Jordan Maxwell & Other Paranormal Stories

[jimmer]

Thanks Jimmer, I am wanting to understand more about "The Trickster".
I like the thought that it is an entity that has compassion and empathy, and not just a force of evil.

So if this entity is viewed as a loving, helpful and compassionate force, then that is what you will experience?.

If the entity is viewed as an evil and destructive force, you will experience that also?.

Hence, Angels and Demons being experienced by people, but in fact it's the same entity but a different force that emerges according to their thinking.

Please correct me if I am not getting this right.
Like Sas, "The Protecter".
Frances.

that's pretty much my take, as well, frances.

although, the entity has no emotion or compassion.
what's considered bad to us, is just a function to them.

they are bound to us and react to our actions, curiosities and intent.

it's purpose originally aligned with the rise of the human race.

it speaks to us through two states of imagination: small (our dreams) and if not fruitful, the large imagination (waking visions, sightings, events).
a person with strong psychic abilities can draw others around them into these visions and events. (group sightings, etc.)

it feeds (energetically), interacts and calls on us, when 'their bell goes off.'
or when we reach out. just be careful. that's why I first posted this.
we can not control them or guide them or frankly, understand them.

for the good or the bad.

my take is, don't be tempted to ring the bell.
you never know what you're going to get.
through the collective consciousness, we have always been connected to them.
and as keel has said, if contacted, approach them with humbleness
and be prepared to accept confusion, for the trickster is confusion itself.

[Frances]

Great explanation Jimmer, helps me a lot with my walk through the paranormal.

I have, since reading John A. Keel, been drawn to his line of thinking.
I will not pretend to understand all of it, but what I did grasp and understand made perfect sense to me.
Frances.

[Frances]

Source:- http://www.sott.net/article/269373-T...UFO-phenomenon

Link to the full article by Zoya Klebanova.

The invisible hand of the Cosmic Trickster: High strangeness and the paranormal nature of the UFO phenomenon -- High Strangeness -- Sott.net

This very interesting article covers a wide range of paranormal subjects and videos.
To list a few...

Fairy Abductions.
Poltergeist, Invisible Attacker.
Video John Keel, Fortean Lecture 1992.
Video Dr Karla Turner, The Malevolent Nature Of UFOs.
Unexplained Disapearances Of People, Missing 411.
The Skinwalker Ranch.
Blue Orbs.
Interdimensional Beings.
Pet Puzzlers, and much more.

We seem to be surrounded by an almost invisible world that can manipulate us in any way. ~ John Keel

"Ufology is just another name for demonology," Keel explained, and claimed that he did not consider himself a "ufologist" but a "demonologist"; as an early admirer of Charles Fort (1874-1932) he actually preferred to be called a Fortean, which covers a wide range of paranormal subjects.

"I abandoned the extraterrestrial hypothesis in 1967, when my own field investigations disclosed an astonishing overlap between psychic phenomena and UFOs," Keel wrote. "The objects and apparitions do not necessarily originate on another planet and may not even exist as permanent constructions of matter. It is more likely that we see what we want to see and interpret such visions according to our contemporary beliefs."

On Sunday, October 30th, 1938, millions of radio listeners in the USA were shocked to the core by a radio announcement about a Martian attack on Earth. They panicked, some ran out of their homes screaming, others packed up their cars and fled. Even though the ground-shaking news turned out to be nothing more than a portion of Orson Welles' adaptation of the well-known book, War of the Worlds by H. G. Wells, many of the listeners believed what they heard on the radio was real.

In his infamous broadcast, Orson Welles set the scene by saying: "We know now that in the early years of the twentieth century this world was being watched closely by intelligences greater than man's and yet as mortal as his own..."

While Welles' radio stunt was fiction, a careful analysis of the evidence suggests the actual reality surrounding UFOs and all things associated is much stranger than any fiction ever invented by a human mind.

As a child, and like many other children the world over, I dreamed of space exploration, going where no human had gone before (or at least as far as Mars), making first contact with other species, and being part of an "interstellar federation". It's all started with reading H. G. Wells and Jules Verne. Their works ignited my imagination and helped to shape my understanding that our reality is far stranger than it appears on the surface.

Much later I also became familiar with the 'UFO phenomenon' and its milieu. Comprising a few "nuts & bolts" people and a large number of "new agers", it was an exciting time in my life, but I soon realised that neither the hard science types nor the love and lighters had all (or any) of the answers to the UFO phenomenon. The "nuts & bolts" people would spend their time fighting with the skeptics, who claimed that it would take an unrealistically large amount of resources and time to embark on an intergalactic journey, and that in itself is enough proof that the UFO phenomenon isn't real. For their part, the new age crowd occupied themselves with navel-gazing and receiving messages from Andromeda or Commander Muckymuck of the "Ashtar Command".

