO's and oh, you know,
and they just have a temper tantrum. Then they'd quietly pull you aside
and say, you got to talkto this guy. He's a scientist and
he's really good and he knows whathe's doing. But they wouldn't say it
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around anybody else. So yeah,it was a lot of the contacts that
we had, and then the contextsthat the scientists had because they were turning
us on to their friends who wantedto see what was going on too.
We went from the audio recordings,we ended up with h David Frowning from
McDonald douglas and Alan Holt from NASAworking on propulsion systems and how the craft
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could be operated in our space?Is it writing magnetic waves? What's it
doing? It was fascinating. Whatwas one of the best theories that you
heard from them? Well, Davidat that time was working on a spaceplane
and he was using something that JohnMcVeagh in Scotland. He was an astronomer
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and a physicist and he had comeup with this theory of what he called
tachyon propulsion and David was working onthat as well, and so they were
playing with how it would work.How long would it take us if we
had that ability to get from thePleiades to Earth. Well, they've worked
it out to it'd be about sevenhours. It'd be three and a half
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hours to exit that planetary system andthe gravity and everything there, and then
there would be an old time,no time, no space, and you
would pop right into our time frameand then it would be another three and
a half hours to enter our airspace. So that between the two of them
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they had arrived at that same figure. Billy Meyer had recorded in his contact
notes that the Pladians told him ittook about seven hours, seven seven and
a half hours to get from theirhome and era to here. So it's
interesting having that kind of correlation.Yeah, why so long on the beginning
and the end because obviously you seethis UFO right be able to move around
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round at high speeds to not beyou know, picked up on radar and
you know eyewitnessed. Yeah, wellI'm not sure about radar because we tried
to talk to radar people over inSwitzerland but we never could. But as
far as moving out of a solarsystem, let's say you have to go
slowly because of the objects in space. Then you hit that point where you're
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in kind of a free space area, and that's where you can hit no
time, no space and make abig trend like a leap jump, basically
a leap hyper leap? Is itsomething like a like a warping space and
time? Should we call it?That? They weren't using those terms back
then other than on Star Trek andthings like that. I know John called
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it a hyper leap. That itwas just instantaneous and you would be out
of that area and into this areaand then you would have to enter slowly
again because because of the other objectsout there. Did Billy have any idea,
did get any form of communication indicatehow this was happening, No other
(27:11):
than they gave him the time ittook, and it was basically our scientists
who were coming up with the ideasof the jaki on and things like that,
Yeah, is there is there apurpose here? A parallel I think
is the Patterson Gimlin film of Sasquatchand Bluff Creek, Arizona. And I
(27:38):
think when you think in the termsof how many people have cameras and they're
trying to capture a bigfoot, thisone person just happens together this really long
sixty second. It wasn't to happento and it Yeah, and the unlike
all kinds of reports you get frombigfoot in Sasquatch, it was kind of
(28:00):
it looked at the camera, itpaid attention. It was like not concerned.
It was almost like it knew,yeah, something's filming me or watching
me. And then it goes awayand then you don't get anything like this
ever again. And it almost feelslike it was intentional. And so then
when I see something like this,we think, well, this is ridiculous.
(28:21):
I mean, how does one personget all these images of UFOs?
The only way I can possibly rationalizethat is that it is intentional. Whatever
it was, they let themselves beknown, because otherwise they're perfectly capable of
hiding or peekabooing when you know whenthey want to. So what is it?
Why? Why had that contact?What they told Meyer was that the
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biggest thing they wanted us to knowus on Earth is that we are not
the only thinking beings in the universe. And since we were taking baby steps
into space, we'd sent out Voyagerand all of these things, they wanted
us to be aware there are othercivilizations out there and how we might impact
them. To demonstrate both via filmand the audio and the metal samples,
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that Billy's statements were true. Thatwas the point and purpose to the contexts
Okay, here you go. We'regoing to let you have this amount of
evidence, which is what they did. And then they hit a point where
they said how much more do youneed? Because people kept coming to Billy
saying, oh, I want anotherpicture, or get more movie footage,
(29:36):
or get this, and they said, how much more do you need?
You don't need anything else, justuse this, have it analyzed, and
then let people make up their ownmind. But tell them that they have
to realize they're not alone in theuniverse. It is hard to accept because
some of the images you look atand you think, well that could be
conventional metal. There's nothing necessarily exoticabout the metal just visually looking at it.
(30:02):
So I understand the skeptic, Ireally do. Sure I do too.
We went in skeptical, so Ido get the skeptics. The only
thing I asked the skeptics is this, can you duplicate everything that Meyer did?
All the photographs, the movie footage, the metal, the sounds,
(30:22):
and the hundreds of witnesses. Canyou actually duplicate all of it with the
technology we had back in nineteen seventyfive, And then if you can,
please let the world know because whatwe did was My goal as an investigator
is not to tell anyone how tothink. I don't want to tell you
(30:45):
to believe or not believe. Ithink questioning is really important. So my
goal is to say, Okay,this is what we found as investigators.
Now it's up to you to makeup your mind. But the only way
you can do that is by doinga book and a documentary and talking to
people like you to let people knowthat information is available, but they need
(31:10):
to make up their own minds.It's not up to me to tell you
to believe it or not. Whatis the strangest part of the story for
you. Oh God, there's alot of strange parts of the story.
There's things I've experienced in Switzerland thatI can't explain. There are photographs that
there are no negatives to that Icannot explain. There is a particular one
(31:34):
Billy says is of Apparently the Palladianstook him in a craft and he took
a photograph of two other ships outsidethe craft, and he said that was
all he was allowed to do.He wasn't allowed to photograph the interior of
the craft. That one has alwaysbeen curious to me. I can't explain
(31:57):
how Billy knew about the moon's aroundJupiter before we got Voyager up there and
knew we had quote a moon ofice and a moon of fire around Jupiter.
Voyager wasn't there yet, and Meyerwas telling us about those long before
Voyager sent any information back. Justso many little things, and unfortunately there
(32:27):
are things you cannot investigate, sothey remain as questions. You know.
It's I can investigate the timing ofsomething, but that still does And tell
me that Billy got the information froma palladient. That's his truth. That's
he's the only one that knows that. I don't. You said you had
a strange experience yourself. Yes,Billy was going off her contact, and
(32:52):
we had been told every time wewere over there, and during a seven
year investigation, we were there overthree hundred and sixty five days at the
farm, living there, just tosee what was going on. But Billy
went off to a contact. We'dbeen told, don't try to follow him,
they'll break off the contact. Youwon't have it. So we're standing
(33:13):
outside waiting for him to come back. It's cold, it's a clear night,
there's no moon. All of asudden, everything lit up, I
mean lit up from the light wasbeneath the tree, through the tree,
in the tree, above the tree, all around us, all around the
farm, and it had no source. And it stayed for just a few
(33:37):
minutes, and then it blinked out, and we looked at each other and
said, what is this? Andthen it started again, stayed a few
seconds, and then blinked out.It happened a total of three times.
I can't explain it. I've neverseen anything like it anywhere. I have
never seen a light that has nosource but illuminates everything. I wonder if
(34:02):
the air was iron eyes or didyou feel anything? He didn't feel a
thing. And it seems so strangethat it happened three times within like a
specific amount of time. In otherwords, there was thirty seconds to a
minute between these flashes. Really remarkable. And then at one point my husband
(34:25):
was helping him fix the roof.It had a leak and they had quite
a pitch on the roof. Imean it was a really steep roof.
On Lee's right hand side was theladder. Billy was on Lee's left hand
side and slightly behind him. Theonly way off the roof would have been
(34:45):
to jump two stories or down theladder. That was it. Lee turned
around to talk to Billy and hewas gone. He came back several hours
later, walking down the road likenothing happened. So where he went?
He didn't have a way off theroof. We talked to everybody that was
(35:07):
there that day, and nobody sawhim leave. Lee didn't see him leave,
and Lee was extremely observant of everythinggoing on, and with the latter
right at his right side. No, and Billy didn't jump off the roof,
So where did he go? Theseare things you can't as an investigator.
