Because it isn’t time for the premiere of Game of Thrones Season 7, and I have nothing better to do, I thought I’d kick another sleeping dog (sorry of that analogy offends). For laughs, I took a look at the Pteranodano photograph that was allegedly taken by Billy Meier during a July 1975 trip to a world some 9.38 billion light years away which is about halfway across the known universe. It’s a badly focused picture with little real detail that is actually somewhat reminiscent of those first photographs taken in the early 19th century but you can recognize the flying dinosaur.
This photograph wasn’t published in any of Meier’s books as near as I can tell, but was shown around the United States as part of a program about Meier’s space and time travels. I wanted to find a way to connect it to Meier as the photographer because some of what I had seen didn’t provide any real source. I did find a connection at:
In the course of the presentation, it was said that Meier had taken the picture, as he had those of other dinosaurs. We were even treated to a picture of Meier in a spacesuit walking about on another planet, outside the spacecraft so that he could get the pictures (which has been identified as a picture from a science fiction movie).
Note that the alleged trip was in July 1975. That date is important because various researchers and interested parties found a much clearer illustration of that particular dinosaur in a book about dinosaurs. The illustration was apparently painted in 1960 and appeared in a book published in 1972, or some three years before Meier took the picture. This would seem to prove, in at least one case, Meier had attempted to pass off a poor photograph of a painting by an Earth-based artist as a real photograph of a dinosaur. You can see the photographs at:
The dinosaur pictures, both the painting and the alleged photograph (yes, I know it is a real photograph but it is a photograph of a painting) can be found beginning at 6:31 in this video.
Well, not so fast say the champions of Meier’s claims. This has all been explained though not as clearly as I would like. It might be that the translation I was reading wasn’t as good as it could have been so we can overlook some of the technical problems. I found my way to:
That provided another look at the illustration and the photograph that didn’t add much information to what I had already learned. However, there was a button at the bottom of the page that took me to:
Here we learn that Meier didn’t take the photograph, but it was in with those that he had taken. Now the story becomes a little more complicated, but I think I have sorted it out. We are told, “In their blindness and their investigative delusion, BEAM’s [BEAM being Meier’s initials or in other words, it is Meier] opponents stubbornly and firmly maintain that the aforementioned photo was personally taken by ‘Billy’ on the space journey in July of 1975, without concerning themselves, however, with the true history of its origin and the actual contexts of the picture.”
Well, we did see a video of that claim being made. That the picture had been taken by Meier, so those who are suggesting it have a good case. But, again, there is another twist here. “After the freshly developed dinosaur pictures were in the hands of ‘Billy,’ these were seen and inspected by Quetzal [Quetzal was Commander of all Plejaren stations in our solar system]. During this, dozens of pictures were noted by him, which quite clearly could not have come from the world NEBER [the planet Meier visited in July 1975] and, therefore, had not been taken by ‘Billy,’ about which Quetzal got very angry. It was obvious that false and manipulated pictures had been foisted on BEAM once more by a foreign hand. Many of the pictures had obviously been photographed from a book and were to have been smuggled into BEAM’s photo collection as so-called cuckoo’s eggs.”
So Meier had them in a photo album that itself was photographed by Horn and Stevens. While that doesn’t seem to match with the later tale, we learn, “Before the original photos were removed and destroyed by Quetzal, however, the foundation member of FIGU, Guido Moosbrugger, came into the possession of some copies. However, he had to make the promise to the Plejaren and ‘Billy,’ never to make the copies available to the public or to get rid of these in any way because the falsification from a foreign hand was also among the preserved photos. Should he fail to comply with the instruction, the pictures would have to be immediately confiscated and destroyed by the Plejaren, as this also happened with the originals of ‘Billy.’ To this day, Guido Moosbrugger feels bound to his promise and has always kept the pictures under wraps.”
But, of course, he didn’t because somehow the picture was released, even if only on a poor-quality video made of the pictures in Meier’s photo album. But that still doesn’t actually explain where they originated. The excuse:
The Plejaren’s investigations into this incident yielded the following: Since the “Men in Black” organization, which committed itself to “Billy,” couldn’t eliminate him after several failed assassination attempts (ultimately 21 of these overall), it very strongly forced individuals who were cooperating with “Billy,” like the aforementioned photographer Schmid, to bring BEAM into discredit. So they meticulously planned their intrigues and defamation for the long run; consequently, the effects of their machinations should have first begun to work themselves out in the near future. Several times, the “Men in Black” also tried to achieve their goal at the Semjase Silver Star Center with attacks on the vehicles of the members or by intimidations and kidnapping attempts of the children, etc. In this form, also the photographer Schmid, whom “Billy” had incorporated with the permission of the Pleiadians/Plejaren, was forced by the "Men in Black" to produce falsifications of the photographs. On several occasions, pictures that Schmid had received from “Billy” were falsified from the ground up or replaced by forgeries, as this also happened with the Asket and Nera photos and with the aforementioned dinosaur photo. In this way, Eduard A. Meier, already at the beginning of his contacts with the Pleiadians/Plejaren, received false slides, negatives or manipulated photos back from Schmid unnoticed. This photographer has passed away in the meantime and, therefore, is no longer able to provide any information at all on these machinations. [Isn’t that convenient?]
