Time Travel Pictures – Future San Francisco Earthquake photos – Timeline


March 18, 1978 – Contact Report 104

Contact Date: Saturday, March 18, 1978, 3:32 AM
Verifiable Publications: Semjase Kontakt Berichte, 1st ed. Block 17, 1977
UET-WS Vol. 17, pg. 1670-1675, 1979-1980’s
Semjase Kontakt Berichte, 2nd ed. Block 7, pg. 1315-1318, 1988
Messages from the Pleiades, 1st ed. Vol. 4, pg. 363-366, 1995
Plejadisch-plejarische Kontakberichte Block 3, pg. 131-133, 2004

Plejadisch-plejarische Kontakberichte Block 3, pg. 131-133, 2002

Billy:
(…) But tell me Quetzal, can you also penetrate with this old box into other dimensions?

Quetzal:
82. Your question is not logical; what do you want to ask?

Billy:
I have to wonder, whether you can also perform travels with Menara’s ship into the past and into the future?

Quetzal:
83. It is possible, but why do you ask?
84. Whenever you ask such questions, then a certain purpose is behind them.
85. Do you want to ask me, whether I am to undertake a travel with you into the future or into the past?

Billy:
Exactly, my son.

Quetzal:
86. Sooo – … for that you reason you have taken with you this large apparatus for photographing?

Billy:
Exactly, my son, but this is not such a complicated thing, as you assume, but quite simply a damn normal camera.

Quetzal:
87. That’s the same thing.
88. However — where then do you want to go?

Billy:
To Frisco, my son, to San Francisco, but into the future. Namely to that time when the city is destroyed by the earthquake. I would be interested in how everything looks, when the first severe quake is over, and exactly this I want then also to photograph. This will surely be possible to do, won’t it? And surely it doesn’t matter, if I then also publish these photographs, if they come out well, is that okay?

Quetzal:
89. Surely there would be nothing to object against this, for thereby very many people would then leave San Francisco and settle elsewhere before the catastrophe arises.
90. This would save very many human lives.
91. Certainly, I do agree with this, but it requires several hours if I should take you there.
92. This old ship in fact, and presently I have no other ship at my disposal, needs a longer time for preparation, if accordingly you are to be back here again in normal time at first dawn of the morning.

Billy:
This is not too difficult, because you can bring me back here again to roughly the same time, as when you had taken me out from the bed.

Quetzal:
93. This would be possible.

Billy:
Good, in fact, then I would still be able to sleep a little. So let us go.

Quetzal:
94. As you wish, but in the meantime we cannot have any conversation.

Billy:
It makes no difference to me, let’s just go; I am strained like a string before breaking.

Quetzal:
95. So be it then.
96. You truthfully are tireless.

Quetzal:
97. Here we are about 300 kilometers away from San Francisco.
98. Down there, you see the fissures of the earth as they already exist from long ago.
99. What you do see are the extentions of Andreas Fault which have risen up to the surface of the Earth.

Billy:
Can I photograph them?

Quetzal:
100. There is nothing to object against this, but, you could also capture this scene on your film in the present time, the year 1978, because the changes are only extremely small, and not likely recognizable in the photographs.

Billy:
Nevertheless, I would like to photograph them.

Quetzal:
101. Then do it.
102. Come here, look – here this floor hatch, so as you see, after shifting the plate aside, there is freed this very fine pointed sight-plate, through which you can look outside.
103. Through this you can photograph.

Billy:
That’s all right, Quetzal, but do you know that when I take photographs from inside of the ship, they are always afterwards very fuzzy and blurred. Is there then no other way, you know, that I can perhaps, walk outside?

Quetzal:
104. You have your best overall view from above, here from out of the ship.
105. On the other hand, this time you will get sharp and clear images on your film, because the propulsion of this ship will not harm your film by radiations.
106. You only have to then pay attention that you do not photograph directly down through the area of the propulsion, because the very strong irradiation of light could harm your film.
107. The smallest damage of the film could be that the finished images would appear to be lightened by a light source.
108. In the worst case an overexposure would happen.

Billy:
Is this the light, which reaches there so far downward and looks like a search light?

Quetzal:
109. That’s correct. So then take care, that these masses of light do not reach into the area of your photograph limits

Billy:
I will try it.

Quetzal:
110. Are you at the end of your work?

