CHAPTER SIXTEEN
SHIFTING REALITIES

One person who most certainly seemed to be a part of the music and time experiments at Montauk was Jimmy Abbatiello. He came into my life through strange circumstances in his own life which I will explain a bit later. Jimmy is a fantastic drummer who played on many of the hit records I recorded out at Montauk. He even remembers some of them. When I first met Jimmy, I could see from his body language that he was involved with some project. He soon told me that he had a bizarre medical history.

It turned out he was born with a defect in his urethra and has an incision in the area which indicates an implant. Doctors typically say they have seen nothing like it. He also has a hole in the back of his head which no one can explain. One doctor indicates it means he had brain surgery, but Jimmy is not aware of having such. Implants have also been found in his body which cannot be explained by normal means.

After I learned of his various anomalies, I told Jimmy that the government would be extremely interested in him. Together, we figured out that he must be connected to Plum Island where all sorts of medical and biological experimentation is done off the north fork of Long Island. Jimmy's connection to this was realized in part when he went to a medical doctor and found out that he had feline leukemia. This is a direct link to Plum Island because it is the origination point of that particularly rare disease which has no record of occurring in ordinary humans.

With modem reconstructive surgery and medical technology, it is conceivable that Jimmy could fix the defect he was born with. Unfortunately, there have been tremendous barriers to him fixing this situation. He has already received tremendous amounts of reconstructive surgery which claimed to fix him. Instead, it was used for an agenda of implantation. Jimmy is already quite a gifted psychic. If he were to receive proper and successful surgery, it would correct his sexual energetics which would make him all the more powerful. Consequently, tremendous hurdles have been put in the way of him earning a living and being able to afford the proper procedures. He feels that he holds the key to some information buried within him which will go very bad for his controllers if it gets out. Jimmy has also been told that he holds the psychic key to myself but does not know what it is.

I first met Jimmy as a result of a problem he was having with a man I will call Joe who had been administering some sort of New Age therapy to him. Joe used color, sound and had crystals all over his ceiling all the trappings that can make for a good mind control clinic. Jimmy would lie on Joe's couch and receive etheric balancing treatments where it seemed as if time, space, and reality did not exist.

After closing his eyes, Joe would wake him up and tell him one or two hours went by. Eventually, a psychic friend of Jimmy's met Joe and perceived that Joe was not all he seemed to be. The crystals and New Age therapy were actually a facade for mind control. Joe was living a dual existence and was serving some sort of reptilian agenda. The psychic said Joe had the soul of a lizard from Draco. Thereafter, Jimmy referred to him as "the Lizard."

After departing from the Lizard's therapy and company, Jimmy began to feel drained of all his energy. He said it was as if someone was beaming energy on him so as to kill him. As Jimmy never recovered from this "therapy," he figured his demise was at the hands of the Lizard who had a very powerful mind and was adept at radionics. The Lizard had some sort of radionics machine that was fixed up with antennas, synthetic crystals and gadgets which were supposed to make it super powerful. The Lizard's influence was suspicious because when Jimmy stopped the therapy and parted company with him, his mother became very sick with cancer. He also discovered a tumor which suddenly projected out of the side of his body from nowhere. He figured it must be the Lizard.

When more of his friends became sick, he had other radionic people confirm that he and his associates were under psychic attack. Jimmy even went so far as to contact Charlie Whitehouse, a famous expert in psychotronics who did work for the U.S. Navy and built radionic machines for them. Charlie had Jimmy take a picture of the Lizard's house. Visiting the neighborhood as secretly as possible, Jimmy discovered that it was extremely difficult to photograph the house. Whenever he took a picture, shadows would come up. He said it was as if a force field was around the house. After viewing his exposure, Charlie Whitehouse indicated that in his entire career as a radionic practitioner, he had never seen so many evil entities or energies as were emanating from the Lizard's house. Something very weird was going on. Whitehouse con-firmed it, another radionics practitioner confirmed it, and Jimmy's own testing also confirmed it. Everybody close to him was under attack.

When Jimmy told his problems to a friend, she indicated that he should contact me because I knew about the Montauk Project. When Jimmy heard the words "Montauk Project," he said he knew something was right. A bell rang even though he had never heard the term before. After hearing his story, I told him the "lizard energy" was used to abduct a soul for use in the projects. It is a common theme with Montauk people.

Jimmy might just be one of the first human experiments out of the modem Montauk Project. He believes he was a guinea pig who was part of a massive mind control experiment on the population. Someone was certainly interested in keeping him under control from a very early age. As a teenager, he attended Bethpage High School which is located right across from Grumman Aerospace, the premier defense contractor on Long Island at that time. One day, he went to his last class of the day. He was always the first one in that class as the room was nearby his previous class. As he sat in his chair, he suddenly saw hundreds of kids running down the hall to the classroom where he sat, almost alone.

Someone said, "Where's Abbatiello? Where is he? Point the kid out."

He had no idea what was going on. He eventually realized that someone said he had been masturbating in the bathroom. It was not true, but that made no difference. A mob consciousness had taken over. Witnesses swore on a stack of Bibles that he had done that and a lot more. He knew they were making it up. Soon, the entire school population, including the teachers, believed it. It was hard to convince anybody that he had not done this. Even one of the teachers laughed at him in a jeering fashion. He lost all of his friends and was isolated for his last three years of high school. It was a living hell as he had to fight for his life every day. He was hated and humiliated.

I have personally verified Jimmy's experience as I know other graduates from Bethpage who remember the incident. This is irregular behavior. Most school populations do not care that much about masturbation. Boys do it quite regularly at that age and are often caught in the school bathrooms. What happened at Bethpage is an atypical reaction.

Jimmy had the following to say.

"I finally managed to get out of that damn school alive. I pretty much concluded they had to do something drastic to me because at that point I was becoming psychically aware. I always believed in that stuff. At that point, they needed to beat me down, and they beat me down so bad that it took me a good ten to fifteen years to get out of it psychologically. I am convinced that they needed something to keep me down sexually. Everything seems to be aimed at sexuality. They control you through your sexuality, your kundalini energy. At that point I was starting to develop psychic awareness of things. They thought they had to do something as I could be dangerous if I got out on my own. They had to create something so psychologically humiliating that it would put me in a state of shock and permanently traumatize me. It worked beautifully."

All things considered, there have been too many strange interventions in Jimmy's life for him to be a simple victim of circumstance. I also personally recognized him from Montauk. Another peculiar trait about Jimmy is that if I play some of the "Montauk music" that he helped record, his body cringes and goes crazy to the point where he cannot even hear the music. As these experiences occur, he begins to get back bits and pieces of his memories of doing various recordings at the Montauk sound studio.

This is a very similar reaction to what Morgan, another Montauk boy, had when he listened to his own singing. Morgan also had memories of recording at Montauk, but he was a singer who was literally pulled out of the future to do some of his recordings. Sometimes, Morgan's recollections were actually from the future because he had not performed certain recordings in his current life. When Morgan and Jimmy were introduced to each other, they immediately recognized each other. A couple of days after meeting Jimmy, Morgan got more dumps of memories. The two of them together helped Morgan bridge a time gap in his own consciousness.

Both of these guys were at different times part of the Montauk house band. We had a studio in the second level of the underground. From what I have been told, they moved it to the fourth level. Myself and several others actually remember the bands. Actually, there were two house bands, and Jimmy played for both of them. I solidly remember him drumming in the band, and he also remembers drumming in these groups as well. As I said earlier, Jimmy is a good quality drummer and was even a bit of a local legend on the East Hampton club scene and is still remembered to this day. For years, Jimmy played every weekend for a house band in a club called the Krugerrand.

Stars would come in routinely. He even played for Vice-president Quayle who took a picture of himself with Jimmy and autographed it. Some said he was the best drummer they had ever seen in the local clubs. He was on call and played with at least fourteen different bands. Although the fellow who ran Gurney's (at Montauk) remembered Jimmy playing there at least four times, Jimmy swears he played there only once. He remembers that in particular because he had to drive all the way out to the end of the island for only $75.00. The point here is that Jimmy played at Montauk without ever remembering what he did.

