JOURNAL — TAPE #747, SIDE #2
Q: Mark Russell Bell
G: George Noory, host of “Coast to Coast AM”
J: John, caller from Ohio
M: Michael Lynch, guest on “Coast to Coast AM”
(X): unattributed sounds
Q: (speaking into tape recorder) So it’s Tuesday, July 29th and last night this was the last call during the first hour of open lines on “Coast to Coast AM” with George Noory.
G: . . . East of the Rockies, let’s go to you, John, in Ohio. Welcome to “Coast to Coast.” Hi, John.
J: Hello, George.
G: Yes. Yes sir, you’re on the air.
J: Great to hear your voice. (X)
G: Well thank you. (or “WELL THANK YOU”)
J: And I have a comment.
G: Okay.
J: (You) know (or “NO”), “Coast to Coast” audience knows about what’s going on. Like what we’re — what — what does Art call it?
G: The Quickening.
J: Raising consciousness.
G: Consciousness and the Quickening.
J: Yeah. There we have it. In a nutshell, I have a thought. I’ve been reviewing Karl Jung’s work and applying it to “Coast to Coast.” (X)
G: Okay.
J: 1956 — he’s writing about flying saucers and the phenomena. He’s talking about the collective unconsciousness. He (X) coined words: syn(X)chronicity. He (X) coined that word. Are you aware of (X) how the origins are?
G: Let me tell you, Jung was way, way ahead of himself.
J: Well (or “WELL”) what part — let’s talk about some of these archetypes. Okay, George? (X)
G: Alright.
J: Symbolism. Now they (X) talk about crop circles and sacred geometry.
G: Um-huh.
J: The perfection — not the debunkers and the hoaxers — the reality of it. Wind(mill) (X) Hill, etc. There’s not a human being alive that could do that in 50 years. (X X)
G: I agree with that.
J: So what is the represen(X)tation? What I feel that it is — and this is a message of hope (X) out there, “Coast” listeners. It only (X) takes a little bit of critical mass — well they say two percent in (X) quantum mechanics. Well hey, if you’ve got (X) twenty million listeners, do the math on that. (X) It’s not going to (X) take very many of us to feel the love and have a little bit of (X) peace in our hearts to realize that we’re all one part of a living organism called Earth, an infinitesimal orb (X) in a grand cosmos before that (X) Quickening oc(X)curs. So folks out there, keep listening, keep believing and keep that love in your heart. (X “I BUIL”) Truly believe, George — and I think Art was (X) called into this and Mike after him and you and Barbara and all the rest. (“NN”) With enough love, one (X) person can change this world. (X)
G: Well said, John.
J: That’s a thought for you, my friend . . .
(TRANSCRIBER’S NOTE: THERE IS PART OF A WORD HEARD THAT SOUNDS LIKE JOHN WAS BEGINNING TO SAY SOMETHING FURTHER BUT THE ENGINEER TOOK HIS CALL OFF THE AIR.)
G: Well said. Well said. You know, (“E”) he’s right. When you consider the strength of all of us together collectively. All of us. (X) Not just me or Art or Barbara — all of us. You can change things. And (X) we’ve all demonstrated this on this program, (X) haven’t we? (X) Just got to be able to put it together, (“DO”) just do it in a different way, I think. (X) You can change things. (X) Well in a moment we’re going to talk about (X) entities. Yup. (X) So stick around for this ride. I’m George Noory. My (X) guest will be Michael Lynch — (X) Dr. Michael Lynch, (X) Para-Vision, (X) leading the way in ghost and entity (X) investigations. You’re (X) listening to “Coast to Coast AM.”
. . . It ain’t me, it ain’t me I ain’t no fortunate one, no Some folks are born silver spoon in hand Lord, don’t they help themselves ou(t) But when the taxman come to the door Don’t the house look like a rummage sale yeah (no) It ain’t me, it ain’t me I ain’t no millionaire’s son, no (no) . . .