Billy:
I am, my son. Perhaps I still have not been careful enough regarding the light. Somehow it appeared to me, as though I would always have seen a shimmering of light in the lens.

Quetzal:
111. So try it once more.

Billy:
No, let us go to Frisco first, because I have only one film with me, and besides it is only a standard negative-film.

Quetzal:
112. As you wish.
113. Walk away from the hatch.
114. So, – good, it…

Billy:
Man, this is indeed crazy, just look, all is smoking there in front.

Quetzal:
115. There lies San Francisco.
116. So then, we are here, now take your photographs.

Billy:
Man alive, Quetzal, this looks much worse, than I have imagined. Yet listen now: somewhere must be a building, which should be known as the America-Building or similar; so get me there. This I want to photograph above all, so that no one can come and claim that I would have taken photographs of the last great quake at the turn of the century.

Quetzal:
117. Now, we are here, my friend, but this time pay more attention to the light beam.

Billy:
I will try for that.

Billy:
Thanks Quetzal, this suffices, rush still back a little … Good, okay — moment. …Good, now fly still a bit to the right side there — Good, okay, thanks. Man alive, this is gigantic, the horrifying destruction. … Thanks, Quetzal, I have again several photographs. This should likely be enough. So please do fly back again towards the strange bulges of the Andreas Fault.

Quetzal:
118. As you wish, but bear in mind, that we are already slowly exceeding our time and I have to make preparations for the flight back.

Billy:
All right, Quetzal, you can start with them at once, when we are at the place. I want to see everything one more. But how so quickly a half hour passes in the future.

Quetzal:
119. The time is the same; it only seems very much shorter to you because of your attention to the events which you have seen.

Billy:
Of course, this I know. Ah, indeed, we already are here. Now just do your work.

Quetzal:
120. Well, my friend, here we are again.
121. We are here by around 30 minutes earlier, than when you had left your warm bed.

April 10, 1978 – Contact Report 106

Contact Date: Monday, April 10, 1978, 3:41 PM
Verifiable Publications: Semjase Kontakt Berichte, 1st ed. Block 17, 1977
UET-WS Vol. 17, pg. 1694-1696, 1979-1980’s
Semjase Kontakt Berichte, 2nd ed. Block 7, pg. 1333-1334, 1988
Messages from the Pleiades, 1st ed. Vol. 4, pg. 391-394, 1995
Plejadisch-plejarische Kontakberichte Block 3, pg. 148-149, 2004

Plejadisch-plejarische Kontakberichte Block 3, pg. 148-149, 2002

Billy:
(…) Let us go on to another theme: Do you perhaps know a magazine by the name of GEO? As I gather here from my notes, it concerns a geographical magazine about culture, which is issued by the Heinrich-Bauer Publishing House in Hamburg.

Quetzal:
40. This is not known to me.
41. But why do you ask?

Billy:
In the autumn of last year, I believe in September, in an issue of this magazine shall have been a picture by a painter, who painted San Francisco in future form after its destruction by the earthquake. Now look once at these photographs here, which I took during our journey to Frisco, when you brought me into the future. These photographs here are now to correspond very accurately (BMUFOR note: wrongly translated as ‘very exactly’ for ‘sehr genau’ on FOM) to parts of that picture, which this painter has made for the Bauer Publishing House. Such at least was it explained to me yesterday. This means, when this picture exists by this publishing house painter, I am again to be made out a liar and a cheater, when another time it is to be said, that I would only have taken photographs of a picture, in order to want to prove some things.

Quetzal:
42. Your question has a certain background.
43. Something must have happened, since you ask me about this.
44. And how have you come to know about this picture just now, which really exists?

Billy:
Oh, I see, well then, it was mentioned to me yesterday. Kurt had gone to a restaurant in Zurich, where someone was just reading through this magazine, and then he saw the picture, because it was shown in this. Now of course he went and explained to someone behind my back, that I likely would have photographed parts of this picture.

Quetzal:
45. This is very unfortunate.
46. I did not know that this picture, which was inspirationally given to this man, had already been published.
47. Here, there must have been a slip-up, because not until the autumn of this year should it reach the public.

Billy:
Well, this is likely bad luck for me, and quite lousy, because now again I have to go through the same performance, like at the time with the photograph of the universe door (BMUFOR note: see Universal Barrier). However, who did actually transmit this impression to that painter?