In addition to my own memories of Jimmy, I also recognized his drum style. Each drummer has a style just like each record producer has his own style. As a sound engineer, I had my own way of making a song reach out and grab you. No one else quite knew how to make it reach out in the way I did. Jimmy's style was also unique. It was an extremely accurate staccato style drumming. I could definitely tell the difference between him and anyone else. There are probably only about twenty real good drummers in the New York area, and Jimmy is certainly one of them.

Unfortunately, there is not a tremendous amount of work for them. Nevertheless, Jimmy worked consistently until he met me. After that, he says that someone put the squeeze on him. Since discovering his role in black projects such as the Montauk Project, he has been consistently harassed and seems to find road blocks in every direction. Every time he had an opportunity for an audition, people were gung-ho to hire him. Then, all of a sudden, these people would mysteriously disappear. He said it was as if someone snapped their fingers and put him on a new planet. This happened with a man I knew named Art who was a vice-president and producer from Atlantic. He was going to produce Jimmy and then suddenly disappeared from his life.

Jimmy himself says,

"What transpired here is that I was in this music project. They did not want anyone else to have me because then they couldn't be using me constantly. So, every time I got a break to do something that would involve me traveling on the road or getting recognition, they would get rid of the people I was involved with. It would happen every time. They knew I was as good as anybody out there, and they wanted to hire me, but it couldn't be done because of the Montauk people out there with their sticky little business."

This sort of operation also explains why Mark and Chuck Hamill were never on tour. They were being used. I believe Mark was also in the second house band out at Montauk.

Jimmy explained to me some very strange events in his life. One time, a show group wanted to take him to Las Vegas with them. They were impressed with his playing and hired him on the spot with a good salary. After being told to come back in a few days, he did so but discovered that the place he returned to was no longer there! After banging his head against the wall, he called up his agent who had sent him there. The agent said he did not know what Jimmy was talking about. He finally understood why his pursuers needed him.

Jimmy explained the following.

"These people know that they are in trouble and they're going to get taken out. They've seen the future. They've sent me in the future to see where they can escape to and map out where to go. For some reason, I got an answer the other day. They need me to help them get out of this reality when the time comes. This is why they're not killing me or attempting to do any more than they are. They need me so badly for what they want to do that they can't touch me."

Jimmy is also very concerned that people want to study him as a lab rat. He is becoming more and more conscious of what has gone on with him which includes feelings of being used and manipulated. His controllers are losing a battle to control him. He is also becoming more and more psychic. This relates directly to his ability as a drummer because he can literally have some kind of effect on the consciousness of humanity. Drummers were not simply picked at random. They were picked for their ability. Jimmy was used because he was able to integrate his psi ability with his inherent talent and put out a psychic message that could be used for mind control purposes. His drumming style is a way of augmenting the mind control rhythm of the music.

I remember Jimmy going into a deep hypnotic trance as he played the drums. He was extremely precise and knew how to maintain a hypnotic beat with his drumming. That is why he was the drummer for two of the house bands. He was very good at it.

Consequently, Jimmy was used for many hit records because his drumming put the listener into a hypnotic state. In musical programming, the rhythmist, which is usually referred to as the drummer, is the one that is most important because he is the one that is ready to put the listener into the hypnotic state ready to receive the program. In one respect, this is like tribal Indian or African drumming, however, many of these so- called "tribal people" do not really know how to do it properly. They just fake it. When people hear Jimmy play, they routinely say that they have never heard a sound like that.

It is for hypnotic drumming that he was chosen, and we have identified close to a hundred hits that he has played on. Many of these hit records came out of Buddah Records and I remember them. Jimmy has told me that if you ask any of the stars who recorded the songs if they remembered Jimmy, they would flatly deny it. No one wants anybody to know what transpired in these recordings. Many of them were one hit wonders. The musicians never went on the road or appeared on television, but there are pictures on album covers with fictitious names. Jimmy said it would be a catastrophe if certain musicians admitted to his involvement. The connections roll back to the Mafia which includes their funding of such projects as well as other aspects of the music industry which they have their foot in. If big stars talk about their involvement in that, there will be big trouble for them, not only public relations wise, but their safety will be jeopardized.

As I write this, Jimmy is 43 years old but looks about 35. Physically, he should be past his prime as a drummer because youth enables one to maneuver a lot more quickly. His old hands are coming back which is quite strange. I believe he might be moving in time which could explain the renewed quickness and dexterity in his hands.

While some of this might sound delusional, it is not as simple as that. Actual people sent him to the auditions and then claimed that they did not know what he was talking about after the above occurrences. Even more bizarre was when he woke up to find that all of his body hair had been shaved off from the waste down. This was a change in physical reality that could not be explained. The most obvious explanation is that he was taken from this world to another reality. This is called reality manipulation or reality swapping. This might also be how some of the top bands were abducted and taken to Montauk. Whether UFOs played a role in this, I cannot say, but it is interesting to note that John Lennon had UFO sightings.
 

When one is transferred from one reality to another, it occurs during the same time. Time is continuous, but the reality is different. This explains how I could work at Montauk in a different reality than this one and still have a job in this reality. The key to the different reality is through time. In at least one respect, time does not really exist. Time is only expressed as the passage of one reality to another reality to another reality. If you think of time as a person walking through a forest, he is going through a series of instantaneous momentary realities not unlike what you see when a person moves under a strobe light. Time does not exist as such.

When you manipulate time, you are actually manipulating realities. Time is only a machination based upon what is happening to our reality at any given time. This means that when you talk about time travel, you are really talking of reality travel which is the same as reality shifting or reality swapping. I realized this when I went into the future as described later on in this book. Time is simply going from here to there in reality shifts. You can look at it as if our reality is a flat plane which for purposes of an example can be likened to a round pancake.

As this pancake or circular plane moves from one consecutive incident to another, it can be visualized to create a "pipe" or "time pipe" of continuous incidents. As time is moving, that plane is moving through the time pipe and time is thereby defined by where the plane of reality is in the pipe as it moves from the past to the present to the future. In order to time travel, you have to jump from one plane to another plane within the time pipe. In the future, I actually build a device that is called a Jump Time Generator. It generates time jumps. One can conceivably move from any one reality to another.
 

Although I have used the example of a pancake or plane and a pipe for purposes of making a more understandable presentation, it is really not that simple. The truth is that each instantaneous moment can be more accurately likened to a sphere. It is more like moving from one sphere to the next, but those spheres are in a bigger sphere which represents the time sea. As the sphere-like reality you are in moves through the bigger sphere, it can move in any direction you want. All time is one big sphere.

And your particular time frame is just one sphere that is just drifting in a big sphere. Wherever it drifts, that is your ball of time.

Sometimes, a series of consecutive realities can be fed back on themselves in what is called a time loop where there is a continual repetition of events. There is such a loop between 1983 and 2003 where the events cannot vary. Duncan called this a dead zone. Technically, it is referred to as a millennium transition. 1983 represented the end of the millennium and 2003 is the beginning of the next one. The time in between is a no-man's land. We exist because the thought is still here, but we are not necessarily as physical as we were prior to 1983 or subsequent to 2003.

Of course, there were other bridges in time where one reality was connected to another. The next chapter includes a remarkable occurrence where I experienced such.

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CHAPTER SEVENTEEN
SWAN LAKE

In an earlier chapter, I mentioned "Swan Lake," a very famous piece of music composed by Peter Ilyich Tchaikovsky. One of my first encounters with this piece of music came via my mother, Ginny Nichols. Her uncle worked in the theater in Manhattan and happened to be a close personal friend of Bela Lugosi, the actor who was famous for his portrayal of Dracula. Sometimes the two men would come to visit my mother, and she would call Lugosi "Uncle Bela." He once told her that when the movie Dracula was played, he insisted upon two selections from "Swan Lake" being played before and after it. Lugosi said that these selections would balance a person's energies after viewing the horror story Dracula. While this is an interesting anecdote from my mother's past, I have also seen evidence that those two pieces from "Swan Lake" can balance one's energies very well.