(“Fortunate Son” performed by Creedence Clearwater Revival)
Q: So last night George’s guest was Michael (X) Lynch, a paranormal investigator. (X) I listened to a little bit of the interview and it was rather dull so I taped an hour as I went to bed. And I just listened to the tape and it includes putting a tape recorder in an empty room and getting ticking that fades out and back in; and discus(X)sion — (“OF”) previous lives (X) during hypnosis; and being (X) told that these lives are simultaneous. So George is really getting a lot of (X) evidence. (X) I remember the same night that I called Mr. KABC last, while I was recording the show, I listened on my other radio (X) to a little bit of “Coast to Coast AM” and there was (X) — I guess he was a (X) truck driver or something and he (X) called in about a time warp experience or something (X) where he (X X) saw (X) a road and saw (X) a house that seemed like a very old-fashioned house. (X) And he looked in the window and there were no people there but there was a big bell (X) in the house. I wasn’t (X) taping that. (“BUT” X) George is getting all of this (X X) correlating evidence for my (X) experience in my book. (X) I don’t think that Michael Lynch (X) knows about unattributed (X) sounds and EVP; however, all broadcasts and they’re very clear as always, (X) if you know they’re there and what to look (X) for or what to listen for. I also meant to (X) send Email to Lloyd Auerbach, the other paranormal investigator (X) who was on a while ago but I just haven’t had time and it’s something (X) I want to do. (X) Now it’s almost (X) time for another (X) “Coast to Coast.” (X) I notice that the one who’s on tonight (X) has been on before and I didn’t think he was really (X) that (X) great of guest. A Robert. (X) Anyway, I guess I should say (X) that I did listen to (X) a tape of my last call to Mr. KABC and I’m not entirely pleased. (X) I do (X) think it’s (X) important to question the surface of things in the news and the reports but (X) in this situation people (X) are so quick to brand you a (X) “conspiracy (X) theorist.” And that’s what happened, of course. Because you don’t really have (X) time to go into details. (X) And there is plenty of evidence. I mean Monica Lewinsky came up. (X) If you start questioning the surface of her story, (X) there’s a lot there to question. (“BUT”) The news journalists weren’t questioning (X) at the time. I remember thinking to myself, “What was going on with Monica (X) that she had to go to Kinko’s not only in Washington but out here in California?” I mean a computer (X X) outfit doesn’t (X) cost practically anything (X) anymore. What is that all about? (X X) Anyway, this weekend I was passing by (X) the living room where my mother’s bed is and she was watching the news. (X) And I was offended. (X) If I’d had a baseball bat, I would’ve slammed that television. You had, again, (X) the bimbos with their hair all lacquered up and they’re (X) saying all lacquered up words. They were talking about the (X) beached squids. The (X) hundreds of beached squids. And I also heard (from a radio show caller) (X “THAT”) abalone too had to (X) crawl out of the water. It must’ve been something in the water that was making it (X) too painful for them to stay in their natural habitat. (X) Probably sonar. The same weekend they had (X) reported that the biggest war games in the history of the United States were going to happen. (X) But you know what those bimbos said? And my mother didn’t even question it. They said, “Oh well, the squid probably were chasing a school of fish and they got trapped on the shore.” (X X) Now isn’t that exactly what (X) the government and the military (X) would want them to say? It just — it’s disgusting. These people say what they’re told to say because they get their (X) $100 grand a year. Or less. And that’s all they care about. They want to look their best (X) and they’re just idiots. (X) They’re evil idiots on the corporate payroll like I once was. So here I am, not accepting the surface of things — my God, who can accept the surface of (X) George W. (X) Bush’s (X) career? I mean when he sounds so polished, it’s a joke. I mean he’s a human (X) being. He’s got kids. Ask him about grandkids? Ask him what kind of environment they deserve? I mean why would he just (X) work against environmental protection and improvement when he’s (X) got — he wants to have (X) heterosexual grand(X)kids. It doesn’t make any sense. I’m disgusted by it. What else was I going to say? I just had a thought that I thought was im(X)portant. I was thinking about those promos again for Rush Limbaugh: “Those environmental wackos!” I mean how could any (X) decent human being work (X) against simple, decent environmental (X) concern? It’s just not right. (X) I mean it’s obviously an agenda. Obviously, the only environmental wacko is one who does nothing to help (X) the environment (X) or has no (X) care of the environment. What a metaphor going deaf is, (X) for someone like that. Anyway, the speaker last night, Michael Lynch, (X X) also talked about love (X) being the most important thing in the world. (X) So let’s see (X) if George comes through where Ian and Barbara and (X) Hilly and Art, (X) for whatever reasons, (X) haven’t been able (X) to succeed.