Quetzal:
48. These were those of the Baawi-Intelligences, who work together with us here on Earth, and who are responsible for many inspirational transmissions.
49. But there must have been a mistake suffered by them in respect to the publication of the picture, because in connection with certain coming events, the picture was not to reach terrestrial publication until the autumn of this year.
50. On my part, I thought, when you had asked me for this journey that this just very well would connect to your photographs.
51. However, under the circumstances it is likely better, if I take the photographs, as well as also the negatives of the film, in order to protect you from further attacks.

Billy:
But these I do not have, because I have given them to the photographer, so that he can produce new reprints for me.

Quetzal:
52. Then I will destroy them or take them with me.
53. To whom have you given them?

Billy:
To the Photo-Radio-TV Bär (BMUFOR note: the name of the shop owner is Bär) at Wetzikon. But each time he sends them to Wadenswil to a large laboratory.

Quetzal:
54. That is enough for me. I will take away the material and store it.

Billy:
And what shall I say to the people? After all, I have to stay with the truth.

Quetzal:
56. You tell the truth.
57. On the other hand, last time I explained to you, Kurt appearing to me like a constantly flickering flame, which always threatens to die off.
58. His stay with you will likely not to be of long duration of time, as too often in his unsteadiness he is turning from one thing to the other, which is peculiar to him, to search truths there, where those do not exist, by which way he is falling to untruthful assumptions.

Billy:
I know what you are explaining to me..

Note: Below image with the description was published in Messages from the Pleiades, 1st ed. Vol. 4, pg. 393, 1995.

MFP Vol 4, page 393, 1995

1987 – Stimme der Wassermannzeit Nr. 63, Jahrgang 11 (June) and Nr. 64, Jahrgang (September)

In Stimme der Wassermanszeit nr. 63 and nr. 64 the following testimony by FIGU Core Group member Bernadette Brand on Meier’s San Francisco pictures was published under the title ‘Hinterschmidrüti’. It was again published in Zeugenbuch (witnesses book) in 2001.

March 18, 1978
Pictures from the future
Bernadette Brand, Switzerland

On March 18, 1978 Billy was called to a contact by Quetzal. A few days prior to the said date, he had borrowed my photo camera, a Konika with telephoto lens, and had him precisely explain the handling to him. He told me that among other things, he wanted to photograph the spring flowers in the center, which he also did. Of course, I left him my camera because I knew them to be in trusted and good hands. Some time later he handed my property back to me, and shortly afterwards we all learned for what he really had used the camera: he had let himself taken to the future by Quetzal in his ship and made impressive and shocking pictures of San Francisco which was completely destroyed by an earthquake.

The only building that was still standing and was reasonably intact was the pyramidal-shaped America Building, whose unmistakable silhouette is known worldwide. He had <shot> a great many different pictures, not only of the destroyed city, but also of the upheavals of the Andreas fault, of destroyed roads, highways and bridges. These rousing and memorable pictures were thoroughly contemplated and studied, especially by Engelbert, Herbert and me.

Soon after, Kurt Stadlin, who also briefly got a glimpse of the <pictures from the future>, took me aside and showed me a GEO from September 1977. The said issue of the magazine displayed so-called disaster images, as were in fashion at that time. Kurt now asserted that the photos, which he saw at Billy’s place, could have been photographed from this magazine, since they matched very accurately with the photos. I was very shocked and had the pictures in the magazine shown to me.

At first glance I noticed that the pictures were quite similar, but that already with a halfway attentive examination differences became apparent, that could not possibly be overlooked. The paintings shown in GEO, because that’s what they were, were significantly poorer in details than Billy’s photos, apart from that it was apparent at first glance, that the image details were the same in both cases, but the camera angle of the photographed pictures and the viewing angle of the painted pictures were completely different. I immediately told Kurt Stadlin that his assertion was completely wrong and that he should be careful with his remarks – and I showed him that the center-mark of the magazine would be visible, if a double-sided printed painting would have been photographed. Despite this irrefutable argument Kurt stood by his assertion, so I told everything to Engelbert and then also to Billy. Billy, Engelbert and me then together with Kurt compared the pictures published in GEO with the photos, which however in his skepticism and already stalled judgement could not reassure him, even though he had to admit that the printed pictures and Billy’s photos were by no means identical. Kurt’s stubborn refusal to acknowledge the truth and accept it and his vicious words regarding Billy’s credibility had consequences of an extent and scope we could not anticipate at that time, so we may not have discouraged his exclamations vigorously enough, because it was not clear to us all what such behaviour could destroy altogether.

