An art exhibition entitled Paulina Peavy: Etherian Channeler opened June 1 and will run until July 31 at Beyond Baroque Gallery in Venice, CA. More details here.
Here’s an entry on Peavy ripped from the pages of A is for Adamski: The Golden Age of the UFO Contactees, co-written with my chum Greg Bishop.
Paulina Peavy (1901–1999)
Artists draw inspiration from many sources. Paulina Peavy said that her paintings and other works were delivered through her from an extraterrestrial entity named “Lacamo” which she pronounced “La-I-Come-Oh.” Her amazing artwork was sometimes signed by Lacamo, sometimes by Peavy, and at times both. She designed elaborate masks that she wore when she worked, saying that her ET source was better able to work though her when she had them on.
She was born Pauline Ellen White on August 25, 1901, in Colorado City, Colorado (as she claimed) or in Colorado Springs (as her family claimed), to a father who thought that education was wasted on girls and a mother who died of miscarriage before Pauline was 10. In the early 1920s, she was married to Bradley Peavy and living in San Pedro, California, about 20 miles south of downtown Los Angeles. Her second son said that his father was a drunk who beat his wife. She contracted tuberculosis in 1930 and had to enter a sanatorium for a few months to recuperate. After her husband abandoned the family, Peavy, unable to afford for their care, placed her two young sons in the Boys and Girls Aid Society orphanage in Pasadena (which still exists) and moved to Long Beach, CA, in 1932. By 1939, she had rebuilt her life enough to get her children back, although she visited them often while they were separated.1
She apparently exhibited her art widely at this time, while working as an art teacher in the Long Beach and Los Angeles school systems to make ends meet. She exhibited at the prestigious Stendahl gallery in L.A., according to an advertisement placed in the L.A. Times on February 10, 1933.
Soon after moving to Long Beach, she began attending weekly seances at the home of medium Ida Ewing, where she was instructed to begin writing down her dreams. She said that this practice enabled her to teach herself how to achieve out-of-body experiences at will.2 Peavy wrote that within two nights, she was able to leave her body and travel beyond her own room “as the soul is electronic; and walls are no barriers to electricity!”3 The voice of Lacamo coming through Ewing eventually spoke through Peavy and became her lifelong guide. Curiously, she referred to Lacamo not as a space being, but as a “UFO.”
In 1942, she said it was “her destiny” to move to New York City, where she remained for the rest of her life. It was there, in January of 1958, that Peavy was a guest on the Long John Nebel late night radio show, which also regularly featured many of the personalities described in this book.
The other guest on the show was the “Mystic Barber of Brooklyn,” Andy Sinatra, a fellow space brother channeler who was fond of wearing funky metallic headbands that improved his ET communications. Nebel seemed endlessly amused by Sinatra, but apparently took Peavy more seriously.
She wore one of her masks throughout her 20-minute long appearance and channeled Lacamo. Nebel described the mask she wore as “a base color of chartreuse with charcoal gray stripes running through it and…covers at least three-quarters of her face.” Peavy began with a very short description of her background and almost immediately began hollering and began to channel her space friends in a measured, robotic-sounding voice. She explained:
“When such powers move in such strange sounds are caused by the powers taking over. We are putting into her being, high voltage. She has had to put up her electrodes to meet our high voltage! This is not the voice of Paulina, for we have not released her entirely. When we come through, we are using her exactly as you use your microphones. You have many ideas regarding us that are your ideas and are not our reality.” 4
After 15 minutes or so, Nebel remarked that Peavy looked drained and suggested they move on. Sinatra piped right up and the show continued. After Sinatra spent considerable time babbling in an incoherent ET language, Long John requested that Paulina return to her trance state and translate the Mystic Barber’s manic mumblings:
“We have helped you make your headband. We have given you all the secrets for such a headband we placed upon Paulina twenty years ago—an unseen magnetic headband…We are so happy to find your open-minded attitude toward our contact with you to the state whereby you can broadcast our voice—our voices. Andrew, the bread of life is life! “
Some time in her 80s, Peavy wrote an autobiography entitled The Story of My Life with a “UFO” and described her concepts of life, her essentially feminist viewpoint, and the nearly 50-year relationship with Lacamo. She predicted that the Earth would soon reject males and women would only produce female children for the next 3000 years. She also mentioned her interest in the 1962 Barney and Betty Hill abduction case and how their reported “treatments of the genitals”5 was part of the space people’s idea that the perfect form of humanity is neither male nor female.