( . . . )
Q: I’ve decided I’ll present a clip from last night’s show here. (X) Can’t tape every(X)thing like I (X) have sometimes in the past. But just a sample.
M . . . And (“THE”) the more you (X) talk to people who’ve (X) had near death experiences, the more that (X) they’re kind of somehow in tune to this (X) alternate (X) parallel (X) time dimension (X) via electromagnetics, via (X) collective (X) consciousness, (“DD”) via, no, (X) trapdoors in the (X) electromagnetic abilities of our universe, time and space; however they’re connected, it is real for them. They see it. They smell it. They hear it. They (X) taste it. (“YEAH”) It is real (X) for that split second, for that — (X) for that — the — (X) for those (X) ten seconds or twenty seconds it just is real. Okay? So (X) I know there’s a connection. (X) I just don’t know how it all interrelates. But when you go back to these hypnotherapists who follow the psychoses and neuroses of (X) past problems and solve it somewhere in a (X) past life — (X)
G: Which I believe in, by the way. (X)
M: Oh you do? Well that just . . .
G: Oh absolutely. Oh absolutely.
M: I’ve seen these people after —
G: Yes.
M: — they’ve been (X) cured. And (X) — but the jury on how that’s done even in my mind is so complex that I have to take notes. (“I”) I virtually have to take notes when they describe that they went back three life(X)times to (X) fix a (X) problem — a migraine headache problem (X) three lifetimes ago. Now I take notes because when they’re in the hypnotic state they go — their sub(X)conscious will go to the problem, go to the source of the problem automatically. They don’t even have to be prompted by the hypnotherapist. And I have a hypnotherapist on my team and she has (X) taken several patients back in their — (“LI”) their lifetime (X) now, like back to when they were three year(s) old (X) to find the neuroses of — of what’s happening today.
G: I’m going to go out on a limb and say that consciousness throughout the universe may be the single most im(X)portant factor (X) of the universe. (“GO[D]”) Of everything we know. (X)
M: Yeah. Well (“A”) yes and no. I would say what the most important factor (X) is. And it’s the only truth. And love, (X) George, is the only truth. And (“AND I”) — and I can stand here —
G: Could you say love and positive are the same thing?
M: Love is greater than positive. (X)
G: Alright, stay with us because we’re going to listen to your audio tape when we come back (X) about that investigation. Michael Lynch, Para-Vision. I’m George Noory and you are listening a(X)cross the country and the world to “Coast to Coast AM.”
( . . . )
G: (X) Okay, Michael, let’s talk a little bit more about this audio tape, which you were able to record and kind of set the stage for us, would you?
M: Yeah. The best way I can describe it (X) was the lady had had enough and she was moving out of the house. And the house is (X) devoid (X) — I mean it’s empty. (X) There’s no furniture whatsoever. (X) There is nothing in these rooms. The house is absolutely empty. (X) I think there was a couple of pieces of (X) furniture (“Y[OU K]NOW”) still there but (X) it was empty. And she was (X) packing up and (X) leaving. (X) Again, our analysis (X) started (X) to lean (X) more not that it was haunted (X) but there was some other dimensional (X) event (X) going on that we couldn’t really control or shut down or (X) stop. And that (X) gave us a very futile (X) feeling. (X) So what she was doing was she was — it was like (X) the last thing and she was checking (X) the (X) entire house out (X) and so we (X) kind of put down (X) little re(X)corders to (X) try to just listen to see if we could (X) hear anything — (“JESS”) pick up anything. (X) And, again, this (X) — my idea was that it was, you know, (X) enough electromagnetics that it could almost (X) do anything: we (X) may not catch anything, we (X) may catch something. Now, again, what you’re going to hear is an inanimate object (X) and when you listen (X) to it there’s going to be a lot of white (X) noise in it. (“BUT”) When I filtered (X) out the white noise, the actual (X) sound of the object (X X) went away.