For now only one question remained unanswered for us, namely «How did a painter happen to paint an image that Billy photographed in the future, long after 1978?»

This question was answered by Quetzal simply by revealing to Billy that the Baavi Intelligences were behind the idea for these pictures. These extraterrestrials, who cooperated with the Pleiadians, were responsible for so-called inspirational transmissions. Unfortunately however an error occurred in their work regarding the date, so the corresponding impulses for the disaster images were released a full year too early. This to our great regret had the result, that Quetzal took the photos to prevent any further attacks on Billy. However his endeavour to protect Billy only had partial success, because in the following years again and again people showed up who asked for the pictures and consequently responded with disappointment, because these could and can not be presented. Billy was now attacked and his credibility was questioned simply because the controversial pictures were no longer available.

Other witnesses: Engelbert Wächter, Herbert Runkel and Kurt Stadlin
First published in “Voice of the Aquarian Age”, no. 63/64

 1987 – ‘Light Years – An investigation into the extraterrestrial experiences of Eduard Meier‘, Gary Kinder

On pages 217-218 of his book Light Years author Gary Kinder refers to the San Francisco earthquake pictures:

“Herbert Runkel rarely came to the farm now. Whereas the Hinwil house had been a place of intellectual freedom, and the farm in the early days a joy to help rebuild, the new religious “feel” of the group with their enforced meditation and their regulations had stifled what remained of that earlier atmosphere. Meier had disenchanted Herbert two years earlier when he produced a series of photographs he said resulted from time travel with Semjase. The pictures showed the rubble of San Francisco following a massive earthquake that would occur sometime in the future. Later a friend of Herbert’s discovered an article in GEO magazine that showed an artist’s conception of what the long-predicted catastrophe might do to the city, and Meier’s photographs obviously had been taken of this lifelike painting. With all of the beautiful photographs that no one seemed able to duplicate or explain, Herbert had been unable to understand why Meier would resort to such an obvious fabrication. Meier had said that the Pleiadians simply placed in the artist’s mind an accurate picture of the real future, the same one Meier had photographed. And then the photographs had disappeared. The pictures of San Francisco had confused Herbert because he had seen so many things for himself, some trivial, some remarkable, that contributed to a fascinating story he still could not explain.”

April 1987 – Correspondence between James Deardorff and Wendelle Stevens

Following excerpt from a mail sent by James Deardorff to Wendelle Stevens on April 7 seems to suggest that earlier Wendelle had conveyed to Deardorff that one of Meier’s 11 future San Francisco earthquake pictures is similar to a painting. Perhaps in the next mail (which is not available with us), Wendelle might have responded to Deardorff’s query that none of these 11 photos exist anymore as they have been taken away by the Plejaren.

“Thanks for the information regarding the San Francisco photos. I guess Meier’s ETs would have judged it too definitive for him to retain several photos of the future earthquake scene, one of which happened to agree with the painting. As far as I can determine from the Notes, Meier was allowed to retain only that one photo. So I’m not sure that the others which you were once shown still exist.”

April 1987 – An Open Letter to the UFO Community, Gary Kinder, MUFON Journal No. 228

In MUFON Journal No. 228, pg. 3-8 an open letter from Gary Kinder is published in which he also refers to Meier’s San Francisco earthquake pictures:

“On the other side, I know that Meier’s photos of the alleged future destruction of San Francisco, for instance, came right out of the September 1977 issue of GEO Magazine. After one of the witnesses reported this to me, I found the magazine myself and compared the photographs. They were identical. All of this is in the book: the crazy claims, the apparent lies, the unexplained disappearances, the mysterious landing tracks, all weaved into the narrative.”

June 7, 1987 – Review of Light Years by Philip J. Klass, Los Angeles Times

UFO researcher and skeptic Phillip J. Klass writes a review on Gary Kinder’s book ‘Light Years’, in which he also refers to the San Francisco earthquake pictures:

“(…) Meier says his extraterrestrial friends often take him aboard their craft, which can travel backward or forward in time.