(35:29):
You can't do anything with really,did Billy know where he went?
Yeah, he went to a contact. They came and got him, he
said, and had a conversation withhim about some things that were going on
in his personal life, and theybrought him down further from the house and
he walked right back to the house. The Pleadians, they're human like,
(35:52):
very human like. Yes, tallNordic looking being's, light hair, fair
skinned, blue eyes. Yeah.Yeah, forgive me for asking, because
I asked this often on the showwhen we talk about alien entities. I
do always find it a bit oddthat the majority of the human entities are
(36:12):
like white, you know, Nordictypes, you know, because just think
about the human race. We havesuch a wide variety of people. Absolutely,
So why you know their version oflike a human race, Why are
they always so similar looking? Well, they're not all similar to people as
far as races. The Vagans area black race, and we've studied contacts
(36:37):
with Vagans before and they all ofthe contactees say that their contacts are all
black. So are they in thesame family as Platians meaning like genetic genetically
speaking genetically? I would think Idon't know for sure, but I would
think because they are humanoid humanoid forms. But there's a there's a case that
(37:01):
we studied in Amsterdam, Stephan Denarde, and he met something that didn't look
anything like the things we hear aboutthe Grays and the Nordics and all of
that. He met some group thatwere supposed to be from a place called
Yarga, and they kind of hada face like a goat with a coxcomb.
(37:23):
This guy was an engineer. Hewas quite interesting, and he had
actually run into a craft that wasunderwater while he was on his yacht.
Very well off. Had no reasonto put his name out there or anything
else about what was going on,but they kept waking him up every night
with these strange mathematical calculations that hewas getting in his head. So we
(37:47):
studied that one for about a year. Never could identify anything, except we
found out that a friend of ourswho was involved in other investigations of a
more political nature, said that inthe North Sea they were getting all of
these transmissions that were going towards Europe, all right, They were actually being
(38:15):
directed towards Europe, towards Amsterdam,Inton Hag and it was mathematical equations and
they couldn't understand them, so thatwas the only thing we could correlate there.
He didn't have photographs or anything else, but he had this wild story.
And it's cases like that that taughtme you don't judge. Everybody's got
(38:37):
their own experiences. Let them haveit, learn from it, hear it,
and see what you can correlate toit. Did Billy profit off of
his experiences? Now there's a lotof rumors out there that he did,
but he didn't. And even onthe re release of this book, we
didn't take any money up front forthis book at all, and it's being
(39:00):
published by Beyond Words Publishing, andwe said no, we'd just like to
get it out there because it's acase that has value. It lets people
make their own decisions. I'm nottrying to promote or say it's got to
be the thing. What I'm tryingto do is let people know there is
evidence out there. And so whenthis all happened, and I asked Billy,
(39:24):
I said, are you ready togo through that again with people coming
to your house and driving it nutty? And he says yeah. He says
it's a good time, And Isaid, okay, we'll split all of
this between the investigators and everything.He says, I don't need any money.
It's okay, So anybody that saysthat they're wrong The book UFO contact
(39:49):
from the police is Where can youget that? Is it online only or
can you get it brtar? No, you can get it brick and mortar.
You can get at Amazon. BeyondWar. It's publishing. It's the
forty fifth anniversary edition. It's volumeone and volume two put together, and
it's a basically coffee table book teninches by ten inches, two hundred pages,
(40:13):
great photographs and a lot of informationin it. Yeah, I think
we all should have a coffee tablebook. I think that's a great idea.
I think it should be a standardin all these Yeah. Definitely.
This photo here, yeah, Ifind very very interesting. It's a wonderful
(40:34):
picture. We call it the treeline scene. We had measured off the
distance from where that tree is tothe right of the ship and again the
ship. When you triangulate out sizewith non objects from camera to tree,
how big the tree was, howtall the tree was, you find out
(40:54):
that the ship is twenty one feetin diameter. What was interesting about that
when we analyzed it and it wentthrough not only the digitization process, but
then the other processes that they wereutilizing at the time to look at images.
Is that underneath it, it's reflectingthe green of the grass. And
(41:15):
it only showed up after they gotit really blown up and digitized. That's
the only time you could see thatit had that reflective color. Yeah.
Well, that certainly would roll outany sort of overlay, yeah, pre
photoshop manipulation. But if it wasa model, it could still show some
(41:44):
green, right, if it wasreflective, Yeah, but it would have
to be a twenty one foot model. Yeah. And what are you flying
it with a helicopter? Yeah,with a monofilament right right. So the
photograph itself, I mean when youlook at the composition, Yeah, these
(42:05):
they do the very good you know, they're posed how to take a photograph.
Did he have a collection of other, you know, photography that would
indicate that he was practicing or tryingto No, In fact, his camera
was broken. It was an oldused thirty five millimeter camera and it was
(42:30):
broken. You couldn't adjust the apertureon it at all. The interesting thing
about that, I mean, theseare the good photographs. There are blurry
photographs and We put a couple ofthose in the book that aren't perfect so
that people could see they're not allabsolutely perfect. My favorite photograph was taken
in April of nineteen seventy six,and it has a Mirage fighter in the
(42:55):
same scene as a UFO, Soyou've got to swisch jet fighter in there
with the UFO and you can seewhen you put it through all of the
analysis we did and we use thisin the book, you can see that
it gives off a certain using infraredand other tests as far as light scatter,
(43:19):
it gives off a certain energy aroundit, and the craft gives off
another nature gives off another. Soit's very interesting when you get into that
and you start letting your curiosity sortof promote creativity because how can you learn
about this? What are you goingto learn about it? Well, let's
throw some light on it, let'ssee how light scatters with it. Things
(43:42):
that hadn't been done before. Wehad to try, and it was I'm
glad we did because it really openeda lot of doors for very many people.
Is there a timeline so if indeedextra treasholds are making contact or human
(44:04):
intelligence, which are for people feelmost comfortable with are making contact with humans
on Earth, mostly clandestine, seeminglygiving hints. Is our timeline a focal
a point where that we're it allcomes into focus? Well, I think
that's kind of up to us.How receptive are we going to be to
(44:29):
them? What are we going totry to contribute if we do move into
the universe like we're talking about now, what are we going to be contributing.
Are we going to be bringing ourbaggage with us, our anger,
our fear, all of that,or can we kind of learn to raise
(44:51):
ourselves up a bit so that thecommunication is easier between us and them.
I'm not sure that there's a pointwe've hit yet that it's really possible for
all of the extraterrestrial beings, theenergies, the whatever they are, to
(45:12):
show themselves and make themselves known.I'm not sure we're ready for it.
And so even if there is whatsome people call catastrophic disclosure interpretations of whatever
that means. But essentially, ifpeople come out who are working for Lockheed
Martin and escape from the lab witha piece of something or a video or
(45:35):
what have you, and they're holdingan ET's hand, yeah exactly, and
blow the lid on all of this. Are we there? Are we ready?
Because I don't know how much moreof this kind of incremental contact would
really make a difference because so manypeople they are reliant on authority. Yeah,
(46:00):
and it's understandable to a degree becausethey've got lives, they have things
that they have to do. Sure, So I don't know if there's anything
more you can do other than justoutright saying this is this is the truth?
Like rip the band aid off.Yeah, that would be fine with
(46:22):
me, But I do know thereare a lot of people out there that
just it would upset the total applecart that they've put their life into,
because it would upset the stock market, it would probably crash global economies.
It would be something where we ashumans, we have a tendency to do
(46:45):
this, and that's look for somethingthat's more powerful than we are. And
we would probably label them, stickthem up on a pedestal, and expect
them to fix all of our problems. And what I've learned from the contact
ease, not just Meyer, butothers I have spoken to, is that
(47:07):
that's not their plan. Their planis to let us learn to remedy the
mistakes we have made and they say, we have to do that through communicating
and listening and hearing each other.I think if we can get those communicating,
listening, hearing things down, wecan probably move quickly. But we've
(47:28):
got to be a little more tolerantof each other. Yes, they don't
want to be the repair people thatthey don't want to be, and they
don't want to be the parents.It sounds like to me, we've got
a really great blumbers. Yeah,exactly, We've got a really great question
from a movie. Who had themost to gain by claiming fakery? Regarding
(47:50):
the photos by Billy Meyer. Idon't know that anybody gained anything with some
people who is momentary notoriety. ButI know some of those people that said
it was fake or that they thoughtit was fake openly and they weren't really
looking for any notoriety. I mean, I I've had the question reverse to
(48:15):
me, what do you stand togain from this? Personally? Listen.