G: Hmm.
M: So somehow it’s in this airy white noise (X) frequency. Now when I listen to it on the actual (X) tape and I put on my headset—I’m listening (X) to it—I know exactly what this is because my parents owned one, you see? And so when I hear this, (X) I know exactly what this is. And I grew up with (X) one, okay? (X) So let me (X) play it. I — I’ll — I’ll — I’m sorry it’s in the faintest end and (X) so were the phone line and everything (X) so —
G: Well no, I understand.
M: I’ll play it for a few seconds. I’ll have to take my — I’ll have to put the micr(ophone) — the (X) — the headset down to the speaker here. (X) I’ll play it for a few seconds to see what we can do, okay?
G: Okay. We will (X) do that.
M: Here we go.
G: We will be listening to this audio (X) tape taken by (X) Para-Vision/Michael Lynch. Listen closely. (tape plays with ticking/tick tocks in rapid succession)
M: Now (or “NOW”) I don’t (X) know if you could hear that. (X)
G: I heard the (X) clicking —
M: Clicking, okay.
G: — and the rushing sound in the background.
M: Yeah. (or “YEAH”) That, now (X) — that is just basically (X) white noise (“VISIT” X) — was recorded on analog tape. Now the clicking is a (X) clock. (“IT’S”) It’s a wind-up alarm (X) clock that was (X) manufactured — because my parents owned one. It was an — (X) a smaller but (X) heavy (X) mantle clock. The (X) clock you’d set up on the mantle (X) of your fireplace and you would wind it. And my parents had one as an alarm (X) clock and (X) it was the same type: (“HE HAD LIKE”) four-inch face, very heavy duty (X) and when it would (X) click, it’d (X) often skip a (X) click and it would (X) click all the way through. Now I listened to this tape. This goes on for (X) 20 minutes. (X) And the most amazing thing about this is that it act(X)ually fades (X) away — (“THE” X) clicking of the (X) clock fades away (X) and then it comes back. (X)
G: Now were — were — (X) were you able to hear any of that in real — real time?
M: No. (or “NO” X) No. No.
G: Nothing?
M: There is nothing in this (X) room whatsoever. There is no furniture. (X) You leave (X) the recorder on the (X) floor and you walk away.
G: Now can you play that back one more (X) time for us?
M: Yeah, I’ve got a lot of it (“SO”) so let me play it again.
G: Alright . . .
M: And (X) this is an old —
G: And you’re pretty sure it was the clicking sound of a clock? (X)
M: Oh yeah. On the reel (X) tape —
G: Okay, presumably —
M: — you can actually hear the — it’s like (X) not a me(X)tallic sound.
G: Alright. Well (X) before you (X) play it, why would we hear in — as you were saying earlier — inanimate (“YEAH”) objects on the tape and why not the sound of a ghost or something like that?
M: Because we may not be dealing with a ghost. There are two (X) things that (X) we remember the most. We remember background noise like (X) the ticking of a (X) clock in our sub(X)conscious because it’s always used in music; (X) it’s been used in hypnotherapy; it’s this rhythm that we (X) can remember. And so we (X) can manifest that on the other side with enough energy. The other thing is what if — (“JUS”) just think for a second — what if this is (X) another dimension altogether and the only thing that’s coming (X) through that we understand is this (X) electromagnetic field and sound waves? Now again, I’m going back to this original model. If you go back to the model of this electrical po(X)tential, an electro(X)magnetism and you harness the two, (X) you have something like a (X) tape recorder head — get me?
G: Yeah?
M: A (X) tape recorder head is electrified electromagnetic energy. (X) And it records something. And this is possibly how psych(X)ometry works. The human body trans(X)fers elec(X)trons elec(X)tromagnetically (X) to an object. (X) The object records it forever.
G: Alright, let’s hear it again.
M: Okay. (laughs) (“YEA” “I”) Jus(t) like I said, yeah, okay this is — this may be inter-(X)dimensional and not a haunting. (X X or turning on tape player) (plays tape with ticking/tick tocks in rapid succession)
G: What’s the rushing wind sound I hear in the background?