This, Meier claims, has enabled him to speak with Jesus, to photograph the eye of God, and to photograph the futuristic ruins of San Francisco after an earthquake. Nearly seven years ago, MUFON, the nation’s largest group of UFO believers, published a report which characterized Meier’s claims and his flying-saucer photos as “The Most Infamous Hoax in UFOlogy.” Rarely does a pro-UFO group publicly admit a hoax, let alone use such harsh criticism.
(…)
When one of Meier’s (former) admirers chanced to recognize that the picture of a devastated San Francisco was identical to an artist’s painting of what San Francisco might look like after an earthquake, which had been published in GEO Magazine, Meier had a ready explanation: His Pleiadian friends had “simply placed in the artist’s mind an accurate picture” of how they knew San Francisco would look after it was destroyed.

Kinder said he finds it hard to accept some of Meier’s “outlandish claims.” But, again, just because Meier tells some spurious tales, that doesn’t prove that all of his tales are concocted, at least in Kinder’s view.”

August 9, 1987 – ‘Author now UFO believer’, Lawrence Journal-World newspaper

In article by David Moneypenny about Kinder’s book the San Francisco pictures are mentioned:

“Kinder said that Meier indeed had been caught faking a photograph of a yet-to-occur earthquake in San Francisco. Meier claimed his space contacts had taken him into the future to see the earthquake, which he said he photographed. However, the photograph turned out to be an American artist’s conception of what an earthquake might look like, a drawing that had appeared in several magazines before Meier took a picture of it.
Kinder said the incident cast doubt on Meier’s other claims, but didn’t prove them false. “I think he might have felt compelled to keep producing information even when he wasn’t having contacts,” Kinder said. “By that time, hundreds of people were constantly on his doorstep looking to him for more information.”

1991 – Und sie fliegen doch! (1st German ed.)

The late Guido Moosbrugger, core group member of FIGU, publishes a book – Und sie fliegen doch! – in which on pages 264-266 he responds to the criticism on the future San Francisco earthquake photos. Later this book was published in English in 2001 and 2004 and an extended German version was also published in 2012. In all versions the rebuttal of Guido regarding the future San Francisco earthquake photos remains the same. Below is the page from the 204 English edition.

And still they fly, pg. 171 And still they fly, pg. 172

December 1991 – Quetzal destroys all of Meier’s  San Francisco photographs

Refer to More References – Outer space photos.

June-September 1994 – ‘Botschaft von den Plejaden – Prophet oder Scharlatan?’, Magazin 2000, Nr. 100, Michael Hesemann

In an article by Michael Hesemann in Magazine 2000 the San Francisco earthquake photos are mentioned:

“Noch ärger traf es Meier, als man ihm auf einer „Zeitreise“ den Untergang von San Francisco zeigte; das Foto, das er vom Raumschiff-Bildschirm machte, ähnelte verblüffend einer visionären Zeichnung, die einige Monate zuvor in der Zeitschrift „Geo“ erschienen war. War Meier doch ein Betrüger? Warum aber wäre dann der Mann , der die besten und raffiniertesten Fotofälschungen der UFO-Geschichte zustandegebracht haben müßte, so naiv, derart spektakuläre Szenen einfach aus Zeitschriften abzufotografieren, die jedermann am Kiosk kaufen kann? Oder war Meier selbst zum Opfer einer Manipulation geworden? Wollten die Außerirdischen, die ihm einerseits das beste Beweismaterial aushändigten, das es bis dahin in der UFO-Geschichte gab, ihn andererseits relativieren und damit „entschärfen“, indem sie ihn mit absurden Informationen fütterten und auf d e m Monitor ihrer Strahlschiffe angebliche Außenaufnahmen produzierten, die ihn früher oder später in Verlegenheit bringen mußten?”

“It hit Meier even worse, when he was shown the downfall of San Francisco during a time travel; the picture he made from the spaceship-screen was remarkably similar to a visionary drawing that appeared some months ago in the journal “Geo”. Was Meier a fraud after all? Why then was the man, who made the best and most sophisticated photo forgeries of UFO history, so naïve to just photograph such spectacular scenes from magazines, which everybody can buy at a kiosk? Or had Meier become the victim of a manipulation himself? Did the extraterrestrials, who on one hand gave him the best evidence there was in the UFO history until then, on the other hand wanted to relativize and thereby “defuse” him, for which they fed him with absurd information and on the monitors of their beamships produced supposed exterior shots, which would sooner or later embarrass him?”