Originally, "Swan Lake" was a ballet and it existed well before Tchaikovsky was around. If you look at the choreography for the original ballet, you will see that the general theme of balanced energies is expressed. In "The Finale", there are two swans, male and female, on Swan Lake. As a storm comes across the lake, a loud crash of thundering drums is heard as a lightening bolt hits the lake. Although the two swans are killed in tandem by the lightening strike, a vortex forms, and you see the souls go through the vortex and up to heaven. When Tchaikovsky originally saw this ballet performed, he was deeply moved. Consequently, he wrote the music, but as he did, he envisioned a vortex and it became encoded into his music. The theme for "The Scene" and "The Finale" are vortex music. I only came to realize this after years of research and discovery as regards Montauk and myself.

I have already discussed the fact that music is a thought form. Of course, many times authors will encode thought forms into the music without even being fully aware of it. As I did my psychic research, I began to notice a phenomena when certain people used the mind amp while "Swan Lake" was played. Sometimes the recording would seem to skip. There is no common explanation for this because it was a CD, not a turntable. Also, it only happened with certain people and repetitively. In other words, if you had them come in on Tuesday and it skipped, they could come in on Thursday and get the same result. Most people do not make it skip.

After a certain amount of time, I determined that the recording of "Swan Lake" that I was using was actually used to create the matrix for the reality we now exist in. If a person has experienced any time travel within that matrix, they will be able to affect the playing of the CD that had that signal on it. In short, this is a vehicle I use to see if one may have traveled in time.

According to this theory of mine, our entire reality was created via the Montauk Project. While I have recognized this as self-serving, I have repeatedly had to face the prospect that it is true. At best, I am completely correct. At worst, I am resonating with another truth which explains this reality more concisely. Better theories and stories are welcome, but I cannot deny what I have experienced and concluded for the time being.

At Montauk, we took the 1963 recording of "Swan Lake" by Arthur Fiedler and digitalized the sections known as "The Scene" and "The Finale." This was then used as the white noise carrier for the function that was generated through Duncan to create the reality we are now in. "Swan Lake" is the background matrix.
 

In The Montauk Project: Experiments in Time, I discussed that there are major biorhythms that run through the Earth's grid every twenty years. 1943 was chosen for the Philadelphia Experiment and 1983 was chosen for the Montauk Project. 1963 was chosen for an ITT project at Brentwood, Long Island. But, there is another happening in my own life that occurred back in 1963 which is right in rhythm with all of the strange synchronicities of Montauk.

Back in 1963, I was seventeen. This was a strange year because it was the same time when I had experiences with the Pleiadians (as told in my book Encounter in the Pleiades: An Inside Look at UFOs). After these encounters, my cerebral palsy became an insignificant factor in my life. Before that, I had been extremely awkward as a result of this disease. Additionally in 1963, I acquired a vast knowledge of electronics which I was able to literally grasp overnight. None of this made any sense from a "normal" perspective. In the summer of that year, I was involved in a high school summer session and was also part of the high school music group.

The head teacher, Mr. Robert Milligan, had arranged for the high school band to go up to Boston Symphony Hall and be there for a recording session of Arthur Fiedler and the Boston Pops. I was not part of the band, but I was experienced and interested in recording so I talked to Mr. Milligan and got special permission to go on the trip. He knew I was capable in the area of recording.

When we arrived at Boston Symphony Hall, all of us kids got to sit in on a discussion between Fiedler, some of the orchestra members, and the RCA engineers who were doing the recording. Fiedler was grousing and complaining that when he took the recording tapes home and played them on his big sound system at home, he heard these awful rumbles. The engineers then played "Swan Lake" on the big system in Symphony Hall, and we could hear the rumbles, too. They were not all that bad, but Fiedler apparently had big speakers at home with big amplifiers, and the rumbling became accentuated. He liked a lot of bass. The engineers admitted that they literally did not know what to do about the rumbles.

At that point, I piped up and said, "Dr. Fiedler, I know what the rumble is, and we can fix it." One of the RCA people said "You're just a kid. Shut up". Dr. Fiedler was not so arrogant. He said, "Let the kid talk."

Immediately, I told him that what he was hearing with the rumbles were the vehicles and trucks going by Symphony Hall. I then pointed out that the microphones were on standard floor stands with no acoustical isolation. I told them that they had to go to the local department store and buy three stands that hold bird cages, each with a big loop. The microphones would be hung from the loops. Stands and stretch chords were soon procured, and I proceeded to hang the mikes from the stretch chords that were attached to the loops. They recorded a practice session, and sure enough, the rumbles were gone.

At that point, Fiedler took an almost instant love to me. He had me up at the conductor's podium as he conducted the music. I listened to "Swan Lake."
During a break, I said,

"That's not the way it's supposed to be played, Dr. Fiedler".

He looked back a little surprised and said, "You think you could do it?"
'I don't know," I said.

He then told me to give it a try. I took the baton and began conducting with one hand. I went into a trancelike state and conducted the orchestra as they played the music from "Swan Lake." Amazingly, it sounded great.

He looked at me and said,

"Where did you learn to conduct like that?"

"I don't know," I said. "It just came out. It just came out of me."

Apparently, Dr. Fiedler was quite a student of Tchaikovsky. He told me that I conducted very much like Tchaikovsky when his original productions were per-formed back at the turn of the century. It was the one- handed method. We spent the whole day on a shortened part of "Swan Lake." I conducted some of it, and he conducted some of it. What we actually conducted were "The Scene" and "The Finale," and these two pieces, with my conducting, were on the final RCA recording.

In the early 1980's, those running the Montauk Project decided to use "Swan Lake" as a musical frequency matrix to carry the time waves from the Montauk Project, and they selected the RCA recordings that I was involved in. This probably had something to do with me being used as a witness because I was there for the original recording. I surmise that they chose this particular recording with me present as I was also designated to operate a key part of the Montauk transmitter.

This music acted as a carrier for the thought form that was generated or actually created this reality which, let us say, runs from 3 million B.C. to 6,037 A.D. Each time you take "the end" of the future and feed it back to the beginning, it creates a path between the beginning and the end of time of millennia. Each time you create this feedback, you are creating what is commonly known as a superstring. There are different definitions for this term, but some of the renditions are hampered by the scientists' understanding of what is really going on. Some definitions are fine, but they are often designed to support different theories. They can also be too technical for the average reader. My definition of superstring is "a string of energy which goes through space and time." It defines our time.

Einstein theorized that if you move forward in a straight line, you will end up where you started from. This is a superstring. In reality, the first run through that creates a superstring would not have included an Einstein per se nor any of us as human beings. First, the original string would be something like a circular line (see "A" in the diagram on the opposite page). This is actually a time flow and that is the superstring.

What surrounds the inner circle and outer circle is what I call the "time sea" which represents time at rest. It is thought to be like a giant torus or doughnut, so I have represented it with two concentric circles. The time sea represents all quantum possibilities. That means all possible space and times are here. It includes all abstract information and ideas, including the universe of thought.

The astral plane would only be a small part of the time sea. There are no limits as to what it could include.

The original string created the first flow of time. When it makes its first connection, it hits the other side of the doughnut and could be considered to bounce back and begin spiraling around the original string so as to form a twister or spinor. This procedure adds texture and context until you have some form of matrix that might look like a grid matrix on the inside. From the outside, it would like a tube or pipe. We call this a "time manifold or just a "manifold." It forms around the time flow and enables what we know as "human experience" to take place. The manifold contains a great deal of continuity and is a continuum all to itself.

It really all begins with a point of stress from the time sea. It is like reality forming as if to answer some idea of creation. There is no limit as to the number of manifolds that can be created or expressed from the time sea. All quantum possibilities could be expressed. This is what was meant at Montauk when we used the word "superstring." As I said earlier, there are many other descriptions by others which have validity as well. Each time you feed back, you create another reality and that fits through the superstrings.

So, when a thought form was passed to Duncan Cameron in the chair, it was being carried by the Tchaikovsky Swan Lake matrix which went from about 3 million B.C. to 6,037 A.D. and created a superstring that generated another reality based upon the thought form that went into the original superstring. At this point, we do not know how many superstrings we have gone through en route from the Creator's original reality to our present day reality. But, "Swan Lake" and the thought form generated were a big part of it.