For forty five years, I haveavoided publicity. I'm a writer, That's
what I like to do. Andit's only because this book is coming out
that I really think it's important.But when they came out before, didn't
do publicity. Didn't do any ofthat. I would rather hear everyone's stories
(48:39):
than be the one on the receivingend of the questions. But it's okay
right now, because it's something that'sneeded, and I think it's important,
not just for this book, forall of the work that's going on out
there in this field, right,Okay. So I want to bring up
this photo here over snowy mountaintop here. Yeah, that was taken. Boy,
(49:06):
you have to almost be standing wherehe was to get the impact of
that picture. You can tell thatthe hill across the way is quite a
distance because those are full grown treesat the top, but he was standing
basically on the edge of a cliff. You take about five steps from where
the camera was and you are downin the bottom of a valley and that
(49:30):
that's where that picture was taken.It was taken in January. Is very
cold over there and windy. Thatparticular area of Switzerland is like a wind
tunnel, the Haussembul area. It'swindy up there no matter when you're there.
But it's quite remarkable. In fact, in the documentary, there's a
whole series where we walk out tothis and you can see where he was
(49:52):
when he took these images. Allright, is there anything about this that
stands out that makes it credible morethan other than it was part of another
series where they were taken over,you know, a very short period of
(50:13):
time as the craft moved. Notreally anything terribly remarkable. I know that
Jim Jimmy d Jimmy Delisosa and MichaelMayland both noticed that the fact that cupola
around the top had a golden sheento it, and they caught that when
they were digitizing it, and itwas showing a reflection, but you couldn't
(50:36):
see that it was a reflection ofthe sun or anything else. It was
a cloudy day, so it wasjust hazy. Yeah, it looks like
the same craft or it's slightly different. Yeah, it's very slightly different.
Has a slightly different cap, right, Yeah. Yeah. Some of the
(50:58):
things we've heard of the years isthat you know, these are parts from
you know, hubcaps and yeah,I'm just kind of gather, right,
So do extra threscials max bishops withhubcaps? Well according to the metal or
just no, And I don't thinkwe put thulium in hubcaps. It's kind
(51:21):
of expensive. How do they getthat that metallic like, how big of
a like a fragment are we talkingabout. Well, we had several different
pieces various stages of the development ofthe metal. The biggest was about the
size of a a race around apencil about that size, and it was
(51:42):
split up. A piece ended upwith MIT. A piece went to Marcel
Vogel at IBM. One of thescientists took some of the granules we had
from a very very tiny amount.I mean it was gosh, I can't
even give you an idea of howsmall it was. But they were little,
(52:05):
tiny grains, almost sand like,and he was working on those and
when he put them under a lightfor a video camera to film it,
it broke apart. It just brokeit. Even smaller granules. So the
heat or the intensity of the lightor the type of light, something in
that spectrum which he couldn't identify withoutdestroying the metal, and he didn't want
(52:29):
to do that, did something tothe metal and made a break apart.
Interesting, okay, And how didhe How do we get this piece of
metal in the first place? BillyMeyer gave it to us and said the
Pladians gave it to him to giveto us, to have it analyzed,
so he didn't like chip it offthe ship. They just like they gave
(52:51):
it to him in stages. Youknow. This is one stage and the
stage that's about the size of thepencil eraser that was close to the final
stage of the skin of the craft. Gotcha. Okay, And I have
one more question here from a movie, britt, do you see a revisiont
and perhaps consolidation of old EU UFOcases with those in other countries US,
(53:19):
Canada, etc. I think thatis something right now that is so necessary
because we can learn so much fromthe old cases, not just the new
cases, but what happened years andyears ago, and we've got to have
a repository for them somewhere. Iknow that some groups move On included,
(53:42):
are discussing the purpose of putting togethera place where people can come tell their
stories, show their videos, theirpictures, whatever, so that other people
can access it, yes, andlearn from it. That is urgently important,
because we can't learn if we don'thave a place where from all over
the world this information comes in andthen we can correlate it. If we
(54:05):
can do that, we can reallyreally gather some information. Yeah, and
move On has just expanded their lab, but their capabilities over the past,
you know, several months or so. So I encourage everybody. I'm obviously
as a move On investigator, Idefinitely support the civilian effort because the more
data that we have, the betterwe are understanding all this in the long
(54:29):
run. Absolutely, you know,Harvard, even the US government and all
these different entities and bodies can't dothe same amount of massive collection that volunteer
organization can do of civilians throughout theworld, right And I do hope that
(54:52):
at some point those bodies will tryto reach out to the civilian organizations and
try to work with them and say, hey, let's let's let's let's work
together. Now. Move On hasa pretty darn good standard for reporting investigating,
but if they say, hey,we have to have this certain standard
so that we can share data andwe can analyze its criteria, then then
(55:16):
do it. Let's make that happenso that now the Arrow or you know,
Galleo project or whomever, we're allkind of on the same page and
so the data becomes even more valuable. Okay, Yeah, So, and
speaking of that, everyone, beforewe go, I do want to share
(55:37):
that I will be presenting at thePine Bush UFO Fair this Saturday, and
I will be speaking at one pmto one thirty about unmasking the debunkers.
So that'll be fun. It'll befun talk. So, Britt, before
we go, do you have anylast words or thoughts that you'd like to
(55:57):
share? Just you know, Iknow that you have a certain audience that
is attracted to this. I soappreciate the fact that you're getting information out
there, but everybody share with eachother. It's so important if you have
an experience reported. I don't carewho you reported to, move on whomever,
(56:21):
but get it out there so thatit's recorded somewhere. It's too important.
And right now, I really thinkwe're at a tipping point where we
can start to take a more respectable, rightful place in the universe if we
will learn about what's really going on. But we have to be open minded
and open hearted to get there.All right, Well, let's leave it
(56:44):
at that. Thank you so much, but I really appreciate it. If
you want to get the book,absolutely, If you want to get the
book, it's UFO contact from pleeights and what's the website? They can
find out all the things I'm involvedwith at britelders dot com, briit e
l drs dot com. All right, there it is, Thanks so much,
Brittain. All right, and thankyou everybody for joining. I really
(57:06):
appreciate it. Again, if youlike this podcast, please subscribe, comment
to end below, like and share, really really appreciate it. And special
thanks to the Unex Network, wherethis podcast is rebroadcast every Thursday at two
a m. Eastern Standard time Fridays. So, yeah, yeah, it's
(57:27):
a It's been quite a journey thisyear. We've had a lot of adventures,
and I think that the UFO storyis developing much faster than in the
previous decades. Not to say thatthere weren't signific significant gains in the seventies,
eighties, nineties in particular. However, I do feel that we are
(57:52):
at a tipping point. Some peoplesay that means two to three years for
disclosure. I tend to disagree.I think we're still on a little bit
longer timeline. I think seven toten years. But I think that we
are at this tipping point. We'rejust about at the critical mass where there
will be enough of the civilian noEarth civilians of all countries collectively that push
(58:20):
their representatives for the truth that wewill get the disclosure that we want.
In the meantime we have both greatbooks like this from Elders, So thank
you all, thank you the UNEXNetwork, thank you to Race Hobbs at
the Unex Network and Margie k.And until next time, everyone bes in
love and keep your eyes to diskies.
You're listening to Mystic Lounge with AlanB. Smith, rebroadcast on the ONEX
Network Thursdays at eleven pm Pacific,Fridays at two a m. Eastern.
(00:32):
However you are and whenever you are, welcome, good souls to Mystic Lounge.