In 1998, Peavy’s son Bradley moved her to a nursing home in Bethesda, Maryland, after she broke her hip and slipped into a state of dementia. She died the next year at the age of 98.
“Early in my painting career I found strange forms developing by my brush. I explained to myself that I had gotten on a beam, that I had tuned in on a power vast and wonderful.”6
2Peavy, Paulina. The Story of My Life with a “UFO.” Self published, ND (but probably mid 1980s.) p. ‘B’
3 ibid, p. ‘B’
4 Paulina Peavy and Andy Sinatra. [Radio series episode].(1958, January).In The Party Line. New York, NY: WOR.
5Peavy, Paulina. The Story of My Life with a “UFO.” Self published. (p. 8).
What initially inspired myself and collaborator Greg Bishop to co-author A is for Adamski: The Golden Age of the UFO Contactees was the discovery of The Beck Collection, a series of photos taken by a fellow (you guessed it) named Bob Beck.
In 1948, Robert “Bob” Beck (1925-2002), started a photographic-audiovisual firm, Color Control Color Laboratories Company, that designed special lighting techniques for a number of MGM productions like An American in Paris and Show Boat. In the 1960s, Beck was responsible for the groundbreaking special effects featured in Roger Corman’s psychedelic epic The Trip.
Somewhere along the way, Beck befriended George Van Tassel, attending several Giant Rock Interplanetary Spacecraft Conventions where he photographed the UFO contactees in attendance, many of these photos which appear exclusively in A is for Adamski. Van Tassel’s work in “cellular rejuvenation” dovetailed with similar interests shared by Beck related to alternative health cures produced by electromagnetism. To this end, Beck was involved—at least in an advisory capacity—with the construction of Van Tassel’s Integratron.
More recently—on podcasts and radio shows that cater to the conspiracy/Patriot/anti-NWO crowd—you’re liable to hear any number of advertisements touting electromagnetic health cures. Most of these devices—in one form or another—were originally developed by Bob Beck who, in turn, was influenced by the pioneering work of old school cutting-edge “crackpot” inventors like Georges Lakhovsky, Royal Rife and the ever popular Nikola Tesla.
In 1979, Beck launched Bek Tek, a company manufacturing “psychotronic medicine” machines, one of which was the Brain Tuner that wassaid to balance the electrical activity of the two hemispheres of the brain—and when that happens apparently all types of positive health benefits result. Beck incorporated his Brain Tuner and other techniques into what he later branded as the “Beck Protocol” that, among other things, could allegedly cure AIDS and other chronic illnesses through something known as “blood electrification.” It was through this protocol that Beck purportedly cured himself of cancer and grew back all the hair he had lost during chemotherapy!
In 1990, Beck developed the first colloidal silver ion generator for in-home use, which is another curative substance you can hear all about on Jeff Rense, Alex Jones and other internet used car salesmen who peddle such wares. One guy used so much colloidal silver…it actually turned his skin that color. Due to these and other endeavors, Beck claimed he was incarcerated “many times by orders of the FDA.”
Listen to Bob Beck on The Open Mind radio show!
For your possible listening enjoyment, a couple of special editions of Untamed Dimensions from back in the day, featuring some of your favorite humans recounting their very own…Saucer Tales! Guests include Alexandra Bruce, Kenn Thomas, Jeremy Vaeni, Vyzygoth, Kentroversy, Louise Lacey and many, many more!
Below are links to number of documents and images that were sourced in Saucers, Spooks and Kooks: UFO Disinformation in the Age of Aquarius.