The "Swan Lake" recording that I participated in was released by RCA in 1963 and is roughly a half hour recording in its present day CD format. This is probably the best recording of Tchaikovsky's work that I have ever heard. You have to order it. It is entitled "Tchaikovsky's Swan Lake" by Arthur Fiedler and the Boston Pops, and it is on what BMG music calls their Victrola Series which was originally released as old recordings put on CDs. They were sold for $6 or $8 a piece ten years ago. I know they are still around because I know people who have gotten them recently.
 

Of course, I recognize that this entire matter is very strange. Here I was, a seventeen-year-old kid with no real musical experience or talent conducting an orchestra. My experience was basically technical. I had not gotten into rock music production at that point. What were the chances of me picking up a baton and conducting in a manner that was not only acceptable but was exceptional? Fiedler said that I used the traditional Russian conducting method that Tchaikovsky probably used. He was known to conduct single-handed.

Besides the above, I have had psychic readings and done many regressions which tell me that it looks to all the world like I personally am the reincarnation of Peter Ilyich Tchaikovsky. However, it is not that simple. I also have memories of being Preston B. Wilson, one of the Wilson Brothers who were involved with time travel and H.G. Wells. As the Wilsons and Tchaikovsky lived at the same time period, it should be recognized that I have encodings of their consciousness. Let us just say that Tchaikovsky was part of the Pleiadian consciousness that had come to Earth in the 1800's.

To the best of my memory, I believe that the recording of "Swan Lake" occurred on August 12th, 1963. This placed me right in the middle and at either ends of the superstring that went from August 12th, 1943 (the date of the Philadelphia Experiment) to August 12th, 1983 (the date of the climax of the Montauk Project). If the date is not exactly correct, it was very close to or exactly in coincidence with the biorhythm itself.

The story of "Swan Lake" is interesting, but it is not the only piece of music that is deeply involved with the mysteries of time.

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CHAPTER EIGHTEEN
VICTORY AT SEA

As I grew up in East Islip on Long Island, my family was always very interested in and watched a television program which aired on NBC every Saturday and was called "Victory at Sea". It consisted of film footage of World War II Navy craft set to the music of composer Richard Rogers as performed by the NBC orchestra. As a young boy, I loved this music and had a phonograph record of it that I played to death. After a while, my folks had to buy me another record because I had worn the first one out. This one wore out, too, and I did not think my parents were quite ready to buy me a third record. Over time, I lost interest and no longer thought about "Victory at Sea."

A few years ago, I was watching television and saw a commercial indicating that the music for "Victory at Sea" had been re-released. I remembered loving that music as a kid and soon purchased it. As I listened to the music, I noticed something strange. I was able to return mentally to the time when I was listening to this as a kid with my phonograph and my little five watt amplifier and eight inch speaker. It was great nostalgia. I listened to it as I laid in bed and fell to sleep because that was exactly what I had done as I kid. For some reason, I dreamt that I was on the U.S.S. Eldridge, the ship that was the focal point of the Philadelphia Experiment. I dreamt that I was one of the sailors that were imbedded in the bulkhead when the ship returned to this dimension. Prior to this dream, I had experienced similar memories with various regressions. It was time to investigate this a bit further.

I started to play "Victory at Sea" for some of the Montauk Boys, just to see what they picked up when they were in a trance state. This fellow from the Midwest, who I will refer to as Bill, listened to the CD on my Biofiss system (as explained in Chapter 15) and went into a trance. "Victory at Sea" made quite an impression on him. When he came out of the trance, he reported that he and a bunch of other people were on a ship in the Atlantic Ocean and were diving for a crystalline object which he drew for me on a piece of paper. It was basically a ball with spikes sticking out of it and is called a "parallel-piped-vent crystal." He said they used this ancient crystal as a time travel device.

They would park a ship over this crystal in the 1930's and then activate a group of short wave transmitters. In those days, what we now call high frequency was known as short wave. Then, in 1980, they would park the same ship over the same crystal with the same or a similar group of short wave transmitters. When the transmitters were tuned up to the same modulation and same frequency, the switches were flipped. This activated what is called the Einstein-Rosen Bridge. Basically, they were able to time travel by standing a boat over a crystal and activating it. This is how we actually shoved armies and technology from what we could call the present time back to the past.

This story from Bill explained a few things to me. It demonstrates how a receiver I built at work was trans-ported back to the 1930's and was used as the design for the Super Pro (a receiver). I subsequently found this same receiver at a ham fest. It was being sold as surplus merchandise, but it contained all the notes I had left inside the IF (Intermediate Frequency) transformers so that I could identify it later. There are other indications as well that other equipment has been made in the future and sent back in time. I bought a little gyroscope from the John Roberts Estate. It was definitely a 1960's design, but the date inscribed on it was 19 19. It was actually engraved in the body of the gyroscope.

All of the above suggests that we have had time travel back to the early 1900's. We believe crystals such as the one described previously were old crystals from the Atlantean civilization. Left beneath the oceans of the planet, the military discovered one close to South America located about 50 miles off of the northeastern coast of South America. It was parked under what they call the "Southern Cross." One of the pieces of "Victory at Sea" is entitled "Beneath the Southern Cross" which carried an encoded message that Bill, the Montauk Boy, picked up on. He was involved in some of the time travel.

Consequently, I did a similar test for several other Montauk Boys. I told each of them that I had an interesting recording. They were instructed to go into a trance and just listen to it. After listening to "Victory at Sea," without any prompting, these guys picked up recollections of doing time travel with the same type of crystal. They also recalled being in some sort of embassy setting where they were attending an embassy ball. They described a room upstairs as being filled with modem computers. This occurred just prior to World War II. As quite a few Montauk Boys recalled very similar memories, I came to the conclusion that "Victory at Sea" contains encoded information of what we now call "The Southern Cross Project," an early time travel project.

I began to research "Victory at Sea" and sought out any traces of information I could find. It was very difficult because it was recorded back in the 1950's and there were not too many people around from those days. Finally, I happened to notice that the producer listed on the CD was Richard Mohr. That name was a little familiar because I had heard there was a Richard Mohr that used to work for RCA records on Long Island. I soon visited a retired RCA engineer who I had bought a lot of old recording equipment from in the past. Asking him if he knew of Richard Mohr, he told me that he was one of their producers from years ago. He was still alive and did not live too far away.

My next act was to visit Richard Mohr. He had a big house and a servant lady answered the door. I told her that I was interested in the history Mr. Mohr was involved with in the recording business and that I would like to see him. She was very polite and said that she would ask him. When she returned, she said that Mr. Mohr would be happy to meet me. She got me a soda, and I sat in his study for about fifteen minutes. Then, an old man came down the stairway and entered the room. He took one look at me and practically passed out.

He barely made it to his chair.

"Mr. Mohr," I said. "What's wrong?"
"It's you!" he said.
"What's the matter, have I done something to you?"
"No, you haven't done anything to me," he replied.

Mr. Mohr recovered himself as best as he could and proceeded to tell me a very strange story. He said that when he produced the "Victory at Sea" recording, Richard Rogers came into the studio with a man who was the spitting image of me today. It seemed that this man acted as if he had written the music. Mr. Mohr said that the man interrupted the orchestra and began conducting.

He was very emphatic about the way things should sound and was not always very nice about what he said. Richard Mohr swears it was me, complete with the gray hair, big belly and all that. Richard Rogers was apparently supplying his own famous name for someone who was an unknown in the 1950's. I realized that I must have written this music in the future and brought it back to the past, like a signpost, to help people recall the Southern Cross Project. Oddly, I know that music today like the back of my hand.

When Richard Mohr died, he willed me all sorts of paperwork about "Victory at Sea," but it is rather mundane and does not seem to indicate too much.

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CHAPTER NINETEEN
SCIENCE FICTION

Some people have been quick to call my writing "science fiction." This does not make me unhappy because I am aware that the material is very controversial. Long ago, I learned that hard core science fiction fans and the establishment of that genre do not like such stories to be real. They want fantasy and fiction. If it is real, they reject it either because they are frightened or are serving some other agenda. Therefore, I have always told people that they can consider my writing to be science fiction if it makes them more comfortable.

There is no question that my work has been ripped off by the television industry, but it is always done rather cleverly so that I cannot easily wage a lawsuit. For example, there was once a show about mind control and time travel being done near a lighthouse. The word "Montauk" is never used though. There have been many other instances, but one is particularly significant in light of this current book.