It seemed to me that the arguments from all three camps lacked two crucial elements that are often seen as mutually incompatible: imagination and common sense. But trying to point out the pros and cons of either of the approaches to the UFO phenomenon is beyond the scope of this article, instead I'll concentrate on marshaling as much of the evidence as possible to make the case that "they have always been here"; that their nature is 'hyperdimensional' rather than extraterrestrial; and that the UFO phenomenon cannot be disassociated from paranormal phenomena.
Frances.

[jimmer]

quite a find, frances.

I'll be back to give the lengthy article a good read.
thanks.

[Frances]

Source:- http://ufodigest.com/article/abducted-fairies

Link to the full article, by Raul Rios Centeno, M.D.
Translated by Scott Corrales.

Abducted by the Fairies?.

Dr. Raul Rios Centeno is a UFO investigator based in Lima, Peru. His investigative efforts take him to the remote areas of his Andean homeland, where impoverished peasants still speak Quechua rather than Spanish and believe in a hodgepodge of pagan and Christian beliefs. Piura is a department of northern Peru, located approximately 873 kms NW of Lima. Its inhabitants are friendly and welcoming and are closely bound with their shamans and "curacas".

There are regions such as Catacaos and Monsefu in which pagan rituals combine with Catholicism to the point of confusion. It is therefore not surprising that this should be the reason why many interested in the paranormal, or merely those who are devotees of faith healing, esoteric or the Taror should visit this Peruvian region if only for "a quick throw of the cards".I had the opportunity, at my own request, to visit the area in order to treat the victims of the atmospheric phenomenon known as "El Niño".

I feel that if anyone has any doubts that this land -- in which the Moche or Mochica pre-Hispanic culture flourished -- holds a special attraction, all they have to do is pay it a visit. They will not be disappointed. The following account is one of many which I have been able to gather. Many of those with whom I came into contact could not believe that a "man of science" like myself should have any interest in what they term "family stories." The audiotapes I brought with me -- a box of ten 90-minute tapes -- were insufficient for the task, and I had to undertake the painful task of erasing some of my music tapes in order to record what villagers were telling me were inexplicably quotidian events.
Frances.

[Frances]

Source:- http://www.ancient-origins.net/myths...hamelin-001969

Link to the full article, By Dhwty.

The Disturbing True Story of the Pied Piper of Hamelin.

When, lo! as they reached the mountain-side,
A wondrous portal opened wide,
As if a cavern was suddenly hollowed;
And the Piper advanced and the children followed,
And when all were in to the very last,
The door in the mountain-side shut fast.
Robert Browning, The Pied Piper of Hamelin: A Child’s Story.

Many are familiar with the story of the Pied Piper of Hamelin. Few realise however, that the story is based on real events, which evolved over the years into a fairy tale made to scare children.

For those unfamiliar with the tale, it is set in 1284 in the town of Hamelin, Lower Saxony, Germany. This town was facing a rat infestation, and a piper, dressed in a coat of many coloured, bright cloth, appeared. This piper promised to get rid of the rats in return for a payment, to which the townspeople agreed too. Although the piper got rid of the rats by leading them away with his music, the people of Hamelin reneged on their promise. The furious piper left, vowing revenge. On the 26th of July of that same year, the piper returned and led the children away, never to be seen again, just as he did the rats. Nevertheless, one or three children were left behind, depending on which version is being told. One of these children was lame, and could not keep up, another was deaf and could not hear the music, while the third one was blind and could not see where he was going.

The earliest known record of this story is from the town of Hamelin itself depicted in a stained glass window created for the church of Hamelin, which dates to around 1300 AD. Although it was destroyed in 1660, several written accounts have survived. The oldest comes from the Lueneburg manuscript (c 1440 – 50), which stated: “In the year of 1284, on the day of Saints John and Paul on June 26, by a piper, clothed in many kinds of colours, 130 children born in Hamelin were seduced, and lost at the place of execution near the koppen.”



The oldest known picture of the Pied Piper copied from the glass window of the Market Church in Hameln/Hamelin Germany (c.1300-1633).
Frances.

[Frances]

Strange coincidence of reports.

The Pied Piper and his flute which could be heard, and the sound of a pututo ( Andean Flute ) in the case of the missing Evelyn Rosario.
Frances.

[Elen]

Thank you for sharing Frances. Great stories you tell.

Elen

[Frances]

Hello Elen, I am pleased you are enjoying the stories. Thanks for the feedback.
Frances.

[sandancer]

Thank you for sharing Frances. Great stories you tell.

Elen

Total agreement with Elen . You always give us some great , intriguing posts .