Ironically, it seems that:
The fact is that the opponents of “Billy” never concerned themselves in an honest form with the true origin of the purported dinosaur pictures and did not investigate the actual source. Otherwise, they would have discovered that the purported pictures were not put into circulation by FIGU or “Billy” Meier but by a malevolent, foreign hand [Michael Horn and Wendelle Stevens?], with the intent to harm him. Many allegedly notable UFO researchers and self-proclaimed Meier experts, in their investigative delusion, have jumped on the train of falsification and prevarication, without examining the true sources. This practice can be found on the Internet in innumerable articles about BEAM. Nevertheless, the actual truth about the photo will one day let so many ufologists leap over the shadow of embarrassing disgrace. In actual fact, no sound evidence exists, which proves that the aforementioned photo was taken by “Billy” Meier. With not a single word or written testimony has BEAM ever claimed this on his own, and indeed, because of the simple fact that the aforementioned picture of the pterosaur, along with many other forgeries, had not been taken by “Billy” Eduard Albert Meier himself but had been foisted on him by a foreign hand [though on the video, that claim is made]. These facts correspond to the truth, even if the truth doesn’t want to be accepted by his opposition – as is the case so often.
Finally, to explain all of this, we learn:
The truth about the so-called dinosaur photos will hardly be published by the notorious occupational critics because through the aforementioned photo, a certain inconsistency in the Meier UFO Case can actually be found – an inconsistency that certainly makes sense since the image does, in fact, concern a forgery. To the disappointment of all the glorious investigative specialists, the forgery was, however, not created by BEAM but rather by his opposition – completely in line with: BEAM’s Men in Black opponents hoodwink BEAM’s ufologist opponents. There, two drunks probably beat on each other’s fingers[whatever the hell that means]. But at least a good job must be granted to BEAM’s opponents, with regard to the discovery of this forgery. The book found to have been used for this is not a bad achievement and is also of good use for FIGU. As a critical, searching, and inquiring human being - even in the case of “Billy” Meier – I am fully aware of a certain sense of achievement in investigation. I must admit, however, that I much prefer to use my time and energy for an argumentation in favor of the true truth about BEAM than for superficial and blind faultfinding.
But that’s not all. According to Matt Knight in a comment to this blog, the copyright date on the book had been changed as just another way to discredit Meier. Knight wrote to my earlier post, “I've finally realized what Mahesh's [another of those posting a comment] problem is. He obviously has never experienced life in a culture where making backdated books to fool the public would be taken very seriously by authorities and would be a punishable crime if it were true [I’m not sure what crime this would be]. Switzerland is not the kind of country where anyone can make cheap knock-off T-shirts, passports, websites, or, blogs and claim they have real value.”
In case it wasn’t clear there, Horn added, “To follow up on Matt's correct assessment of Mahesh's problems in part stemming from lack of experience with a culture such as Switzerland, Mahesh fails to understand the mechanism of pre-digital book publishing, where it was common for books to take a year - or even years - to be published.”
So now we have a couple of excuses for way the fake picture was claimed to be one that Meier had taken. First, it wasn’t taken by him but slipped into a bunch of other pictures that he had taken as a way to discredit him. The Men in Black did it or maybe it was the CIA.
Now we learn that the book that held the actual illustration, had a faked copyright date on it. A backdated book to fool the public so that we can see the vast conspiracy out there attempting to discredit Meier.
Then Horn chimes in with the fact that books, back in the old days which, of course, was the last part of the 20th century, sometimes took months and even years to be published. This would be relevant if the book was copyrighted at the time of submission of the manuscript, but that’s not the way it worked. The copyright date was the month and year in which it was published.
What we are left with is evidence that Meier had taken a picture of a Pteranodon that was an illustration from a book published two years earlier. Caught with this problem, we learn that Meier hadn’t taken the picture but some unidentified organization whose mission it was to discredit Meier had taken the picture and slipped it in with all the others that Meier had taken on that day in July. It’s not completely clear how they might have done that, only that they had.
That picture, identified as a fake by Quetzal, and who demanded that it be destroyed, failed to get that done, and the next thing we know it is being circulated by Meier’s pals, Horn and Stevens, as the real thing. But when it is discovered that it was part of another, earlier book, we learn that this was not a picture taken by Meier but someone else. You just have to ask if any of this makes any sense at all.
These are the facts as presented about this picture. Is this alone enough to discredit Meier, or was it really some conspiracy cooked up by the Men in Black. I believe this does suggest something about the reliability of the Meier testimony. Others, I guess, will disagree.