As I write this in 1999, the Sci Fi Channel has been producing a new series of one hour long shows. One is called Farscape and another is called Sliders, an old show that has been picked up and produced again. There is a third one entitled First Wave. An additional one, Poltergeist: The Legacy is also being produced. As of October 1999, these four shows were shown every Friday night and rerun the next day. During the first weekend of October 1999, a very interesting and revealing episode was on First Wave.

This show starts out with a typical introduction that the "First Wave" is based upon the first, second and third waves of an alien invasion prophesied by one of the lost writings of Nostradamus. The general story line is about this guy who Nostradamus lists as a twice blessed man who is supposed to be the savior of mankind. He chases aliens around the country who call themselves some name like "the Consortium." The "blessed man" is usually chasing after something the aliens are doing. Some of the aliens are concerned with a biological agenda, others with a psychological factor, and others have a different slant altogether.
 

The first weekend in October 1999, First Wave featured an episode about the music business. There was a fictitious band named "Big Sur" or something like that and the producer of the band was an old time mix maven who just happened to be named "Preston". This particular Preston, along with one of the band members, was a member of the group of aliens.

According to the story line, this Preston had built a secret device into the mix board that he used to record the band. The device was designed to trigger a hormone that comes up in puberty and will cause teenagers to go nuts and commit all sorts of violent acts. This adds up to a conspiracy that the aliens are going to put signals into our music that will manipulate civilization. I found this show very interesting because this parallels to quite an extent what I did in the music business. I was a master of mix downs and knew exactly what the public wanted to hear in the old days.

As the episode of First Wave continued, some of the band members wanted to fire Preston as the producer, but others resisted. They recognized that this Preston knew what the listening audience wanted to hear and knew how to distribute the music. The band members knew they needed him so he was kept on. At the same time, Preston was putting signals into their performances and recordings. The people who heard it went nuts.

The Preston in this show also spoke of wanting to put together a private label and set up a distribution system. Of course, you have already read about my involvement in Buddah Records. Although my friends and I never set up our own distribution, we tried very hard and eventually hired Neil Bogart.

This show obviously reflects my own work in the music business. The character had a different last name, but it is interesting that they used my first name in a scenario that is slightly distorted as to what I did in the past. All of this is very curious as the episode was written, produced, and broadcast well before the manuscript for this book was even completed. Did someone put this concept out so that when this book hits the market, the public would already have in the back of their minds that I was a bad man who represents the aliens?

Perhaps it is a result of one of the production people I knew in the past who is trying to cash in on the awareness they feel the public might have of it. I really do not know, but someone is sending a message. They are saying that Preston Nichols is very famous indeed inside of the music business. Hollywood is notorious for the little innuendos of truth they insert into their mediums. In this case, they have lived up to their reputation with flying colors.

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CHAPTER TWENTY
PYRAMID ROCK & THE LASER DISC

Sometime during the middle to late 1930's, ultra-sonic scanning came into being. This gave the military a new toy which they used immediately. One of their first projects was to ultrasonically scan the entire country in order to get a beat on what might be underneath our environment. At Montauk, they picked up a disturbance. When they looked at the chart of the ultrasonic scanning, it looked like there was a huge rock pyramid underneath the village of Montauk. It was maybe a mile or two square at the base and two or three miles high. Concluding this was a pyramid, the military decided to pursue it and began a new project that would change Montauk Point forever.

In the early 1940's, I believe in 1941, Montauk Point was scraped flat. This project was apparently what obliterated the old Indian pyramids that were photographed and shown in Pyramids of Montauk. Although we are not absolutely certain, we believe these pyramids were at Montauk Point, not far from Camp Hero. The military built the Montauk underground at this point, mainly as a jumping off point in order to tunnel off to the rock pyramid underneath the village of Montauk. Four levels were built. Two were below ground and the other two above ground.

The two above ground levels were covered with dirt and were made to look like rolling hills. Eventually, the entire topography of Montauk Point was changed. If you look at old maps of the area, you will find this definitely to be the case. There are even old pictures that show Montauk Point as a flat grazing land for cattle. Today, shrubbery abounds. They were "terra forming" well before this concept ever was commonly bandied about by science fiction fans. When they finished, there were four levels underneath the ground. They also rebuilt the gun emplacement bunkers during this period.

In the early 1950's, public attention was given to erosion of the shore near the Montauk lighthouse. In order to prevent the lighthouse from falling into the ocean, all sorts of rocks and sand were brought in and piled up to protect Montauk Point against the elements. This was very convenient because at the same time, they were building levels five and six of the underground. The tailings and debris from this project were used to shore up the land around the lighthouse.

It was not until the late 1960's that they finally started to dig tunnels down to the pyramid.

Somewhere in the mid 1970's, they actually got to the pyramid and discovered some sort of doorway. Breaking their way in, they found different chambers. Inside one of these chambers was a sampling of ancient technology, presumably from Atlantis. There were huge crystal discs that measured about three feet in diameter. Players were also found that revealed the discs to be recordings.

This technology was reverse engineered and eventually found its way into the world as the CD player which is in common use today.

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CHAPTER TWENTY-ONE
ESPIONAGE & THEFT

I realize that some of you in the reading audience will be very curious about the mind amplifier or Biofiss sound system I described earlier in this book. Some of you will even be interested in purchasing them as well. In the initial printings of The Montauk Project, there used to be a blurb that anyone interested in psychotronic equipment could contact me at Space-Time Labs. This open line to the public was derailed due to some very unfortunate circum- stances in 1995 that were reported on in The Montauk Pulse, a quarterly newsletter that is written by Peter Moon and has been regularly published since 1993.

On Friday, February 24,1995 the facilities of Space-Time Labs were raided by six officials who claimed to be from the Food and Drug Administration. Two carried small handguns. They first found me and immediately told me that they wanted me to discontinue the manufacture and sales of biosondes. The biosonde is a radionics machine I devised that consists of a spiral copper coil within a wooden box. It can be plugged in to emit a certain frequency which is nil as far as normal electronics is concerned.

The theory behind the biosonde is that if you put a witness (meaning something that identifies a specific person, like a lock of hair or a photograph) in the coil along with something else, the second object will have an effect on the person connected to the witness. For example, if you wanted two people to fall in love, you would put both of their photos in the coil along with a heart or other love talisman. If you wanted someone to heal, you would put their hair or photo along with the proper herb or other healing remedy. You could also write a piece of paper with the words "good health" on it.
 

I never considered or purported the biosonde to be a healing device because it is too dependent on intangible forces to be of use in practicing medicine. In fact, I required customers who bought it to sign forms indicating that they realized it was not a healing device. I did note that people sometimes reported it effective for healing and also for ensuring good agricultural products. Even so, the FDA representatives claimed it was an unlicensed medical instrument. They entered my premises without a legal search warrant and claimed there was a new law that negated their need to have a search warrant if they suspected a violation of their laws.

It is entirely possible that these people were not from the FDA but were using that as a cover story. They were harassing and intimidating in their behavior. As a result of this and further harassment, I closed down sales of any Space-Time Labs products. This decision has made my life much easier to live.

Although the above is bad news for those who might be interested in some of my psychotronic equipment, there is some hope for those who would like to experience some form of mind amplification. This involves a story which goes back to 1984.
 

At the inception of the International Tesla Society, which I founded with a couple of friends of mine, I did a lecture on quantum electromagnetism and performed a demonstration of the first bioelectric sound system. This was the forerunner of the mind amp and Biofiss but worked on the same principles. At that point, the sound system consisted of a large old studio tape recorder, a digital processor that I had built, a pair of rebuilt old Fischer audio amplifiers, and Altec speakers with some strange coils in them. The unit created a wonderful 3-D sound that was very well received by the attendees. No one said that I was all wet. In fact, most of the people who heard that sound system were amazed at the sound. The lecture went too well.

When it was time to return home, I packed up all of my equipment very carefully. There were nice wooden crates for the receivers and audio equipment. It was put on the plane in Denver. After a layover in Chicago, we flew to New York, and I brought it home. Upon unpacking the crates, the first thing I noted was four of the circuit boards in the sound system were no longer plugged in. The unit had four such boards that mounted vertically and plugged into sockets. The top had a piece of foam rubber to hold the circuit boards down on the main board, just like in a computer.