I'm Alan B. Smith, yourhost, and tonight we're going to
take a look at a classic UFOcase, that of Swiss farmer Billy Meyer,
and we'll be discussing the photographic evidenceand the story of Billy Meyer with
my guests Britt Elders joining me injust a moment. As a friendly reminder,
(00:56):
if you like tonight's show and othershows on the Mystic Lounge channel coffee
and UFOs, please do subscribe andlike to help support the channel. It
makes a huge difference and we aresteadily growing, so I really do appreciate
that. But every little bit helps, and if you can share organically that
also helps the algorithm, so Ireally really appreciate your support. You can
also follow on Instagram at Paranormal Nowfor show updates and other content, and
(01:22):
on x at Paranormal underscore Now.According to our guest Britt Elders, Swiss
farmer Billy Meyer did indeed capture evidenceof extraterrestrial technology UFO contact from the plates
takes the reader back to a timebefore home computers, digital photography, and
(01:45):
easily accessible photo enhancement programs. Yetthe evidence analyzed in laboratories around the world
could not be easily dismissed and supported. They support the claims of contact Billy
Meyer. So yes, there hasbeen some controversy. There's debate whether the
(02:05):
photographs are authentic UFOs. Did BillyMeyer actually have contact with Pleadians. We'll
discuss this with Brett Elder, butvery very briefly, I want to share
I was just talking to Britt beforewe started. I just want to share
a few photos of our recent tripto Mexico. So we went to go
(02:25):
see Tiba Tua Kon and this isan image from the temple of ketz Aquadal
And we also went to the Museumof Anthropology. We also went to see
the Frido Callo Museum. That wasvery cool for anyone who's interested in Freda
and the art. And we startedour trip archaeologically speaking, in chichen Itza
(02:50):
in the Yucatan, and that Ican hardly express how transported that experience was,
and we really got lucky with ourguides too. Of course, I
did have to ask our guide ifhe thought there was any chance that aliens
had anything to do with the buildingup of these temples and pyramids, and
he kindly disagreed. But in fact, I, for one, I think
(03:17):
that the people at that time,the meso Americans, the pre Astecians,
were perfectly capable of figuring this outon their own. But that does not
mean they weren't inspired or made contactwith extra trestfuls. We certainly can't rule
the ancient aliens theory out. Here'sanother picture in Tea Tuan Tea Tayla Khan,
(03:38):
the temple of Ketzequadal, and thenthis picture of a so Note this
was one of the most magical experiences, and there's a lot of other photos
that we took, but you know, it was such a personal experience.
I don't want to share too much, but that I think this really exemplifies
this underground cave with this extension ofa sonote. If anyone has a chance
(04:03):
and really appreciates nature in the mostsacred way, I would definitely encourage you
go. We did have an encounterat one of the sonotes where there were
some Americans behaving a little too Americanand not really respecting the sacred space if
they were treating it more like awater park. So if you do go
(04:23):
down there, please be respectful ofnature and of the people that that you
know that still live and own theselands. Okay, So Britain, now
that I've talked to plenty enough aboutour personal excursions, we'd like to hear
more about you and your your experiencewith the Billy Meyer case. Well,
(04:44):
I love that and I have totell you when you go back, Yeah,
go to Tote Wa Khan. Askto see the plaza of the playades.
It's quite amazing. It's one ofthe smaller little what was a pyramid
Now it's just the floor, butyou can actually place stones in several places,
(05:05):
and it's the plates as they're crossingthe heavens. Because to the people
of the Wa Kan, they hadthe same belief that the hope he had
that the lighting of the fifty twoyear fire would take place. In fact,
we were down there for one ofthose years and at midnight when the
plates were directly overhead, that's whatthey would do. They would extinguish the
(05:29):
old fires and light the new fires. It was really something. But the
plaza of the plates is something youneed to see, very cool. I
wish we would have had time todo that or known to ask specifically get
access. Yeah, that's another reasonI've talked to my wife about them.
Or if there are so many amazingplaces around the world that people do make
(05:51):
these connections with with extraterrestrials or nonhuman intelligence. For you, do you
really think that the humans of thepast not only witnessed extraterrestols, but did
they need their help to do theseamazing complexes and architecture. Yeah, wonders.
(06:16):
You know, I'm not sure aboutthe archaeology part of it as far
as the buildings. But in everyhistory all around the world, all the
ancient histories discuss the connection with variousstar beings, not just the plates,
but arcturians, people from serious allof the different ones, and they talk
(06:38):
about how these people influenced them,how they gave them knowledge, how how
they let them basically learn how tofarm better, learn how to be better
caretakers of the land, things likethat. And they do say that they
intermixed with the people that were livinghere, interbred with them, and so
(07:00):
we basically have a hybrid society.And that's in oral histories, that's in
legends, sets in mythology, notjust American Indians, but all around the
world. Looking at the Billy Meyerphotographs and I'll put a couple up here
now for those who are watching onYouTube. How do we know? How
(07:25):
do we look at something like thisand know that that is or believe that
that's actually UFO OFF world craft.Okay, let me tell you the process
we went through. It might beeasier if I explain it that way.
Absolutely. Yeah. We knew wherethe camera was positioned, so we could
take a measurement from the camera tothe tree, so we knew how big
(07:48):
the tree was, what the diameterwas. That let us correlate the size
of the craft, which ended upbeing about twenty one feet in diameter.
The other thing is is when wehave this digitized down at the University of
Arizona with doctor Michael Mahlan and thenstarted looking at how the branches were actually
(08:09):
in front of the craft, itwas like wow, and that got everybody's
attention. So you enhanced it anddid you have the original slide? We
had a contact negative and innernegative.Yeah, and we took it. Here's
what happened with photographs. We tookseveral of them because we couldn't take the
(08:30):
thousand or so that Billy had,so we took a smattering of all different
shots. We took them to doctorMichael Mahland. He did the digitization.
We saw what Jim Delatosa could dowith his equipment. He was great.
We ended up with Robert Post,the head of photography at JPL, Eric
(08:50):
Eliason USGS. He was the headof the Mars photography projects for Voyager and
all of that as well. Sowe had these scientists that were so wonderful
because they would look at it andsay, we don't know what it is.
We can't tell you it's a UFO, we can't tell you it's from
any place specific. We can tellyou we cannot duplicate it, and we
(09:15):
don't know how it was made.It was not superimposed. It was not
something that not take take your mindback several years, like forty five.
We didn't have photoshop. We didn'thave all of the technology we have today
where we can manufacture something like this. It looks real. So that that
(09:39):
had everybody scratching their heads how doyou do this? Yeah, well,
most people would say it's it's aforced perspective and you're using light to sort
of glare out the fission line ifyou will, but fastpeed camera you throw
(10:01):
something up in the air. Butlike you said, if indeed the branches
in this photo are actually in frontof the craft, you can actually see
the one to the left is justbarely. But there's something else with this
when and we made a model ourselves. We hired Wally Gentlemen, one of
the best special effects guys miniatures inHollywood, worked with Kubrick, worked with
(10:26):
Coppola, did a lot of workall over the planet doing miniatures just for
films. He made us a modelbecause everybody was saying, oh, it's
a model hung on a string,So we used a monofilament line. We
put the model at the end ofa fishing pole and just took photographs with
(10:48):
Billy's camera. Because he only hadone camera, a thirty five millimeter,
he could operate with one hand.Because he only had one arm, he
could turn the film, take thepicture. So we took that film and
we ran it through all the testswe did with everything else. The model
showed up to be about eight ornine inches in diameter, very small.
(11:13):
You could see the monofilament line.Because when you digitize it, no matter
what tricks you play with light,you have an issue of that line is
still present in the film. It'sstill part of the grain. So we
found it. We knew we hada model, so it was good to
compare and that's why we brought Wallyin. But the other thing is that
(11:35):
particular picture that you just showed isfrom Hassenbul and Hassenbol when Billy was there.
He took a series of photographs.This is just one of about twelve,
and you can track all the wayacross this whole area of sky until
it finally gets to that point whereit's behind the tree. Okay, so
(12:01):
let's get a little more provenance.So can you tell us about Billy Meyer.
What's his roots story? Yeah,that began his seeming ability to captureos.