1995 – ‘The San Francisco Earthquake Photos’ by Wendelle C. Stevens

The 4th volume of Message from the Pleiades is published, which contains English translations of the contact reports. On pages 372-375 Wendelle Stevens writes about his team experiences regarding the San Francisco earthquake pictures.

Messages from the Pleiades, 1st ed. is published Vol. 4, pg. 372-375, 1995

The mysterious “time” photos of the future destruction of San Francisco in a great earthquake have always been highly controversial. We, that is, Lee Elders, myself and Brit Nielsen, were at the farm in Schmidruti one evening in 1978 when Mr. Meier mentioned time travel and a “trip” he had taken with the Pleiadians to view the great San Francisco earthquake predicted for the future, which he said he had been allowed to photograph with his own camera. We of course insisted on seeing the photographs, and continued to do so until Meier left the room and came back with one of those photo shop return envelopes in his hand. It contained the pictures still in it, together with the negatives. He had taken these pictures on negative film in contrast to his earlier photographing of the spacecraft on ASA 100 positive slide transparency film.

He opened the envelope and spread out eleven colour prints on the kitchen table there. He said that they were pictures of the future San Francisco quake. Then he passed them around the table one by one to all of us to examine. There were at least nine to ten people sitting around that table at that time, which included his wife Kalliope, Engelbert and his wife Maria, Jacobus, Bernadette, and a couple more whose names I don’t remember.

I carefully studied each picture as they came to me, trying to recognize familiar landmarks and buildings, and any prominent new structures I had never seen before. I looked carefully at cars shown in the streets below for style and any configurations not familiar at the time. I did see smaller cars with smoothly rounded corners and no external projections, and some of these had half-glass and others full-glass cabin tops, making them look more like bugs than boxy cars.

I saw the World Trade Center Building cracked through its steep pyramidal shape from upper right to lower left, from the viewer’s angle, and another big rectangular building with higher rectangular towers on either end, collapsing in the middle and taking the two towers down with it. There was shooting flame, black and light smoke, and water and gas spewing from broken pipes, and there was a lot of dust roiling out from the collapsing rectangular building.

We passed the pictures around a second time and we all studied them again, and then Mr. Meier collected them up, put them back in the envelope, and took the envelope back out of the kitchen once more. We were all in shock at what we had just seen, and discussed it only briefly before that meeting broke up an all went to bed for the night.

A few days after that, Meier was summoned to a new contact and was asked to bring the photographs with him which he did. The visitors wanted to have their scientists look at the pictures, too, and they took the negatives and prints with them. When Meier tried to get the pictures back, he was rebuked for showing them to us without their approval, and against their instructions not to do so until after the event. Those pictures have never been returned to him. Thus today we do not have any solid evidence that those pictures were ever taken.

A year later, on another trip to Switzerland, our attention was called to an article in a copy of the European edition of GEO Magazine, which carried a painting of the future destruction of San Francisco that was remarkably similar to one of Meier’s photographs, the one showing the steep pyramidal World Trade Center building coming down. I was amazed at the close similarity to the one I had seen in Meier’s house the year before, but could not re-visualize the detail seen well enough to make a valid comparison. I later obtained copies of the GEO magazine and then remembered that the article there only one painting of the destruction bled over two pages whereas I had seen eleven pictures in Meier’s house. Now, where did he get the other ten if, as his accusers say, “He copied the pictures from the GEO magazine article”.

When Meier asked the Pleiadians about this, they said that any artists or real sensitives seeking such information could tap into the same reality and get the same pictures, because they do now exist in our future time.

I don’t think a great many people actually saw those dozen photographs in Meier’s house, which looked very real to me, like real photographs, not photographs of paintings, and maybe no more than the few around the kitchen table that night. All others would very likely come to the conclusion that those pictures were one and the same. But there are at least ten people who do know otherwise and I am one of these.

Mr. Meier sincerely believes that he took a trip in time during this contact, but this was not the first, and so he was not entirely unfamiliar with the phenomenon of time travel.