The only way those boards could have been taken off is for someone to have taken the top of the box off. Then, when I unpacked the receiver, I spun the dial and it would not move. The reason the dial would not tune was that the idler that the knob drove was mechanically disconnected from the dial. Looking that over, I noticed screw shafts sticking up out of the intermediate frequency transformers. It was as if someone took a big hunk of wood and pounded them down. On the front panel, there were only two screws remaining out of sixteen that held it together. Someone had roughly disassembled this equipment and had done it in a very fast manner.

Many other things were awry. The system was unusable and had to be repaired. Obviously, someone had ransacked my equipment, presumably during the layover in Chicago. An industrial spy most likely attended the conference and notified an influential superior who was able to cause a layover in Chicago that was longer than normal. This sort of thing happens in industry all the time. I did not get a clue about all this until about six month later.

The following winter, a friend and former coworker of mine applied for work at Alpine Electronics in Long Island City. As my friend was given a tour of the lab at Alpine, he noticed something in one comer that looked very familiar to him. There was a workbench with maybe a dozen chassis on it, and he saw what looked exactly like the amplifiers I had rebuilt and modified for my sound system that had been crudely disassembled the summer before. Asking what this was all about, the people at Alpine told him that they were trying to reverse engineer and copy a competitor's amplifier system.

They said that they had made twelve of them, but they could not figure out how any of them worked. I could only conclude that Alpine probably photographed everything in Chicago. They were evidently trying to copy my amplifiers and duplicate the 3-D sound I had developed. As they were completely deficient in the understanding of esoterics, they were not going to be very successful.

Eventually, the parent company went from Long Island City to Japan and a one-bit D to A converter emerged from the Orient. This converts the digital signal in CD players to analog sound and is a replication of my original processor. The earlier CD players used an R2R ladder D to A converter. I improved the quality of sound by modifying auto-correlating routines originally worked out by Bob Carver, a man who designed audio equipment for an outfit called Phase Linear. Today, just about every CD player out on the market today utilizes a one-bit D to A converter.

Although the one-bit converter improves the quality of sound, it does not alone make a 3-D sound. I added vacuum tube amplifiers to get that effect on my sound system. This did not help the Japanese until tube chips were developed. A tube chip refers to a solid state transistor that emulates a vacuum tube. Tube chips can be identified by what is crudely termed a "vacuum tit" or "evacuation tit" coming out of one of the comers. They were created by the military and licensed to industry. The evacuation function removes air in order to create a vacuum. That is hooked to a vacuum pump and a space is sealed off so that the chip has an actual vacuum in it. The spacing is so small that you can get quantum effects with 60 or 70 volts that bigger tubes take 400 or 500 volts to get.

For those of you who are interested in having the best sound system available, you do not need to be directed to me. Today, amplifiers are virtually all "chip amps," meaning they utilize chips instead of the old vacuum tubes. Many of these chip amps, but not all, use tube chips to create an array of vacuum tubes in chip form. Ideally, you want an FET amplifier where the chip amp is composed completely of FET transistors. FET stands for "Field Effect Transistor" which is the first cousin or outgrowth of the surface barrier transistor.

This was the strange transistor mentioned in Montauk Revisited that was produced by the E.T. Company on Long Island. If you have an FET amplifier, you connect it to a CD player (one bit D to A), being sure to eliminate that analog processing amplifier that comes with it. I usually connect the output jack of the CD player right to the output of the D to A and then to the amp. This creates a 3-D sound. Although it does not have an etheric image, it comes very close to approximating what 1 did with the Biofiss. As there are no audio inputs, it is not a biofeedback device.

It is not talked about in any of their literature, but I know that the expensive mini stereo by Denon has tubed chips in it. It is top of the line and currently sells for about $ 1.500. Some of the JVC equipment has tube chips, and I believe Aiwa uses them in just about all of their mini stereos.

For those of you who are obsessed about the mind amplifier and are wealthy enough to afford one, I suggest you save your resources. They are very expensive and problematic to put together. I once assembled one for a gentleman who was insistent that I build one for him. As he was willing to pay a considerable sum, I went ahead and procured all the necessary parts. I think it spooked him because I soon saw that it collected nothing but dust.

It is not a toy.
 

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PART TWO
 

CHAPTER TWENTY-TWO
THE RADIO BUSINESS

What you have just read more or less concludes the insights I discovered as a result of my work as a sound engineer. Of course, there are always more memories to unlock and new data to be discovered, particularly when we are dealing with the phenomena of time. For the rest of this book, we are going to focus on some of my experiences since The Montauk Project was written. I am aware that there is a big gap for the reading audience as far as what has happened to me since then. The reason this entire story has not been told up to now is that there have been a lot of problems with the circumstances and it was considered too dangerous to put into book form until recently. At least for the time being, things have changed.

This story begins in the early 1990's when the culmination of my experience in the music and electronics industries eventually led to me owning different radio stations. Although I had accumulated considerable sums of money in my various ventures over the years, none of these funds went into the radio industry. I ended up spending most of it on research and development of various technologies and projects. After speaking out on the Montauk Project and making a lot waves in the defense industry, I was laid off by my employer.

Things were not going well for me financially when I met Peter Moon and we began writing the Montauk books. Soon after that, I had the good fortune to meet an old school mate of mine who would get me back in the radio business. This began a long and circuitous journey which was apparently designed to make time travel once again possible.

My experience in radio goes back to 1974 when I joined the Riker/Maxson Audio Visual Services Corporation as a studio and transmitter specialist. I was first hired as a "tech" and then a consulting engineer at Riker/Maxson. During this period, I became closely involved at one of the premier radio stations in New York City, Columbia's WCBS FM 101.1. This was when they began playing the "Golden Oldies." Their entire system was automated on what we called carts (of tape cartridges). If you remember the old eight track tapes, the tapes they used were similar except that they were four track tapes. There were huge numbers of these things in round cylindrical stacks. As the stack rotated, a mechanical arm took a particular tape and loaded it into the machine, played it, and put it back before rotating again to play a new tape. It was like a huge juke box. I basically put together this cart system at WCBS FM.

As FM stereo generators at that time were not very reliable, I set up a system for them which enabled the stereo encoder to be used once only for each song. We ran the cartridges at fifteen inches a second and set it up for half-track stereo. This refers to the format of the tape. One half of the tape is filled with one track. The other half of the tape is filled with the other track. I set this system up so we put L + R (Left channel + Right channel) on one track and L -R (Left channel minus Right channel) at 38 kilohertz on the other track.

Therefore, all we had to do is take the two tracks, sum them and put them in the transmitter. This system did not become too popular throughout the industry although the entire Columbia Radio network picked it up from Riker/Maxson. We built a lot of them under contract to Columbia. Through Riker, I used to repair the CBS transmitter and also did a lot of work on their studio equipment. I was fairly well known at CBS FM from roughly about 1974 to about 1982.

It was during my work at CBS that I ran into an old classmate of mine, who I will refer to as Patty. I ran into her a number of times, and we recognized each other. Both of us said we had not changed much since our days in the eighth grade at St. Mary's. She had become a lawyer and had specialized in broadcast law. That explains her role at CBS. We became a little friendly, but I did not see her again when I returned full-time to the defense industry.

In 1992, I received a call from Patty. She had left CBS FM long since and had also lost her husband. She needed my help. Two of her attorney friends and her had purchased the license for 103.1 from Jack Ellsworth of WALK radio on Long Island. If I recall properly, they paid a million dollars for the license. In my opinion, they had overpaid, however, it was the last open channel on Long Island.

Basically, they had run out of money buying the license and setting up the offices. She had no money to buy equipment either. Old FCC rules and regulations would have required them to post a security bond for $250,000 or $500,000 to ensure that they would be able to run the station once it was built. This was no longer the case. If you get an erection permit, you can build a station. Patty offered me a one-third interest in the station if I provided all of the equipment and agreed to set it up and run the station for the first year. As I was laid off, it sounded like a great deal to me.