I'm sure I've read stories of The Fairy Folk using music to lead children away , I think they were from Ireland mainly .

I'll have to find time to look , got rather a lot going on at the moment . I see a late night coming on

[Frances]

Looking forward to any contributions Sandancer.
Frances.

[Frances]

The first of the five photographs, taken by Elsie Wright in 1917, shows Frances Griffiths with the alleged fairies.

Source:- https://en.m.wikipedia.org/wiki/Cottingley_Fairies & Frances.

The Cottinley Faries.

The Cottingley Fairies appear in a series of five photographs taken by Elsie Wright (1900–88) and Frances Griffiths (1907–86), two young cousins who lived in Cottingley, near Bradford in England. In 1917, when the first two photographs were taken, Elsie was 16 years old and Frances was 9. The pictures came to the attention of writer Sir Arthur Conan Doyle, who used them to illustrate an article on fairies he had been commissioned to write for the Christmas 1920 edition of The Strand Magazine. Doyle, as a spiritualist, was enthusiastic about the photographs, and interpreted them as clear and visible evidence of psychic phenomena. Public reaction was mixed; some accepted the images as genuine, but others believed they had been faked.

Interest in the Cottingley Fairies gradually declined after 1921. Both girls married and lived abroad for a time after they grew up, yet the photographs continued to hold the public imagination. In 1966 a reporter from the Daily Express newspaper traced Elsie, who had by then returned to the UK. Elsie left open the possibility that she believed she had photographed her thoughts, and the media once again became interested in the story.

In the early 1980s Elsie and Frances admitted that the photographs were faked, using cardboard cutouts of fairies copied from a popular children's book of the time, but Frances maintained that the fifth and final photograph was genuine. The photographs and two of the cameras used are on display in the National Media Museum in Bradford.



Frances and the Leaping Fairy.

Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.

The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "Fairy Life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the Society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the Society, Edward Gardner. One of the central beliefs of Theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:

"The fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway".



Fairy Offering Posy of Harebells to Elsie.

Gardner sent the prints along with the original glass-plate negatives to Harold Snelling, a photography expert. Snelling's opinion was that "the two negatives are entirely genuine, unfaked photographs ... [with] no trace whatsoever of studio work involving card or paper models". He did not go so far as to say that the photographs showed fairies, stating only that "these are straight forward photographs of whatever was in front of the camera at the time". Gardner had the prints "clarified" by Snelling, and new negatives produced, "more conducive to printing", for use in the illustrated lectures he gave around the UK.n Snelling supplied the photographic prints which were available for sale at Gardner's lectures.



Elsie with a winged gnome.

Author and prominent Spiritualist Sir Arthur Conan Doyle learned of the photographs from the editor of the Spiritualists' publication Light. Doyle had been commissioned by The Strand Magazine to write an article on fairies for their Christmas issue, and the fairy photographs "must have seemed like a godsend" according to broadcaster and historian Magnus Magnusson. Doyle contacted Gardner in June 1920 to determine the background to the photographs, and wrote to Elsie and her father to request permission from the latter to use the prints in his article. Arthur Wright was "obviously impressed" that Doyle was involved, and gave his permission for publication, but he refused payment on the grounds that, if genuine, the images should not be "soiled" by money.

Gardner and Doyle sought a second expert opinion from the photographic company Kodak. Several of the company's technicians examined the enhanced prints, and although they agreed with Snelling that the pictures "showed no signs of being faked", they concluded that "this could not be taken as conclusive evidence ... that they were authentic photographs of fairies". Kodak declined to issue a certificate of authenticity. Gardner believed that the Kodak technicians might not have examined the photographs entirely objectively, observing that one had commented "after all, as fairies couldn't be true, the photographs must have been faked somehow".b The prints were also examined by another photographic company, Ilford, who reported unequivocally that there was "some evidence of faking".bb Gardner and Doyle, perhaps rather optimistically, interpreted the results of the three expert evaluations as two in favour of the photographs' authenticity and one against.

Doyle also showed the photographs to the physicist and pioneering psychical researcher Sir Oliver Lodge, who believed the photographs to be fake. He suggested that a troupe of dancers had masqueraded as fairies, and expressed doubt as to their "distinctly 'Parisienne'" hairstyles.



Fairies and Their Sun-Bath, the fifth and last photograph of the Cottingley Fairies.

Doyle was preoccupied with organising an imminent lecture tour of Australia, and in July 1920, sent Gardner to meet the Wright family. Frances was by then living with her parents in Scarborough, but Elsie's father told Gardner that he had been so certain the photographs were fakes that while the girls were away he searched their bedroom and the area around the beck (stream), looking for scraps of pictures or cutouts, but found nothing "incriminating".