There are two schools of thought concerning this exotic condition. One is that time is a structured, inflexible, linear phenomenon that can not be altered or changed. Those will choose to believe that if this is not an outright falsification, then it is at best a manipulated condition like the virtual realities we are just beginning to experiment with, or that it is a very real projection from stored memory using quite sophisticated 3-D viewing systems.

The other concept is that time indeed is a flexible, non-linear phenomenon that is navigable like space, and that once we know what time is and how to use it, we can really go backward and forward in time and perceive events there.

In another discussion of time and space, Mr. Meier was told that just like there are milestones in space, there are confluences in time; and just like we can get to a given destination in space by many routes, we can get to a given point in time by different confluences.

It was suggested that space and time are opposite aspects of the same phenomenon, like matter and energy, and that once we understand the phenomenon we can navigate time as we now do with space. When we learn its nature we will be able to convert space to time and time to space as we choose. In fact it was suggested that an understanding of this phenomenon will be necessary before we can really undertake interstellar travel. We live between the extremes of time and space, and we can not travel in one without influencing the other. When we move in space it takes time, and any movement in time shifts space.

A new book, “ASTRO-METRICS of Undiscovered Planets and Intelligent Life Forms” by Dr. Yuri Danjo and Col. Ron Blackburn (USA Ret.) attempts to apply new formulas to understand these relationships and other exotic phenomena such as size and other apparently limiting conditions. You will need to be a very good mathematician to understand these concepts.

2001 – Zeugenbuch

On pages 200-202 of the Zeugenbuch (witnesses book), FIGU Core Group member Bernadette Brand’s testimony on Meier’s San Francisco pictures, which was first published in Stimme der Wassermannzeit Nr. 63 (June 1987) and Nr. 64 (September 1987), was again published.

2001 – And yet… they fly! (1st English ed.)

An English edition of Guido’s 1991 book ‘Und sie fliegen doch!‘ is published with the title ‘And yet… they fly!, which contains the same response regarding the future San Francisco earthquake photos on pages 204-205.

2004 – And still they fly! (2nd English ed.)

Another English edition of Guido’s 1991 book ‘Und sie fliegen doch!‘ is published with the title ‘And still they fly!, which contains the same response regarding the future San Francisco earthquake photos on pages 171-172.

2006 – ‘The Meier case update’, International UFO Congress (IUFOC)

On the International UFO Congress (IUFOC) 2006 Wendelle Stevens (accompanied by FIGU’s American media representative Michael Horn and FIGU core group member Christian Frehner) discusses Meier’s San Francisco earthquake pictures:

January 11, 2010 – Contact Report 486

Refer to More References – Outer space photos.

2012 – Und sie fliegen doch! (2nd German ed.)

Guido publishes an expanded 2nd German edition after his first German edition 1991 book – Und sie fliegen doch! which again contains the same response regarding the future San Francisco earthquake photos on pages 335-336.

July 2014 – FIGU Forum Q/A

On June 29, 2014 Pavani, a member of our BMUFOR team based on the incorrect information from Wendelle, asked Meier the following question on the FIGU forum Q/A section about the future San Francisco earthquake photos:

San Francisco Earthquake Photos:

CR 104, 1978
Billy:
..And surely it doesn’t matter, if I then also publish these photographs, if they come out well, is that okay?
Quetzal
89. Surely there would be nothing to object against this, for thereby very many people would then leave San Francisco and settle elsewhere before the catastrophe arises.
90. This would save very many human lives.
Billy:
…Yet listen now: somewhere must be a building, which should be known as the America-Building or similar; so get me there. This I want to photograph above all, so that no one can come and claim that I would have taken photographs of the last great quake at the turn of the century.
In CR 106, 1978, you come to know that a year earlier a similar looking painting was published in Geo magazine and talked to quetzal who then expressed the following statement:
Quetzal:
51. However, under the circumstances it is likely better, if I take the photographs, as well as also the negatives of the film, in order to protect you from further attacks.

Wendelle Stevens in his Message from the Pleiades says the following on this issue:

“A few days after that, Meier was summoned to a new contact and was asked to bring the photographs with him which he did. The visitors(Plejaren) wanted to have their scientists look at the pictures, too, and they took the negatives and prints with them. When Meier tried to get the pictures back, he was rebuked for showing them to us without their approval, and against their instructions not to do so until after the event. Those pictures have never been returned to him. Thus today we do not have any solid evidence that those pictures were ever taken.”