The Montauk Project was beginning to sell at the time, but these books have only represented a very modest income for me. I had enough money from savings to buy what equipment I did not already have or could build. So, for the first year, B103 (as 103.1 was known), WBZO was on the air. There was no one live at the mike, and everything was on total automation. The computer ran the two CD players, and the commercials and jingles were on the hard drive of the computer. I managed the station by tuning into the station on the radio at my house. Every so often, I went down to the studio, changed the program on the computer, and recorded new cartridge spots. I literally ran the station this way for two full years.

Suddenly, the station took off and became the sixth highest rated station on the island. As soon as we became successful, Patty and her two attorney girlfriends sold the station without consulting me. As they owned two-thirds of the shares, there was nothing I could do about it. They sold it to the Barnstable Broadcasting Corporation. I have always joked that this company has a brown thumb when it comes to New York radio. Everything they touch turns to manure. My shares, which at one point were considered to be worth about $750,000, went up to about five million over a two month period.

The reason for this was that Barnstable had offered us twelve million dollars for the station. No one had ever paid that kind of money for a small FM radio station that had only been on the air for three or four years. It was unprecedented. The following bizarre elements and dealings in my own life have often caused me to wonder if this great deal was engineered by unseen powers in order to assist me in accomplishing certain things. This possible angle will become more apparent as my story continues.
 

I was already familiar with the Barnstable company because I had already done business with them. When they purchased IBC, the old Island Broadcasting Company, there were some stations they acquired that were doing poorly. As they did not want them, I purchased them and built them up with the dividends I received from B103. When B 103 was sold, I lost my dividends and could no longer afford to maintain the stations. I was able to swap them back to Barnstable for some stock in the company. I could not use the money acquired from the sale of B 103 for tax reasons that I will explain later.

I stayed on at B 103 as Broadcast Executive Consult-ant, but I only dealt with technology. This went on for about two years. It was not too long after Bamstable had purchased B103 that they decided they wanted to sell it. The supposed reason for this was that they wanted to purchase 103.5 in Manhattan. There were regulations at the time with regard to how many radio stations could by owned by one company in the New York market. In order to buy 103.5, they needed to shed a few stations. By that time, B 103 had gone way down in the ratings to number twelve or thirteen. As I still had stock in the company at this point, the vice-president of Barnstable, Mikee Conet, approached me and asked if I wanted to buy the B103 operation. We negotiated and agreed upon a deal where I paid about six million for two-thirds of the stock.

Of course, you might wonder why I would want to buy a station for so much money when I had just received a large cash payout. There was actually a very good reason. It is called taxation. If I had "cashed in" my profits, I would have walked away with very little after capital gains and windfall profit taxes. Believe it or not, there would have been only about $800,000 left over. One legal solution to employ in such a matter is something called a "capital corporation" which is a sort of tax shelter. In other words, the money can be placed in the corporation's account which can then be used to buy other capital property. It could be more deftly explained by an accountant, but the idea is to legally avoid capital gains taxes until the time that the money is finally cashed in.

Besides not paying extremely high taxes, I could also declare dividends at the end of each quarter and receive an income. Although there were taxes on the income, it was next to nothing compared to the huge capital gains and windfall taxes that would have been levied otherwise. In this method of sheltering taxes, there is a statute of limitations determined by the IRS for each case. It is usually about three to seven years. Once that is exceeded, you can take out whatever money you want and only have to pay regular income taxes. I have oversimplified the entire matter. Each case is different and you should consult an accountant if you are interested in pursuing any of these avenues yourself. Basically, these are rules that wealthy people use to avoid paying huge taxes.

As Barnstable still owns one-third of the station, it is still listed as a Barnstable affiliate. I control the executive decision making process. This is good because, as I said, they have a brown thumb. When I came back, I discovered they had only a thirty song play list. Not only that, the songs repeated themselves daily. In other words, if you tuned at 10:00 a.m. one morning and heard a song, you would hear it the next day at the same time. This was corny and hurt the station. The staff did not want to add to the play list because it would require additional copyright reports and that sort of thing. I told them to put a "shuffle" on their computer so that it would at least move the songs about randomly. Eventually, the number of songs were increased and the station recovered.

There was a lot of wheeling and dealing that went on during this period, and I have certainly not recounted every last detail. One of the vehicles my accountant set up for me was a real estate trust. I was advised to diversify some of my assets in real estate. Accordingly, I went to a big real estate broker and told them I wanted to buy a strip mall. I had about two million dollars to spend for this purchase. They told me I could pickup about six stores for that price. About three weeks later, the broker called me and said he had a fantastic deal for me.

They were just handed a mall to sell. It had about twenty stores and was located near Port Jefferson. There were three owners and one of them had just died. In order to settle the estate, they had to sell the property very fast. If I could come up with a million and half, which was well below the book value, I could buy the mall. I checked it out and found it to be a very good deal. The title search was done, and I was soon the owner of a shopping center.

Six months later, this gentleman with a Jewish name approached me and informed me that I owned another building on the outskirts of the mall parking lot. It was occupied by the phone company who had built the structure to their own specifications and leased it for a period of thirty years. Actually, as it turned out, I did not own the building. I owned the property that the building was on. This issue was coming up because the thirty year lease had expired. The phone company was supposed to be moving.

The man himself actually owned the building and wanted to sell it to me. I was not interested. As this man was motivated to sell, he offered me the building plus four other industrial buildings behind it. It was a good deal for about one million dollars, and I ended up owning the whole comer. The next thing I knew, I am approached by FG Industries. They wanted to buy the whole comer and offered me eight million dollars. It was too much to refuse. I ended up selling the entire shopping center as well as the comer property they originally wanted.

After reading this, most of you will think that I am an exceptional business person, but I do not consider this to be the case. Most of my activities were precipitated by good advice from accountants, lawyers, and just plain good fortune. The other side of the coin is that most of what acquired was only paper wealth. It did not fatten my personal bank account.

Earlier, I alluded to the idea that perhaps some unseen forces were working in the back-ground to assist me. You see, if you give a person like me vast sums of money, I can tinker with all sorts of equipment and produce all kinds of interesting effects. Of course, this includes time travel research. If there were indeed forces that were trying to help me, it soon became apparent that there were other forces which were not so friendly. These forces showed their ugly face in 1996 when my friend and associate, John Ford, was unexpectedly arrested and jailed.
 

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CHAPTER TWENTY-THREE
JOHN FORD ARRESTED

Many people who are serious investigators of UFOs have heard the name of John Ford. For those of you who are not familiar with him, John Ford was the president of the Long Island UFO Network, a nonprofit enterprise that he himself founded along with Richard Stout. John was a very high profile investigator of UFOs on Long Island. He made a lot of waves and was extremely thorough in his investigations, sometimes to the point of boredom. He often called on me to help with his investigations, particularly with regard to surveying the electromagnetic fields where UFOs had reportedly crashed. We had worked together for many years.

On the 13th of June in 1996, I was scheduled to go to John Ford's house. Before I left for his house that day, I received a phone call from an unidentified lady in upstate New York who warned me not to go. She indicated there would be trouble for me if I did. I took the hint and stayed at home. On that very evening, John Ford and Joseph Mazzuchelli were arrested and jailed by the Suffolk County police with a list of different charges. Another man, Edward Zabo, was later arrested as well.

The most bizarre charge was that they had conspired to poison and kill John Powell, the Republican party chief in Suffolk County, by placing radium in his toothpaste. Although this sounds comical and is virtually impossible to accomplish, the arrest made headlines and was covered as the lead story on most of New York's major television stations. It was big news. Other charges included possession of an illegal substance (radium) and illegal firearms.

The District Attorney arranged to have media people on location as video tapes were shown of the inside of John's house and included a panning of his sizable gun collection. This was an apparent attempt to make him look like a "militia wacko." To almost everyone's surprise, John was never a member of the militia, and all of the firearms he owned were acquired legally and registered. He is a collector of guns. The prosecution and media had to back off on this charge right away, but they never corrected their mistake. The media only reported the prosecution's version.