Okay, Well, Billy is aSwiss German Man. When he was
(12:22):
five years old, he and hisfather were out walking and he looked up
and he saw a craft and heasked his dad what is that? And
his dad said, this was duringWorld War Two. That must be one
of Hitler's Flying Machines and left itat that. Billy's contacts with Semyasa,
(12:43):
the Pladian that he originally met,was something that they had planned. Basically,
they being the Pladians. They toldhim they had studied him for ten
years to see if his frequencies hisenergy would be compatible with theirs. They
said they recognized him and his energyfrom past lives and that was the thing
(13:05):
that triggered them in the contexts sothat they could sort of seek him out.
He was not educated like we thinkof education. I think he had
a fifth or sixth grade education asfar as schooling. But he was worldly.
He traveled the world. He traveledthe Middle East, India, he
was all over Europe. So hewas not naive or dumb, but he
(13:31):
was not wealthy. He did nothave any of the technology necessary to make
these All of these things, andthere were more than just photographs as evidence.
We had movie footage, eight millimetermovie footage. We had audio recordings
to the craft, and we hadmetal samples. All of those were analyzed.
(13:56):
None of the scientists could duplicate it. None of them could explain how
they were created. And with theaudio, they couldn't describe what it was
for. It was so unique andunusual. What was the audio like?
Wow, It was a series offrequencies, literal abstract frequencies. It would
(14:20):
expand and then come together, andthen they would expand again and come together.
We had a gentleman by the nameof Rob Shellman who worked at the
Grouton Naval facility where they store allof the sounds, and he actually took
the sound in and tried to matchit to something. He never could find
(14:41):
anything that it would correlate with.Then we took it to like Steve Ambrose,
who was Stevie Wonders sound engineer,was very familiar with synthesizers and what
could be done at that time,back in the seventies with synthesizers, And
to Nils Rognerut, another sound engineer. They all said, we don't know
(15:01):
what this is for, but itis definitely not created here. And Nils
Rognerud went so far as to say, I couldn't duplicate it myself. Then
Steve came in and said, wedon't have synthesizers could do that even if
you brought synthesizers all around the roomand just filled it with synthesizers, you
(15:22):
would not have the same frequencies changingat the same speeds and rates as these
do. Okay, and then youhave the metal. Yeah. Now I'm
curious about your testing because in recentdays you've had the historical our report which
says, hey, there's there's nothinghere the one whatever piece of metal we
(15:46):
tested, it's it's mundane, that'searth. Me. I have to say,
where did they get it? Well, to be honest with you,
I think that they are misrepresented thedata because my my understanding is that they're
talking about the same piece of metalwhat some people refer to as arts parts,
(16:10):
where it's a layered magnesium in thissmooth and zinc. Yeah, and
it's like this like almost perfectly layered, like manufactured layered like a sandwich.
Right. You see these these layersof each element that wouldn't otherwise be made
in the typical man you know,uh manufacturing process. It would be a
(16:33):
very refined process. And you haveto consider that this material was collected some
like forty years ago. So thefact that they said there's no here here,
but they didn't actually show you theirtest results I found extraordinarily suspicious.
(16:53):
Sad. That's how I find itutterly, utterly unscientific, because there are
results out there for that. It'sonline, you can find it. It's
there. There's something unusual about thatpiece of metal, and Yeat and the
report they say there's nothing unusual aboutit. But let's not tell you why
we think that. So it makesme curious because you have some sort of
(17:15):
metal, right, is that somethingthat you could take to Arrow or present
your findings to arrow? You know, I can tell you right where to
find the findings one in the book, and we have a documentary film coming
out that shows you visually get tosee what Marcel Vogel and the other scientists
(17:36):
were looking at and why they foundit so unique. So that's I mean,
it's there now. You just haveto look at it and make your
decision what you think, because it'sa personal thing when you're into UFOs and
all of this. But when Marcelstarted with it, the thing he found
interesting was that it was metal,crystalline and metal, and it was cold
(17:59):
few. We didn't have cold fusion, not in nineteen seventy five when Billy
Meyer got that metal. We didn'thave it when it was originally tested at
IBM, and he had had itunder a scanny electro microscope, watching all
of this, looking at it,taking pictures of it, logging it down,
(18:21):
and video recording everything he saw.The other thing about this metal that
was so unique is it had thuliumin it. Thulium is a rare earth
element, very difficult to find,extremely costly to extract. How would a
farmer with basically no education know howto incorporate thulium and where would he get
(18:44):
it? So that was a bigquestion. Well, Marcel got so involved
with this and he couldn't answer thequestions that he had because he knew he
couldn't duplicate it and he was ametallurgist. He called him forty two.
Other side, they've worked with himon it, saying we don't know how
it's made, we can't make itourselves. And these are people that this
(19:08):
is what they do. They knowspecifically the area and the field that they're
in, in all dimensions that wehad at that time. So that that
and the fact that Marcel's statements arein the book and the video is also
in the new documentary coming out becauseactually it's an old documentary for eighty two,
(19:33):
but it it's great because it getsyeah, right, and no revisions.
The only thing we did was colorbalanced, sound balanced it a bit.
And the publisher is bringing it out. Yeah cool. And what's the
title? UFO contact from the playIt is a documentary film. There you
go, all right, everybody lookout for it. Do you know when
(19:55):
it's coming out? It's available rightnow and next week should be on Amazon.
Okay, I'll definitely look forward toit. Okay, So let's get
back to some of these photos dohere? Actually, before that, I
want to continue a little bit withBilly Meyers. What about him to you?
(20:15):
Made him credible? He was justso real. He never turned away
from any question we had. Heanswered everything. And if he didn't know,
he said, I don't know,and I thought, okay, oh
that's kind of interesting. But hewas a very earthy man. When we
first met him, he was washinghis face in a horse trough and that's
(20:38):
because they didn't have indoor plumbing intheir house. So that was a whole
hmm. This is interesting. We'rein the twentieth century and this guy's still
living this way. He wasn't Hewasn't taken by much of anything. He
was just normal. And when peoplewould show up at his house no matter
(20:59):
what time of the day, hewould sit down and talk to him and
answer their questions. And that gotto be a bit of a problem with
he and the family because everything wasso disrupted with people coming, primarily from
Europe and demanding his time. Buthe was just a nice, earthy guy.
He wanted to answer questions, didn'thide from anything. The first trip,
(21:23):
when we went in to meet withhim, he said, look,
wherever you want to open whatever youwant to. He gave us free rein
of his house and we took advantageof it. We walked the property,
we went through the house, weopened drawers, cabinets. We couldn't find
anything that indicated that he had inany way hoaxed anything. And that was
(21:45):
before we knew there were other formsof evidence, like the movie footage and
the sounds and the metal. Wethought we were only dealing with photographs when
we first went in. Is themovie footage in the documentary? Yes,
okay, cool? And it's socool because there's there's a UFO and there's
a road underneath it, and there'scars going underneath this ufo. It's wild.
(22:10):
Yeah, And I'm guessing it's beenenhanced right, So no, it's
a straight eight millimeter clip that waslaid down on the original sixteen millimeter film
that we shot. Oh wow,how did you get access to Billy?
What? How did that connections?A friend of ours brought some photographs to
(22:33):
us and said, because we hadan investigative firm called Intercept, and we
basically kept Fortune five hundreds and banksfrom being eavesdropped on and wiretapped. So
we had an investigative background because wehad a huge company that surrounded that.
But a friend that came with thesephotographs, he says, you got to
look into this. And we lookedat the photos and said, huh,
(22:56):
they're too good to be true.We're not going to risk our reputation on
a UFO case. Well, thefollowing year, we were in Switzerland meeting
Meyer for the first time. Becausehe went over he came back with more
photographs. He says, this isremarkable. We happened to be in London,
so we popped into Switzerland to meetMeyer. We thought we would debunk
(23:17):
the case. We couldn't. Instead, we came home five days later with
all this evidence to be analyzed.So was it the credibility of your company
that allowed you to get access toall these people in the music industry in
Hollywood and NASA to investigate and pairup with you. In many respects,
yes, because we had worked witha lot of Fortune five hundred companies.