Why did Quetzal change his position, when in CR 104, he gives permission to you to publish all the photos of future earthquake destruction of SF but again in CR 106 takes all these back ?
And if what Wendelle above says is true, why would Plejaren rebuke you for showing these pics to the 10 members (including the American investigators) when these were supposed to be published for all the world to see and move away from SF to save their lives?
What caused Quetzal to change his decision ?
Also how is that by taking away all the 11 color print photos (where 1 pic out of 11 was very similar to GEO magazines painting & the rest 10 would not be), would save you from further attacks when in fact you could publish all the 11 photos which gives you more credence/leverage to your side of the story thus convincing thousands of people in California & in other places to move away from their homes and save their lives.

Meier responded as follows on July 25, 2014:

It was Quetzal’s decision because he was angry about the circumstances.

(Note by CF: For any rationally thinking, intelligent person who is thoroughly studying the „Meier material“ it should be clear that San Francisco will be destroyed in the not too far future. No photos are necessary to come to this realisation. It’s just a case of whether or not an individual decision is made by all those people who are living in the San Franciso region. And this, by the way, also matters with other locations around the Pacific and elsewhere.)

A follow-up question was asked by Pavani on August 26, 2014:

Dear Meier,

The following was your reply to my question as to why has Quetzal destroyed all the 11 San Francisco Earthquake Photos when only one was found to be similar to an illustration from a magazine.

“It was Quetzal’s decision because he was angry about the circumstances.”

I would like to know, what were the circumstances that made Quetzal angry about?
Was he angry about the coincidence that an identical illustration has appeared in a magazine published much earlier with the aid of BAAWI’s impulses?

If so, then Quetzal could have just taken that specific identical photograph and let the rest 10 photographs be published which according to Quetzal:

“89. …nothing to object against this, for thereby very many people would then leave San Francisco and settle elsewhere before the catastrophe arises.
90. This would save very many human lives.”

Meier responded as follows on September 30, 2014:

He was angry because there were people who accused Billy of having taken photographs from the magazin picture, even if that wasn’t true as has been asserted by Bernadette Brand when she compared Billy’s photos with the picture in GEO magazine.

(Note by CF: As has been stated earlier, hardly any person would leave San Franciso for good if the photo would be inserted into the Contact Report. If Billy’s warning by now has not been heeded, an additional photo will not change anything.)

Again a follow-up question was asked by Pavani on September 30, 2014:

Meier,

The following was your reply to my question on Why Quetzal was angry on one single photo being similar but not identical to San Francisco Earthquake illustration published in GEO magazine:

He was angry because there were people who accused Billy of having taken photographs from the magazin picture, even if that wasn’t true as has been asserted by Bernadette Brand when she compared Billy’s photos with the picture in GEO magazine. (Note by CF: As has been stated earlier, hardly any person would leave San Franciso for good if the photo would be inserted into the Contact Report. If Billy’s warning by now has not been heeded, an additional photo will not change anything.)

I still don’t understand the logic behind it which I have already pointed out earlier. Could you please elaborate more on the logic behind it?

“Also how is that by taking away all the 11 color print photos(where 1 pic out of 11 was very similar to GEO magazines painting & the rest 10 would not be), would save you from further attacks when in fact you could publish all the 11 photos which gives you more credence/leverage to your side of the story..”

If we use the same logic, why didn’t Plejaren remove the Apollo-Soyuz & cave-men pictures from your “genuine” photo collection, when they are clearly shown to be fakes by Mahigitam ? Skeptics also accused of faking several beamship photos. Why didn’t Plejaren take them back?

Dear CF, It was Quetzal’s logic and decision to let Meier publish all 11 San Francisco photos, by which thousands of people can move away from California and save their lives (CR 104, 1978). Are you saying that Quetzal was wrong in his thinking?

Meier responded as follows on October 28, 2014:

Just as it is the case with the human beings of Earth, Plejaren can also get angry and do things which are not „entirely“ logical.

(Note by CF: Since Plejaren human beings are human beings, they are not perfect and, therefore, may act illogically sometimes.)

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Last modified on April 5, 2015 at 2:43 pm