These were very sad and distressing times for myself and anyone who knew John Ford. He soon phoned me from jail as I was virtually his only contact on Long Island who could help him. His mother had died in the recent past. He also had a brother and sister who lived out of state, but they were not particularly sympathetic towards his views about UFOs. This meant that I was the one elected to go to his house and see that his pets were taken care of and that no vandalism or other problems occurred.

Ford's bail bond was a whopping $500,000 which the prosecutors knew he could not possibly meet. Typically, when a person is arrested on suspicion of murder, their bond is set at about $100,000. Ford was only suspected of conspiring to commit murder by placing radium in a toothpaste tube, a laughable prospect at best.

No one had been killed, and certainly no one believed that such a scheme would work, even if it were seriously attempted. I knew John well enough to know that he was not interested in killing anyone.

All of the above prompted many questions. It was all too weird. The motivations behind the arrest of John Ford seemed entirely political. After all, his mother had been a pivotal character in politics for years. John Ford himself was very much involved in the Conservative Party which is very closely tied to Republican politics. His main rival was John Powell, the party chief who was the alleged target of an "assassination by toothpaste." It was very funny except for one important point. John Ford was incarcerated with no possible hope of release.

As I went about taking care of John Ford's personal effects, Peter Moon began focusing on the facts of the situation with particular regard to the legal justification for the arrest. Deputy District Attorney, Martin Thompson, claimed that an informant in the weapons case alerted authorities of the murder plot on Wednesday, June 12th. Later that day, authorities taped the conversations during which they claimed to have overheard Ford and Joseph Mazzuchelli discuss the plot. The two were soon arrested. This raised a curious question. How would the informant have knowledge of such a plot? Were Ford and his buddies advertising for hit men? Thompson said that Ford's conversations were recorded. If this were true, this would have been accomplished by bugging or phone tapping. In either case, a warrant would have to be authorized. Electronic bugging would entail going onto Ford's property.

After considering the above information, Peter called me and asked if there was a search warrant. As the arresting officers had left a copy at Ford's house, I had already made my own copy. While answering Peter's question, I noticed that the search warrant was dated after the arrest had taken place. Eventually, the D.A.'s office reported that the date on the warrant was incorrect. When John Ford's lawyer, John Rouse, asked for a copy of the warrant, it was a different warrant than the one I had obtained from Ford's premises. Rouse filed a motion charging the prosecution with filing an insincere document, but the judge dismissed it. This was just the tip of the iceberg as far as funny circumstances surrounding the arrest of John Ford were concerned. Two different reporters investigated the matter and came up with astonishing revelations, but no one would publish their findings. They were too politically volatile.

What was disturbing to me was that someone wanted John Ford taken out of circulation. Whoever that was apparently wanted me taken out, too. I was scheduled to be at Ford's house on the evening of his arrest and was probably slated for jail as well, but I had a lot more luck going for me. I received a phone call before the meeting telling me not to go. A lady told me there would be trouble for me if I did. I heeded the warning and have never regretted it.

As the situation with John Ford's arrest unfolded, Peter Moon continued to tackle the irregularities in the case and published his findings in The Montauk Pulse, a quarterly newsletter which reports on developments and circumstances with regard to the Montauk Project. I was not so sure and thought the information might be too dangerous to put into print. There had already been one attempt on my life, and I had directly worked for Ford's Long Island UFO Network as a scientific consultant.

I consulted one of my friends who I refer to as "the Colonel." He served in special forces in the Air Force and is also a nuclear physicist. I met him in my consulting business many years ago when he happened to mention the Montauk base and said that he had worked there. He told me about going down an elevator to the underground where he would service their vacuum tube equipment as an independent contractor. He even told me the exact location where he was taken to access the elevator. It was a small blue wooden building in what is now a grassy field south of the tennis courts at Camp Hero.

I knew about the building because I have pictures of it from my initial investigations of the base back in the late 1980's. It was demolished years ago, and there is now no longer any trace of the building. The Colonel took some interest in my stories, but we also had a professional relationship. We complement each others' knowledge quite well. He is an expert in nuclear physics, and I am an expert in electro-magnetism. While we both know a lot about each others' fields, there is always more to learn for both of us. Although he has acted as a friend and has definitely protected me over the years, I still have not completely figured him out. He did tell me that he is still connected to Air Force Intelligence.

With regard to John Ford, the Colonel informed me that there was a lot of trouble brewing in Suffolk County politics. Stories circulated indicated that Suffolk County had gotten far too big for its britches. They had become a rogue element all to themselves and even had plans to secede from New York State and even the United States of America. While this might seem farfetched to some, there was a major publicized effort for a new county to be formed on the east of end of Long Island that would include East Hampton and Montauk.

It was to be called Peconic County, but thus far, that movement has been defeated. John Powell, the man who was allegedly targeted by John Ford in the toothpaste plot, was known to be the most powerful man in Suffolk County. His nickname was "Bugsy," and as the political boss of the Republican Party, he oversaw who would represent the party in elections, including judges. Needless to say, the situation between Ford and Powell was intense and there was a lot of power behind the latter.

Whether or not the thesis about Suffolk County wanting to secede from the United States of America was true, there were some pretty strange goings on. Additional revelations came to light when Peter Moon was told by an informant within the legal system that radioactive waste from Camp Hero was being dumped in the East Hampton Town dump. Peter was told not to tell anyone as "someone could get killed." John Ford not only knew a lot about county politics, he also knew a lot about illegal dumping of toxic waste. His home was very close to the Brookhaven Town landfill, and there was a movement to declare his property, along with that of his neighbors, eminent domain so that it would be sold and used to expand the town dump. He and some of his neighbors had already begun a grass roots movement to counter this effort. Without any reference to his UFO investigations, his knowledge of these things alone was enough to make him a target for his political opponents.

Ford's primary political opponent was the alleged target of the "assassination attempt," John Powell, one of the most powerful Republicans in New York and certainly the political leader of Suffolk County. Powell was de-scribed in the newspaper for even being able to make the New York Governor "jump." He bragged that when he phoned Pataki, the Governor had to take his calls. The reason for this at least has something to do with the fact that without Powell's political influence and voter support, Pataki would never have won the election for Governor. If there is a stronger connection behind the scenes, I do not know. But, Pataki was reported in Newsday to have been one of the first to offer his sympathies and concern when Powell was supposedly targeted for assassination by John Ford.

In the midst of all this political stuff, I received a phone call from the Colonel who told me to watch a rerun of a 1994 episode of Northern Exposure, a television show that was scheduled to appear on a cable channel. The entire episode was surreal in that it was too hauntingly familiar to the John Ford scenario to be an accident. The show featured a conspiratorial rabble-rouser who wore army fatigues and possessed a personality that was some-thing of a combination of John Ford and myself with some extra zaniness thrown in as well.

The rabble-rouser was blowing the whistle on a fireworks dealer from Maspeth, New York who was dealing arms in connection with the Iran-Contra scandal. The thesis was that a fireworks manufacturer could easily smuggle or ship fire arms under the umbrella of regular commerce. In other words, where do fireworks end and firearms begin? In the show, the bad guys were trying to put the rabble-rouser in a sanitarium on the grounds of being mentally incompetent. Boy, did this sound familiar. John Ford was eventually declared men-tally incompetent and never received a trial with regard to the accusations made against him.

Although the television show revealed many coincidences to the John Ford case, the reference to a fireworks dealer was a new twist. It just so happens that one of the biggest and most prestigious fireworks dealers in the world is located on Long Island not too far from the city of Maspeth, New York. John Ford's nemesis, John Powell, was known to be allied to a Long Island fireworks manufacturer.

Whatever the actual truth and circumstances were, here was a television show from 1994 making an oblique reference that covert arms dealing was taking place on Long Island. The show was certainly prophetic with regard to an attempt to have John Ford declared mentally incompetent and put in a sanitarium. It was years ahead of its time with regard to that. How did the television writer "pick up" on this?

John Ford had not even been arrested at the time the show was originally produced. Was this a simple coincidence or was somebody using the television industry to deliver a message? And, here I was being tipped off about the show through a man in Air Force intelligence. As this story unfolds, you will see that it is entirely possible that the message from this show actually came from the future and was somehow, subconsciously or otherwise, leaked through the television industry.

In the meantime, no one needed to watch a television show to understand that there were some major problems on Long Island.
 

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