(23:41):
And it was so funny because wewould tell them, look, we're into
something, you're not probably gonna like, just let us do our thing,
and they'd say what is it.We'd say UFO's and oh, you know,
and they just have a temper tantrum. Then they'd quietly pull you aside
and say, you got to talkto this guy. He's a scientist and
he's really good and he knows whathe's doing. But they wouldn't say it
(24:03):
around anybody else. So yeah,it was a lot of the contacts that
we had, and then the contextsthat the scientists had because they were turning
us on to their friends who wantedto see what was going on too.
We went from the audio recordings,we ended up with h David Frowning from
McDonald douglas and Alan Holt from NASAworking on propulsion systems and how the craft
(24:29):
could be operated in our space?Is it writing magnetic waves? What's it
doing? It was fascinating. Whatwas one of the best theories that you
heard from them? Well, Davidat that time was working on a spaceplane
and he was using something that JohnMcVeagh in Scotland. He was an astronomer
(24:51):
and a physicist and he had comeup with this theory of what he called
tachyon propulsion and David was working onthat as well, and so they were
playing with how it would work.How long would it take us if we
had that ability to get from thePleiades to Earth. Well, they've worked
it out to it'd be about sevenhours. It'd be three and a half
(25:15):
hours to exit that planetary system andthe gravity and everything there, and then
there would be an old time,no time, no space, and you
would pop right into our time frameand then it would be another three and
a half hours to enter our airspace. So that between the two of them
(25:36):
they had arrived at that same figure. Billy Meyer had recorded in his contact
notes that the Pladians told him ittook about seven hours, seven seven and
a half hours to get from theirhome and era to here. So it's
interesting having that kind of correlation.Yeah, why so long on the beginning
and the end because obviously you seethis UFO right be able to move around
(26:00):
round at high speeds to not beyou know, picked up on radar and
you know eyewitnessed. Yeah, wellI'm not sure about radar because we tried
to talk to radar people over inSwitzerland but we never could. But as
far as moving out of a solarsystem, let's say you have to go
slowly because of the objects in space. Then you hit that point where you're
(26:25):
in kind of a free space area, and that's where you can hit no
time, no space and make abig trend like a leap jump, basically
a leap hyper leap? Is itsomething like a like a warping space and
time? Should we call it?That? They weren't using those terms back
then other than on Star Trek andthings like that. I know John called
(26:48):
it a hyper leap. That itwas just instantaneous and you would be out
of that area and into this areaand then you would have to enter slowly
again because because of the other objectsout there. Did Billy have any idea,
did get any form of communication indicatehow this was happening, No other
(27:11):
than they gave him the time ittook, and it was basically our scientists
who were coming up with the ideasof the jaki on and things like that,
Yeah, is there is there apurpose here? A parallel I think
is the Patterson Gimlin film of Sasquatchand Bluff Creek, Arizona. And I
(27:38):
think when you think in the termsof how many people have cameras and they're
trying to capture a bigfoot, thisone person just happens together this really long
sixty second. It wasn't to happento and it Yeah, and the unlike
all kinds of reports you get frombigfoot in Sasquatch, it was kind of
(28:00):
it looked at the camera, itpaid attention. It was like not concerned.
It was almost like it knew,yeah, something's filming me or watching
me. And then it goes awayand then you don't get anything like this
ever again. And it almost feelslike it was intentional. And so then
when I see something like this,we think, well, this is ridiculous.
(28:21):
I mean, how does one personget all these images of UFOs?
The only way I can possibly rationalizethat is that it is intentional. Whatever
it was, they let themselves beknown, because otherwise they're perfectly capable of
hiding or peekabooing when you know whenthey want to. So what is it?
Why? Why had that contact?What they told Meyer was that the
(28:45):
biggest thing they wanted us to knowus on Earth is that we are not
the only thinking beings in the universe. And since we were taking baby steps
into space, we'd sent out Voyagerand all of these things, they wanted
us to be aware there are othercivilizations out there and how we might impact
them. To demonstrate both via filmand the audio and the metal samples,
(29:15):
that Billy's statements were true. Thatwas the point and purpose to the contexts
Okay, here you go. We'regoing to let you have this amount of
evidence, which is what they did. And then they hit a point where
they said how much more do youneed? Because people kept coming to Billy
saying, oh, I want anotherpicture, or get more movie footage,
(29:36):
or get this, and they said, how much more do you need?
You don't need anything else, justuse this, have it analyzed, and
then let people make up their ownmind. But tell them that they have
to realize they're not alone in theuniverse. It is hard to accept because
some of the images you look atand you think, well that could be
conventional metal. There's nothing necessarily exoticabout the metal just visually looking at it.
(30:02):
So I understand the skeptic, Ireally do. Sure I do too.
We went in skeptical, so Ido get the skeptics. The only
thing I asked the skeptics is this, can you duplicate everything that Meyer did?
All the photographs, the movie footage, the metal, the sounds,
(30:22):
and the hundreds of witnesses. Canyou actually duplicate all of it with the
technology we had back in nineteen seventyfive, And then if you can,
please let the world know because whatwe did was My goal as an investigator
is not to tell anyone how tothink. I don't want to tell you
(30:45):
to believe or not believe. Ithink questioning is really important. So my
goal is to say, Okay,this is what we found as investigators.
Now it's up to you to makeup your mind. But the only way
you can do that is by doinga book and a documentary and talking to
people like you to let people knowthat information is available, but they need
(31:10):
to make up their own minds.It's not up to me to tell you
to believe it or not. Whatis the strangest part of the story for
you. Oh God, there's alot of strange parts of the story.
There's things I've experienced in Switzerland thatI can't explain. There are photographs that
there are no negatives to that Icannot explain. There is a particular one
(31:34):
Billy says is of Apparently the Palladianstook him in a craft and he took
a photograph of two other ships outsidethe craft, and he said that was
all he was allowed to do.He wasn't allowed to photograph the interior of
the craft. That one has alwaysbeen curious to me. I can't explain
(31:57):
how Billy knew about the moon's aroundJupiter before we got Voyager up there and
knew we had quote a moon ofice and a moon of fire around Jupiter.
Voyager wasn't there yet, and Meyerwas telling us about those long before
Voyager sent any information back. Justso many little things, and unfortunately there
(32:27):
are things you cannot investigate, sothey remain as questions. You know.
It's I can investigate the timing ofsomething, but that still does And tell
me that Billy got the information froma palladient. That's his truth. That's
he's the only one that knows that. I don't. You said you had
a strange experience yourself. Yes,Billy was going off her contact, and
(32:52):
we had been told every time wewere over there, and during a seven
year investigation, we were there overthree hundred and sixty five days at the
farm, living there, just tosee what was going on. But Billy
went off to a contact. We'dbeen told, don't try to follow him,
they'll break off the contact. Youwon't have it. So we're standing
(33:13):
outside waiting for him to come back. It's cold, it's a clear night,
there's no moon. All of asudden, everything lit up, I
mean lit up from the light wasbeneath the tree, through the tree,
in the tree, above the tree, all around us, all around the
farm, and it had no source. And it stayed for just a few
(33:37):
minutes, and then it blinked out, and we looked at each other and
said, what is this? Andthen it started again, stayed a few
seconds, and then blinked out.It happened a total of three times.
I can't explain it. I've neverseen anything like it anywhere. I have
never seen a light that has nosource but illuminates everything. I wonder if
(34:02):
the air was iron eyes or didyou feel anything? He didn't feel a
thing. And it seems so strangethat it happened three times within like a
specific amount of time. In otherwords, there was thirty seconds to a
minute between these flashes. Really remarkable. And then at one point my husband
(34:25):
was helping him fix the roof.It had a leak and they had quite
a pitch on the roof. Imean it was a really steep roof.
On Lee's right hand side was theladder. Billy was on Lee's left hand
side and slightly behind him. Theonly way off the roof would have been
(34:45):
to jump two stories or down theladder. That was it. Lee turned
around to talk to Billy and hewas gone. He came back several hours
later, walking down the road likenothing happened. So where he went?
