Area 51 The Revealing Truth of Ufos, Secret Aircraft, Cover-Ups & Conspiracies
One of the lesser-known aspects of the Bob Lazar controversy is that which suggests that he just might have seen an alien entity at Area 51—a live one, no less. The story gets very little publicity, but it’s fascinating in the extreme.
The issue of aliens—alive, dead, or both at Area 51—first surfaced from Lazar in early 1989. When asked about that specific matter by George Knapp, Lazar quickly shot down the question in an awkward fashion and changed the subject.
Later, though, in what was a private, rather than public, interview, Lazar opened up a bit more. What he had to say was brief but amazing—if true, of course. According to Lazar, “I walked down the hallway at one time I was working down there, and there were these doors—the doors that go to the hangar are smaller than the doors in the corridors and have a 9-inch or 12-inch square window with little wires running through it, just about head level.
And as I was walking by, I just glanced in and I noticed—at a quick glance—there were two guys in white lab coats, facing me towards the door.” Lazar then got to the heart of the matter: the two men were looking down at a small, humanoid figure with long arms, seemingly talking to it. Although Lazar only saw the entity for a second or so, he was in no doubt about what it appeared to be. I say “appeared” because Lazar himself wondered if this was some kind of setup. He said of this possibility: “Maybe they stuck a doll in front of these guys and made me walk by it and look at it, just to see what my reaction would be.”Such a thing is not at all impossible, as the following brief, but notable, comment from Lazar makes clear: “They play so many mind games there [italics mine].”
While enthusiastic UFO researchers may dearly want to believe that living aliens are at Area 51, Lazar’s carefully worded statement suggests that we should exercise restraint on this issue—at least until, or if, further vindication comes along. It’s important, too, to note that this has an intriguing precedent—a very similar tale of fabricated aliens, as we will imminently see.
George Knapp made a thought-provoking statement in 1993 that may have a bearing on the issue of how the government might be using the UFO issue as a cover for something else, such as a dummy for an alien, we might suggest.
Knapp said: “Again and again, I have heard self-appointed Groom Lake experts conclude, without any reservations, that the Groom Lake aerial ballet is disinformation, pure theater, a show designed to distract attention away from earthly black projects, or as some sort of exercise in mass psychology.” As someone who spends a great deal of time digging into stories of the distinctly strange kind, I find myself on the receiving end of a lot of correspondence from people who read my articles and books. Very often, people want to share their stories (or those of families and friends).
More often than not, this process opens a lot of doors and offers greater insight into the subjects that interest me—whether the UFO phenomenon, cryptozoology, or the field of conspiracy theorizing. Sometimes, however, I find myself on the receiving end of a very different category of story.
That category is, for me at least, quite possibly the most vexing one of all, the reason being that it is filled with intriguing stories but ones that I have never been able to get to the bottom of and that languish in a realm that might accurately be titled “fascinating but frustrating.” One such account has a bearing on the events at Roswell, Unit 731, and the worlds of psychological warfare and disinformation.
In 1997, the U.S. Air Force published a report that suggested that the “alien bodies” seen sprawled around the Foster Ranch in Lincoln County, New Mexico, in the summer of 1947 were dummies used in parachute experiments.
They weren’t, but the “alien dummies” saga has another angle, an incredibly odd angle. Ten years after the Air Force’s aforementioned report surfaced, I spoke with a man who claimed that his grandfather, from the 1930s to the 1960s, worked in the world of Hollywood—specifically in the field of special effects and model making for horror and sci-fi movies. The grandfather also had another string to his bow, namely, a connection to the secret world of the government.
That same connection surfaced in an intriguing fashion.
In 1945, the acclaimed filmmaker Billy Wilder—whose movies included Some Like It Hot, Stalag 17, and The Seven Year Itch and who died in 2002 at the age of ninety-five—directed the English-language version of a documentary called Death Mills. It was a film produced by the U.S. Department of War’s Psychological Warfare Department. Death Mills is a harrowing but acclaimed production that graphically revealed the sheer, horrific extent of the Holocaust.
The Pentagon describes psychological warfare as “the planned use of propaganda and other psychological actions having the primary purpose of influencing the opinions, emotions, attitudes, and behavior of hostile foreign groups in such a way as to support the achievement of national objectives.” It transpired that plans were afoot for Wilder to make a similar production for the PWD. The subject? The atrocities undertaken by none other than Japan’s Unit 731 during the Second World War. It was, however, a documentary that ultimately did not come to fruition. It transpires that my source’s grandfather worked on Death Mills with Wilder and, as a result, came to know some of the PWD personnel very well—as did Wilder, which is an important aspect of the story.