M: That’s — that is — that is not the wind. (X) That is just white noise. That’s how low this is. This is so (X) soft that we just crank up the volume (X) and that is the white noise. It is just (X) right there on the border.
G: When you first heard that, did you think there was something wrong with your (X) tape recorder?
M: Yeah. Actually, I took the tape out of the original one, put it into (X) another recorder, rewound it, put in, (you) know (or “NO”), fast-forwarded it, (X) cleaned the head, the whole nine years, heard it — listened to it (X) again. And, like I said, this goes on for (X) twenty minutes because the tape recorder is in the floor. And what surprised me the most is when you hear someone walk into the room, it fades. The tape re(X)corder almost — I mean the — the ticking fades away. (X) And when they walk back out of the room, y(ou) — it gets louder again. And on the original (X) tape, George, this is an old (X) Timex mantle clock. (“THA[T] WE”) This was a smaller (X) version and this one was used as an alarm (X) clock — at the head of the bed and things like this. And this (X) was in the bedroom. But there was no (X) furniture there at all. (X)
G: Now I’ve known you for a couple years, Michael, so I know you’re not making (“I’M”) this up.
M: I’m not making this up and (X) I — that’s why — (X X)
G: If anybody else played it for me, I’d go, (X) “Um-huh?”
M: Yeah. (or “YEAH”) (You) know (or “NO”), that’s why I —
G: I know you’re not making it up.
M: I even sat here and I (X) tried on my computer to, like, (X) create another one — no (or “NO”) see (“WHA[T I]F” X) if I could do this, and I would have to have that (X) clock and a microphone and I would have to have had it, you know, a certain (X) distance and things like that. I’m (X) trying to theoretically find ways to duplicate this but — but (or “BUT”) — but every time I run it (X) through my computer, the sound of the (X) clock (X) is (X) different than the white (X) noise; where on (or “WE’RE ON”) this tape, if I (X) turn the, you know, the white (X) noise down, the (X) ticking of the clock disappears. And that’s not supposed to happen. It’s supposed to be a (X) totally different frequency on the board all the way through. But it’s not. As soon as I turn down the white noise, it disappears.
G: What are your other investigators, Morelan and Johnson, what do they say (X) about this tape?
M: If (or “IF”) — they’re not sure. Borderline. It’s borderline. And I know because (X X) Jim has been (X) trying (X) to get EV(X)Ps for (X) a (X) year or so now. (X) We’ve (X) kind of got in(X)to it — we (X) kind of — he (X) kind of went another way. He wanted (“TO VIS” X) to develop a portable vor(X)tex machine, (X) which he almost got (X) finished, I think, (X) and, anyway, he went on vacation and I haven’t (X) heard back from him so (X) he (X) kind of went into his electromagnetic field (X) theory. (“MORE”) And so we kind of got away from (X) EVPs for a little while but now I’m — I’m (X) going to get back into it. (X) I’m going to —
G: What — (or “WHAT” X)
M: — get back into it.
G: Have you ever been (X) on an investigation where the (X) person that has asked you to (X) come in has (X) literally (X) lost it? I mean emotionally lost it?
