Kodachrome Experiment : Paul Simon


'..Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted
In my brain still remains
Within the sound of silence...'

Paul Simon, 1964.


In 1973, Paul Simon's song KODACHROME was released as a single...

'..And though my lack of education hasn't hurt me none
I can read the writing on the wall...'


In 1977, Paul Simon's song SLIP SLIDIN' AWAY was released as a single...

'..God only knows, God makes his plan
The information's unavailable to the mortal man
We're workin' our jobs, collect our pay
Believe we're gliding down the highway, when in fact we're
slip sliding away...'


The Kodachrome slides collection that includes the two photographs of a figure identified as either a "mummy" or "not a human being", is said to have originated with HILDA BLAIR RAY and BERNARD/BERNERD ARTHUR RAY.


If you look at 1 minute 3 seconds into the Kodachrome Documentary Official Trailer, there is a listing for Bernard Ray with the name "Al" stated, implying that AL was a nickname for Mr.Ray.


In 1986, a single by Paul Simon was released, entitled 'YOU CAN CALL ME AL'. The title and lyrics suggest that the protagonist of the song is not called "Al"; but, could be addressed as such, perhaps as a code name or nickname. One of the musicians who played on this track was the guitarist, CHIKAPA "RAY" PHIRI (Raymond Chikapa Enock Phiri)...
 
'..If you'll be my bodyguard
I can be your long lost pal
I can call you Betty
And Betty when you call me
You can call me Al
Call me Al...'


As stated, the male alleged co-originator of the Kodachrome ('Roswell' or 'alien') slides was named BERNARD or BERNERD ARTHUR RAY - with the likely nickname 'AL'.


Wikipedia describes Simon & Garfunkel as '..an American folk rock duo consisting of singer-songwriter Paul Simon and singer Art Garfunkel. They were one of the most popular groups (Duo's) of the 1960s, and were viewed as counterculture icons of the decade's social revolution, alongside artists such as the Beatles and Bob Dylan...'


The Wikipedia entry for Art Garfunkel gives his full name as ARTHUR IRA "ART" GARFUNKEL.


'..These are the days of miracle and wonder
This is the long distance call
The way the camera follows us in slo-mo
The was we look to us all
The way we look to a distant constellation...'

Paul Simon, 1986. 

Robert Girard On The Next Higher Octave


from Elements of the Equation (1988)


'..As lower animals lack all comprehension of the nature of human reality, so do we humans lack all comprehension of "what it's really like" one octave up from our own.


The next higher octave also consists of "notes." Its lower notes may be represented to us in such "sub-human" creatures as Bigfoot or the Loch Ness Monster, and also by incubi and succubi, or by the Jinns of the BOOK OF THE THOUSAND NIGHTS AND A NIGHT. Bigfeet and lake monsters appear in less-than-human form, but they are capable of violating human reality; this gives them away as not representing a previously un-captured earthly (animal) species, but as denizens of a higher level of reality than ours. Incubi and succubi are loathsome creatures, but we must also assign them to a higher--and not a lower--octave because of their similar abilities at violating human reality. And the Jinns of the Arabian Nights--study of whom is highly instructive--are often cruel and capricious in their toying with humanity, and interact with us in innumerable ways and have innumerable whimsical purposes in mind for doing so. For this reason we must deny them the "divine" status reserved for the higher notes of the next octave up, but we must still assign them lower-level membership in it.


UFOnauts may range higher up among its notes, but perhaps not too high, for they appear to depend on technological equipment even moreso than humans. Higher up are the "angels," and other highly refined beings whose power surpasses that of the beings from the lower ranges of that octave, and who seem to be free of the need for "equipment" as they go about their mis-use of the powers granted to them by their octave. They play "The Name Game" and "The Numbers Game" with humanity endlessly, with apparently little imagination. In our own octave we have beings who go through a similar phase: little boys going through their "pulling wings from butterflies" or "pulling the cat's tail" years. The higher-level beings in the next octave up appear to be more aware of their power, and work not so much at the individual level but on a much larger scale, going so far as to concoct schemes which manipulate the entire human race if necessary.


As we humans possess the ability to dominate and control lower life forms from our octave--and as those lower species have neither the awareness nor the ability to offer more than brief physical resistance against us--so are life forms from the next higher octave able to dominate and control humans, without our being aware of their purposes or having the ability to offer any effective resistance against them. Because of the quantum nature of the gap separating octaves of life, we lack even the most rudimentary comprehension of what reality is like for that octave; our confusion--were we able to visit another octave--there would resemble the blind rush of the squirrel across a human street.. And just as the animals below us have no inkling whatever of the real purposes or meaning of our interaction with them--ranging from keeping them lovingly as pets through injecting them with killer diseases through slaughtering them for food, feathers or fur--neither can we humans know with certainty the reasons behind "alien" contact with us.....'  

John Spencer On Reaction To Proof Of Alien Visitation


from Gifts of the Gods (1994)


'..It sounds like the sort of evidence that any UFO researcher, or any investigator would give his third eye for. As he was collecting it he could probably envisage a lifetime of praise from his colleagues and the scientific community for finally solving one of the world's great mysteries. He may even be envisaging the lecture shows, the books, the films, and - if he were of a pessimistic nature - the endless round of television chat-shows.


But what will actually happen when he presents this evidence to the world?


Firstly he will come up against the jealousy of his colleagues and the political in-fighting which endlessly goes on amongst all the researchers into the UFO phenomenon; his methods will be questioned and his honesty brought into doubt. Genuinely committed researchers will feel a grudging admiration but will probably still challenge the work on less than reasonable grounds, if past experience is anything to go by.


And once the material is presented to the world at large, the UFO researcher can look forward to spending the rest of his life defending himself against allegations of fraud, mainly from the scientific community, whose institutions have a massive interest in not accepting challenges to science, and partly from the media many of whom have a natural tendency to say 'black' the minute anybody says 'white'............'