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.
 |
| Billy Meier |
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.