For your possible viewing pleasure, Adam Gorightly’s “Were the Early UFO Contactees Ritual Magicians?” presented at The League Of Western Fortean Intermediatists Mini-Con in October 2008 in Los Angeles.
My friend and self-proclaimed Gorightly groupie, Victoria Grimalkin, just sent me these adorable Bigfeets she knitted: Bigfoot and Lil’ Sas!
Eduard “Billy” Meier claimed that his first otherworldly contact occurred when he was but a wee lad of five, at which time he said he learned to communicate with the saucer-drivers telepathically. In 1944, when he was all of seven, Meier met “Sfath,” an elder spaceman who took him under his celestial wings and on a trip to the stars.
After running away from home a few times, and joining the French Foreign Legion for a while, the space brothers (and sisters) encouraged Billy to travel about and gain some life experience. In 1964, he ended up in India and gave an interview to the New Delhi Statesman, claiming he had taken hundreds of UFO photos, but that he couldn’t share them quite yet because they were under the jurisdiction of the space brothers who weren’t yet ready for the big reveal.
In 1965, Meier was the victim of a bus accident in Turkey in which he lost most of his left arm. After recovering, he moved to Greece and eloped with a 17-year old named Kaliope Zafirerou. They somehow ended up in Pakistan and had a daughter named Gilgamesha. A son followed in 1969, christened Atlantis-Socrates.
With Gilgamesha and Atlantis-Socrates in tow, the pair moved back to Meier’s homeland where he set up a metaphysical discussion group in 1974. The event which changed the rest of his life (as if the adventures up to this point hadn’t made an impression) came on January 28, 1975, when Billy said a disc-shaped craft landed on his farm in Switzerland and out stepped a sexy blonde haired broad named Semjase, the leader of a crack expedition of space people that came here all the way from the Pleiades.
Even though Semjase looked no older than a twenty-something California beach girl, she was actually 350-years-old and had spent the previous decade in the DAL Universe (a twin universe parallel to Earth for those of you keeping score at home.)
With Semjase’s encouragement, Billy got busy snapping photos at a fevered pace of Pleiadeans (who Meier called Plejarens) and the beamships they rode in on, which at first amazed many a saucer enthusiast, only to have some Debbie-downer skeptic types call bullshit. There was even a blurry Semjase photo making the rounds that was eventually outed as a television screenshot of actress Darleen Carr during an appearance as one of Ding-a-ling Sisters on The Dean Martin Show of the 1960s.
In many ways, Meier seemed a throwback to the old school UFO contactees of the 1950s reborn anew into a 1970s sensibility informed by Close Encounters of the Third Kind and In Search Of. To this end, Meier was a new, improved George Adamski, but this time on steroids, using much the same method of mixing pseudo-religious mumbo jumbo into a stew of spurious saucer photos from which a cottage industry was crafted and continues to flourish to this day. But much like Adamski, no matter how much evidence was brought forward to demonstrate that Meier, in all likelihood, was selling phony saucers, new followers continued to flock to his farm to commune with this mighty one-armed intergalactic ambassador.
But where Adamski’s message mimicked the common tenets of a universal religion in step with New Agey niceties, Meier presented a heretical cosmology based on an alternate religious history of mankind derived from a mysterious text called The Talmud of Immanuel. Immanuel, in this instance, was Jesus Christ, and if you read deeply enough between the lines, Jesus, in turn, was or is Billy, or that certainly seems to be the wink-wink hint you get from the material.
Not only was Billy able to travel interstellar-wise with the help of his otherworldly pals, but he was offered the use of their beamships to travel to different dimensions, and was even transported into the past where, with his trusty camera, he was able to photograph a dinosaur. One of Meier’s so-called “beamship” photos achieved immortality when the producers of The X Files used the image on the “I WANT TO BELIEVE” poster that adorns the wall of Fox Mulder’s messy office.