He didn't have a way off theroof. We talked to everybody that was
(35:07):
there that day, and nobody sawhim leave. Lee didn't see him leave,
and Lee was extremely observant of everythinggoing on, and with the latter
right at his right side. No, and Billy didn't jump off the roof,
So where did he go? Theseare things you can't as an investigator.
(35:29):
You can't do anything with really,did Billy know where he went?
Yeah, he went to a contact. They came and got him, he
said, and had a conversation withhim about some things that were going on
in his personal life, and theybrought him down further from the house and
he walked right back to the house. The Pleadians, they're human like,
(35:52):
very human like. Yes, tallNordic looking being's, light hair, fair
skinned, blue eyes. Yeah.Yeah, forgive me for asking, because
I asked this often on the showwhen we talk about alien entities. I
do always find it a bit oddthat the majority of the human entities are
(36:12):
like white, you know, Nordictypes, you know, because just think
about the human race. We havesuch a wide variety of people. Absolutely,
So why you know their version oflike a human race, Why are
they always so similar looking? Well, they're not all similar to people as
far as races. The Vagans area black race, and we've studied contacts
(36:37):
with Vagans before and they all ofthe contactees say that their contacts are all
black. So are they in thesame family as Platians meaning like genetic genetically
speaking genetically? I would think Idon't know for sure, but I would
think because they are humanoid humanoid forms. But there's a there's a case that
(37:01):
we studied in Amsterdam, Stephan Denarde, and he met something that didn't look
anything like the things we hear aboutthe Grays and the Nordics and all of
that. He met some group thatwere supposed to be from a place called
Yarga, and they kind of hada face like a goat with a coxcomb.
(37:23):
This guy was an engineer. Hewas quite interesting, and he had
actually run into a craft that wasunderwater while he was on his yacht.
Very well off. Had no reasonto put his name out there or anything
else about what was going on,but they kept waking him up every night
with these strange mathematical calculations that hewas getting in his head. So we
(37:47):
studied that one for about a year. Never could identify anything, except we
found out that a friend of ourswho was involved in other investigations of a
more political nature, said that inthe North Sea they were getting all of
these transmissions that were going towards Europe, all right, They were actually being
(38:15):
directed towards Europe, towards Amsterdam,Inton Hag and it was mathematical equations and
they couldn't understand them, so thatwas the only thing we could correlate there.
He didn't have photographs or anything else, but he had this wild story.
And it's cases like that that taughtme you don't judge. Everybody's got
(38:37):
their own experiences. Let them haveit, learn from it, hear it,
and see what you can correlate toit. Did Billy profit off of
his experiences? Now there's a lotof rumors out there that he did,
but he didn't. And even onthe re release of this book, we
didn't take any money up front forthis book at all, and it's being
(39:00):
published by Beyond Words Publishing, andwe said no, we'd just like to
get it out there because it's acase that has value. It lets people
make their own decisions. I'm nottrying to promote or say it's got to
be the thing. What I'm tryingto do is let people know there is
evidence out there. And so whenthis all happened, and I asked Billy,
(39:24):
I said, are you ready togo through that again with people coming
to your house and driving it nutty? And he says yeah. He says
it's a good time, And Isaid, okay, we'll split all of
this between the investigators and everything.He says, I don't need any money.
It's okay, So anybody that saysthat they're wrong The book UFO contact
(39:49):
from the police is Where can youget that? Is it online only or
can you get it brtar? No, you can get it brick and mortar.
You can get at Amazon. BeyondWar. It's publishing. It's the
forty fifth anniversary edition. It's volumeone and volume two put together, and
it's a basically coffee table book teninches by ten inches, two hundred pages,
(40:13):
great photographs and a lot of informationin it. Yeah, I think
we all should have a coffee tablebook. I think that's a great idea.
I think it should be a standardin all these Yeah. Definitely.
This photo here, yeah, Ifind very very interesting. It's a wonderful
(40:34):
picture. We call it the treeline scene. We had measured off the
distance from where that tree is tothe right of the ship and again the
ship. When you triangulate out sizewith non objects from camera to tree,
how big the tree was, howtall the tree was, you find out
(40:54):
that the ship is twenty one feetin diameter. What was interesting about that
when we analyzed it and it wentthrough not only the digitization process, but
then the other processes that they wereutilizing at the time to look at images.
Is that underneath it, it's reflectingthe green of the grass. And
(41:15):
it only showed up after they gotit really blown up and digitized. That's
the only time you could see thatit had that reflective color. Yeah.
Well, that certainly would roll outany sort of overlay, yeah, pre
photoshop manipulation. But if it wasa model, it could still show some
(41:44):
green, right, if it wasreflective, Yeah, but it would have
to be a twenty one foot model. Yeah. And what are you flying
it with a helicopter? Yeah,with a monofilament right right. So the
photograph itself, I mean when youlook at the composition, Yeah, these
(42:05):
they do the very good you know, they're posed how to take a photograph.
Did he have a collection of other, you know, photography that would
indicate that he was practicing or tryingto No, In fact, his camera
was broken. It was an oldused thirty five millimeter camera and it was
(42:30):
broken. You couldn't adjust the apertureon it at all. The interesting thing
about that, I mean, theseare the good photographs. There are blurry
photographs and We put a couple ofthose in the book that aren't perfect so
that people could see they're not allabsolutely perfect. My favorite photograph was taken
in April of nineteen seventy six,and it has a Mirage fighter in the
(42:55):
same scene as a UFO, Soyou've got to swisch jet fighter in there
with the UFO and you can seewhen you put it through all of the
analysis we did and we use thisin the book, you can see that
it gives off a certain using infraredand other tests as far as light scatter,
(43:19):
it gives off a certain energy aroundit, and the craft gives off
another nature gives off another. Soit's very interesting when you get into that
and you start letting your curiosity sortof promote creativity because how can you learn
about this? What are you goingto learn about it? Well, let's
throw some light on it, let'ssee how light scatters with it. Things
(43:42):
that hadn't been done before. Wehad to try, and it was I'm
glad we did because it really openeda lot of doors for very many people.
Is there a timeline so if indeedextra treasholds are making contact or human
(44:04):
intelligence, which are for people feelmost comfortable with are making contact with humans
on Earth, mostly clandestine, seeminglygiving hints. Is our timeline a focal
a point where that we're it allcomes into focus? Well, I think
that's kind of up to us.How receptive are we going to be to
(44:29):
them? What are we going totry to contribute if we do move into
the universe like we're talking about now, what are we going to be contributing.
Are we going to be bringing ourbaggage with us, our anger,
our fear, all of that,or can we kind of learn to raise
(44:51):
ourselves up a bit so that thecommunication is easier between us and them.
I'm not sure that there's a pointwe've hit yet that it's really possible for
all of the extraterrestrial beings, theenergies, the whatever they are, to
(45:12):
show themselves and make themselves known.I'm not sure we're ready for it.
And so even if there is whatsome people call catastrophic disclosure interpretations of whatever
that means. But essentially, ifpeople come out who are working for Lockheed
Martin and escape from the lab witha piece of something or a video or
(45:35):
what have you, and they're holdingan ET's hand, yeah exactly, and
blow the lid on all of this. Are we there? Are we ready?
Because I don't know how much moreof this kind of incremental contact would
really make a difference because so manypeople they are reliant on authority. Yeah,
(46:00):
and it's understandable to a degree becausethey've got lives, they have things
that they have to do. Sure, So I don't know if there's anything
more you can do other than justoutright saying this is this is the truth?
Like rip the band aid off.Yeah, that would be fine with
(46:22):
me, But I do know thereare a lot of people out there that
just it would upset the total applecart that they've put their life into,
because it would upset the stock market, it would probably crash global economies.