Gardner believed the Wright family to be honest and respectable. To place the matter of the photographs' authenticity beyond doubt, he returned to Cottingley at the end of July with two Kodak Cameo cameras and 24 secretly marked photographic plates. Frances was invited to stay with the Wright family during the school summer holiday so that she and Elsie could take more pictures of the fairies. Gardner described his briefing in his 1945 Fairies: A Book of Real Fairies:

I went off, to Cottingley again, taking the two cameras and plates from London, and met the family and explained to the two girls the simple working of the cameras, giving one each to keep. The cameras were loaded, and my final advice was that they need go up to the glen only on fine days as they had been accustomed to do before and tice the fairies, as they called their way of attracting them, and see what they could get. I suggested only the most obvious and easy precautions about lighting and distance, for I knew it was essential they should feel free and unhampered and have no burden of responsibility. If nothing came of it all, I told them, they were not to mind a bit.
Until 19 August the weather was unsuitable for photography. Because Frances and Elsie insisted that the fairies would not show themselves if others were watching, Elsie's mother was persuaded to visit her sister's for tea, leaving the girls alone. In her absence the girls took several photographs, two of which appeared to show fairies. In the first, Frances and the Leaping Fairy, Frances is shown in profile with a winged fairy close by her nose. The second, Fairy offering Posy of Harebells to Elsie, shows a fairy either hovering or tiptoeing on a branch, and offering Elsie a flower. Two days later the girls took the last picture, Fairies and Their Sun-Bath.

The plates were packed in cotton wool and returned to Gardner in London, who sent an "ecstatic" telegram to Doyle, by then in Melbourne. Doyle wrote back:

My heart was gladdened when out here in far Australia I had your note and the three wonderful pictures which are confirmatory of our published results. When our fairies are admitted other psychic phenomena will find a more ready acceptance ... We have had continued messages at seances for some time that a visible sign was coming through.

Doyle's article in the December 1920 issue of The Strand contained two higher-resolution prints of the 1917 photographs, and sold out within days of publication. To protect the girls' anonymity, Frances and Elsie were called Alice and Iris respectively, and the Wright family was referred to as the Carpenters. An enthusiastic and committed Spiritualist, Doyle hoped that if the photographs convinced the public of the existence of fairies then they might more readily accept other psychic phenomena. He ended his article with the words:

The recognition of their existence will jolt the material twentieth century mind out of its heavy ruts in the mud, and will make it admit that there is a glamour and mystery to life. Having discovered this, the world will not find it so difficult to accept that spiritual message supported by physical facts which has already been put before it.
Early press coverage was "mixed", generally a combination of "embarrassment and puzzlement". The historical novelist and poet Maurice Hewlett published a series of articles in the literary journal John O' London's Weekly, in which he concluded: "And knowing children, and knowing that Sir Arthur Conan Doyle has legs, I decide that the Miss Carpenters have pulled one of them."

The Sydney newspaper Truth on 5 January 1921 expressed a similar view; "For the true explanation of these fairy photographs what is wanted is not a knowledge of occult phenomena but a knowledge of children." Some public figures were more sympathetic. Margaret McMillan, the educational and social reformer, wrote: "How wonderful that to these dear children such a wonderful gift has been vouchsafed." The novelist Henry De Vere Stacpoole decided to take the fairy photographs and the girls at face value. In a letter to Gardner he wrote: "Look at Alice's [Frances'] face. Look at Iris's [Elsie's] face. There is an extraordinary thing called TRUTH which has 10 million faces and forms – it is God's currency and the cleverest coiner or forger can't imitate it."



Illustrations and copies of Princess Mary's Gift Book, published 1914.

In 1983, the cousins admitted in an article published in the magazine The Unexplained that the photographs had been faked, although both maintained that they really had seen fairies. Elsie had copied illustrations of dancing girls from a popular children's book of the time, Princess Mary's Gift Book, published in 1914, and drew wings on them. They said they had then cut out the cardboard figures and supported them with hatpins, disposing of their props in the beck once the photograph had been taken.
Frances.

[Frances]

https://archive.org/details/comingoffairies00doylrich

This is a link to Sir Arthur Conan Doyle's book.
In this on line book, there is the account of the Cottinley Fairies, with photographs.
Sir Arthur Conan Doyle was a believer and researcher in the paranormal.
Frances.

[jimmer]

this is more crypto than paranormal, but what the heck.

stay with it. there's a fascinating pay-off.

Source: https://www.youtube.com/watch?v=PbEm8f5cxug

[Elen]

this is more crypto than paranormal, but what the heck.

stay with it. there's a fascinating pay-off.

Source: https://www.youtube.com/watch?v=PbEm8f5cxug

Naaaaaa, I don't think so, but thank you anyway.
Elen