Spreading the Pleiadean message, however, proved to be no walk in the park, as Meier claimed he’d been the target of no less than 22 separate assassination attempts courtesy of the Men in Black, who Meier claims came all the way from the Sirius star system to try to teach him a lesson. Billy was informed: “The men in black were rounded up and taken into custody through forces of their home world after their last evil attacks against you. They also do not pose a threat anymore.”
Perhaps the first book to lift the veil on some of Meier’s seeming flagrant flim-flammery of the third kind was Kal Korff’s The Billy Meier Story: Spaceships From The Pleiades. In this action packed yarn, Korff recounts how under an assumed identity he covertly crashed Meiers’ Swiss compound and spirited away a bundle of documents of other evidence, including photos Kal surreptitiously snapped (of a supposed Meier saucer landing site) that he later used for analysis to debunk the one armed wizard of Switzerland. All in all, Spaceships From The Pleiades is a rollicking read, documenting a time period several years before Mr. Korff apparently lost his mind, which is another story entirely.
In October 1977, Col. Wendelle Stevens gained some measure of ufological notoriety (otherwise known as “UFO Famous”) becoming the first American UFO researcher to visit Meier at his saucer infested farm in Switzerland. Meier impressed Stevens with his stories and handed over a batch of photos to haul back to his home in Arizona. Afterwards, Stevens formed Genesis III Productions Ltd. to showcase and exploit the Meier photos. The first book in the series, a large-format affair, entitled UFO…Contact From The Pleiades Vol. 1, featured beautifully printed reproductions of some of the most impressive photos and descriptions of the supposedly exhaustive scientific scrutiny that had been applied to Meier’s claims and images.
By the time Vol. 4 of this book series rolled around, the photos had become increasingly outlandish, such as one of an intergalactic gal named Alena allegedly taken on July 6, 1977. Alena, as the story goes, was a member of the Plejaran delegation from the Lyra Star constellation, and the supposed reason we only see a portion of her face in the photo was on account of strict Pleiadean regulations that forbade anyone from taking a photo of a full Plejaran face basically as a security measure to protect Alena’s identity while visiting Earth. Rules is rules.
Here’s an example of some typical Wendelle Stevens drivel regarding other aspects of the infamous Alena photo: “But just as intriguing was our search for a gold nylar jacket that might look like the one Alena is wearing in the picture with her arm holding the gun. We looked in all the clothing stores, all the sporting goods stores, and checked even the uniform supply stores for such a jacket, or even such gold material as might be necessary to make such a jacket, like the arm of the one worn by Alena as she holds the pistol for Meier’s photographs. We never found anything like it.”
All of this was certainly some weak sauce from Stevens, as it became evident that Meier took the photo of himself and a toy gun (and his one good arm) with his long hair flowing to supposedly give the impression that he was a she, which was a pretty goofy thing to do.
As for this supposed space gun (from another planet!) Royce Meyer at ufowatchdog.com reports that “This ‘laser gun’ was found on EBay. Notice the barrel is exactly the same as the Pleidean gun, right down to the plastic sight. So, either the Pleideans bought their gun on EBay and modified it for their own purposes, or they are in the habit of selling their surplus guns on EBay to raise a little earth cash.”
A recent convert to the Billy Meier circus is Cheryl Costa, co-author of UFO Sightings Desk Reference, a book analyzing trends in UFO data. Costa has tagged Meier’s photos as her “smoking gun” proof of an alien presence because she observed flash frames in the Meier film footage that she claims matches a similar flash in STS mission 48 footage of a strange “beam” that shot past the space shuttle. This “flash” is also what is observed when a rotating film camera shutter has not yet reached the proper speed and overexposes a few frames. American Meier supporter Michael Horn has made the observation that some of the “mistakes” in Meier’s footage are created by the Plejaren themselves in order to give skeptics an “out” because “it would be too threatening to their belief systems.” Alrighty then.
This entry was the product of the combined brain-forces of Greg Bishop and Adam Gorightly. An alternate version of this Billy Meier missive can be found in their book “A” is for Adamski along with a lot of other glorious tales from the bygone days of the UFO contactees. Get you copy while supplies last!