It would be something where we ashumans, we have a tendency to do
(46:45):
this, and that's look for somethingthat's more powerful than we are. And
we would probably label them, stickthem up on a pedestal, and expect
them to fix all of our problems. And what I've learned from the contact
ease, not just Meyer, butothers I have spoken to, is that
(47:07):
that's not their plan. Their planis to let us learn to remedy the
mistakes we have made and they say, we have to do that through communicating
and listening and hearing each other.I think if we can get those communicating,
listening, hearing things down, wecan probably move quickly. But we've
(47:28):
got to be a little more tolerantof each other. Yes, they don't
want to be the repair people thatthey don't want to be, and they
don't want to be the parents.It sounds like to me, we've got
a really great blumbers. Yeah,exactly, We've got a really great question
from a movie. Who had themost to gain by claiming fakery? Regarding
(47:50):
the photos by Billy Meyer. Idon't know that anybody gained anything with some
people who is momentary notoriety. ButI know some of those people that said
it was fake or that they thoughtit was fake openly and they weren't really
looking for any notoriety. I mean, I I've had the question reverse to
(48:15):
me, what do you stand togain from this? Personally? Listen.
For forty five years, I haveavoided publicity. I'm a writer, That's
what I like to do. Andit's only because this book is coming out
that I really think it's important.But when they came out before, didn't
do publicity. Didn't do any ofthat. I would rather hear everyone's stories
(48:39):
than be the one on the receivingend of the questions. But it's okay
right now, because it's something that'sneeded, and I think it's important,
not just for this book, forall of the work that's going on out
there in this field, right,Okay. So I want to bring up
this photo here over snowy mountaintop here. Yeah, that was taken. Boy,
(49:06):
you have to almost be standing wherehe was to get the impact of
that picture. You can tell thatthe hill across the way is quite a
distance because those are full grown treesat the top, but he was standing
basically on the edge of a cliff. You take about five steps from where
the camera was and you are downin the bottom of a valley and that
(49:30):
that's where that picture was taken.It was taken in January. Is very
cold over there and windy. Thatparticular area of Switzerland is like a wind
tunnel, the Haussembul area. It'swindy up there no matter when you're there.
But it's quite remarkable. In fact, in the documentary, there's a
whole series where we walk out tothis and you can see where he was
(49:52):
when he took these images. Allright, is there anything about this that
stands out that makes it credible morethan other than it was part of another
series where they were taken over,you know, a very short period of
(50:13):
time as the craft moved. Notreally anything terribly remarkable. I know that
Jim Jimmy d Jimmy Delisosa and MichaelMayland both noticed that the fact that cupola
around the top had a golden sheento it, and they caught that when
they were digitizing it, and itwas showing a reflection, but you couldn't
(50:36):
see that it was a reflection ofthe sun or anything else. It was
a cloudy day, so it wasjust hazy. Yeah, it looks like
the same craft or it's slightly different. Yeah, it's very slightly different.
Has a slightly different cap, right, Yeah. Yeah. Some of the
(50:58):
things we've heard of the years isthat you know, these are parts from
you know, hubcaps and yeah,I'm just kind of gather, right,
So do extra threscials max bishops withhubcaps? Well according to the metal or
just no, And I don't thinkwe put thulium in hubcaps. It's kind
(51:21):
of expensive. How do they getthat that metallic like, how big of
a like a fragment are we talkingabout. Well, we had several different
pieces various stages of the development ofthe metal. The biggest was about the
size of a a race around apencil about that size, and it was
(51:42):
split up. A piece ended upwith MIT. A piece went to Marcel
Vogel at IBM. One of thescientists took some of the granules we had
from a very very tiny amount.I mean it was gosh, I can't
even give you an idea of howsmall it was. But they were little,
(52:05):
tiny grains, almost sand like,and he was working on those and
when he put them under a lightfor a video camera to film it,
it broke apart. It just brokeit. Even smaller granules. So the
heat or the intensity of the lightor the type of light, something in
that spectrum which he couldn't identify withoutdestroying the metal, and he didn't want
(52:29):
to do that, did something tothe metal and made a break apart.
Interesting, okay, And how didhe How do we get this piece of
metal in the first place? BillyMeyer gave it to us and said the
Pladians gave it to him to giveto us, to have it analyzed,
so he didn't like chip it offthe ship. They just like they gave
(52:51):
it to him in stages. Youknow. This is one stage and the
stage that's about the size of thepencil eraser that was close to the final
stage of the skin of the craft. Gotcha. Okay, And I have
one more question here from a movie, britt, do you see a revisiont
and perhaps consolidation of old EU UFOcases with those in other countries US,
(53:19):
Canada, etc. I think thatis something right now that is so necessary
because we can learn so much fromthe old cases, not just the new
cases, but what happened years andyears ago, and we've got to have
a repository for them somewhere. Iknow that some groups move On included,
(53:42):
are discussing the purpose of putting togethera place where people can come tell their
stories, show their videos, theirpictures, whatever, so that other people
can access it, yes, andlearn from it. That is urgently important,
because we can't learn if we don'thave a place where from all over
the world this information comes in andthen we can correlate it. If we
(54:05):
can do that, we can reallyreally gather some information. Yeah, and
move On has just expanded their lab, but their capabilities over the past,
you know, several months or so. So I encourage everybody. I'm obviously
as a move On investigator, Idefinitely support the civilian effort because the more
data that we have, the betterwe are understanding all this in the long
(54:29):
run. Absolutely, you know,Harvard, even the US government and all
these different entities and bodies can't dothe same amount of massive collection that volunteer
organization can do of civilians throughout theworld, right And I do hope that
(54:52):
at some point those bodies will tryto reach out to the civilian organizations and
try to work with them and say, hey, let's let's let's let's work
together. Now. Move On hasa pretty darn good standard for reporting investigating,
but if they say, hey,we have to have this certain standard
so that we can share data andwe can analyze its criteria, then then
(55:16):
do it. Let's make that happenso that now the Arrow or you know,
Galleo project or whomever, we're allkind of on the same page and
so the data becomes even more valuable. Okay, Yeah, So, and
speaking of that, everyone, beforewe go, I do want to share
(55:37):
that I will be presenting at thePine Bush UFO Fair this Saturday, and
I will be speaking at one pmto one thirty about unmasking the debunkers.
So that'll be fun. It'll befun talk. So, Britt, before
we go, do you have anylast words or thoughts that you'd like to
(55:57):
share? Just you know, Iknow that you have a certain audience that
is attracted to this. I soappreciate the fact that you're getting information out
there, but everybody share with eachother. It's so important if you have
an experience reported. I don't carewho you reported to, move on whomever,
(56:21):
but get it out there so thatit's recorded somewhere. It's too important.
And right now, I really thinkwe're at a tipping point where we
can start to take a more respectable, rightful place in the universe if we
will learn about what's really going on. But we have to be open minded
and open hearted to get there.All right, Well, let's leave it
(56:44):
at that. Thank you so much, but I really appreciate it. If
you want to get the book,absolutely, If you want to get the
book, it's UFO contact from pleeights and what's the website? They can
find out all the things I'm involvedwith at britelders dot com, briit e
l drs dot com. All right, there it is, Thanks so much,
Brittain. All right, and thankyou everybody for joining. I really
(57:06):
appreciate it. Again, if youlike this podcast, please subscribe, comment
to end below, like and share, really really appreciate it. And special
thanks to the Unex Network, wherethis podcast is rebroadcast every Thursday at two
a m. Eastern Standard time Fridays. So, yeah, yeah, it's
(57:27):
a It's been quite a journey thisyear. We've had a lot of adventures,
and I think that the UFO storyis developing much faster than in the
previous decades. Not to say thatthere weren't signific significant gains in the seventies,
eighties, nineties in particular. However, I do feel that we are
(57:52):
at a tipping point. Some peoplesay that means two to three years for
disclosure. I tend to disagree.I think we're still on a little bit
longer timeline. I think seven toten years. But I think that we
are at this tipping point. We'rejust about at the critical mass where there
will be enough of the civilian noEarth civilians of all countries collectively that push
(58:20):
their representatives for the truth that wewill get the disclosure that we want.
In the meantime we have both greatbooks like this from Elders, So thank
you all, thank you the UNEXNetwork, thank you to Race Hobbs at
the Unex Network and Margie k.And until next time, everyone bes in
love and keep your eyes to diskies.
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