M: Oh. Not (X) totally. Normally, when they get to us — oh, I’ve got another story I’ve got to tell you but when they get to us, yeah, they are at their end of the rope. They’ve gone to the — (X) the priest. They’ve gone to the psychiatrist. They’ve gone to everybody. (X) And it’s either we (X) do an — (X) it’s either we call the priest in and (X) we do a complete (X) exorcism or (X “WE”) we’re going to have give ’em some (X) type of conclusion or answer. (X) And many times when we whip out our video equipment, (X) there is no doubt left in their mind (X) that there is or there is not (X) something there. (X X X) We’re getting ready to go on another investigation (X) and this is — (X) I want to bring this (X) up real quick (X) because this (X) (phonetic:) ‘p(r)elim’ — (X) a friend of mine — he’s a (X) very good friend of mine — moved into (X) a very old (X) home and (X “HE”) moved (X) out from (X) California. He moved into this house. He — (“HUNG” X) a picture over (X) his (X) piano. His (X) piano’s an (X) upright piano against the wall. This picture came off the wall and ended up in the middle of (X) his diningroom and (“JUS” X) smashed the glass all to (X) pieces. When I went and (X) looked at that picture, (X) on the back of it was a (X) piece of (X) paper that was glued (X) on to the back. (“YEAH”) It had (X) a rip down the cen(X)ter of the piece of paper and the edges (X) were — were (X) torn. And I asked him about the back and about the (X) front, and he says, “No, this was in (X) perfect (X) condition when I bought it.” And so what I (X) did was I took it back (X) to the room it was in — (“[Y]EAH BUT HE”) he (X) took it and put it in the base(X)ment. Okay? And (X) I took it and I picked it up and I put it against the wall and I said, “This is exactly what happened.” Now there’s not a mark on his (X) piano (X) and there’s not a mark (X) on any of the furniture that’s there — (“IT JUS”) on the floor where the im(X)pact of the (X) print was.
G: Weirder and weirder. (“GIVE MICHAEL”)
M: Okay, get this. (X) This is how weird this gets. And I didn’t think (X) — well you want to (X) talk about entity damage, this is it. And, remember, there’s a (X) piece of (X) paper (X) that’s glued all the way (X) around the back to pro(X)tect the back. What the entity (X) did was push the (X) painting (X) against the wall and raise it (X) by (X) grabbing the upper edges of it, (X) tearing the paper. (X) As the (X) paint(ing) — as this (X) print went (X) up the wall, the nail (X “TORE THE” X) tore the cen(X)ter of the paper. The next (X) thing you know, it ends up in the middle of the (X) floor and you can (X) see where the hand had gone from the (X) top — of the (or “OF THE” X) painting — the print (X) and down the sides. And then it ended up in the (X) center of the room —
G: Gosh.
M: — smashed. (X) And (X) I looked (X) at the — (“THE”) the odd thing about it was, was the (X) piano that it was hanging (X) over (“WAS”) — there was no scuff, no scratch. And it had not been dusted for a couple of days. So I would’ve (X) known if someone had (X) climbed up there to do this. The other thing was, was that the (X) — the stool for the (X) piano (X) had a very weak (X) leg. (X) And they advised me not to move it (X) because I would break it. (X)
G: Right.
M: So — (“JOYOUS”) and the other thing is they (X) put in a (X) $2,000 motion de(X)tector sensor (X) alarm system (X) on their first floor and (X) — and they (X) heard (X) in the middle of the night this big crashing sound, thought someone had broken through the glass. They come downstairs (X) and then they trip off the alarm. And then they (X) come down and call over the next (X) door neighbor and (X) here’s this painting sitting in the middle of (X) the floor. (X)
G: In the middle of the floor?
M: In the middle of the (X) floor. (X X X) And I went down. And — and (X “SO”) — and so I flipped it up and I (X) go, “Oh my God. (X) This (X) painting is your (X) living room.” And he (X) looked at it and goes, “You’re abso(X)lutely right.” (X) And something about the (X) painting (X) jarred (X) a memory in the entity that lived in the house and that was the only thing that he affected.
G: Have you ever —
M: He didn’t mind (X) the guy moving in. He didn’t mind (X) the guy re(X)modeling the house. (X) He didn’t remi(nd) — he didn’t mind (X) any of the furni(X)ture but when he hung this painting up, that was the only (X) thing he (X) couldn’t stand.
G: Have you ever been (X) threatened (X) by a ghost? Where you felt your safety was at stake? (X)
M: Yeah. (or “YEAH”) Yeah. Yeah. Yeah. Jim (X) can tell you more and Jeremy can (X) tell you more because they have been attacked. (X) They have been attacked and (X) — an I — and this — (“I”) I never like (X) to put my (X) people into danger. You know, I’m the first one that says, you know — (X)
M: You rush to the top of the hill. (end of excerpt and tape side)
(TRANSCRIBER’S NOTE: I SENT MICHAEL LYNCH A FIRST DRAFT TRANSCRIPT OF THE ABOVE PORTION OF HIS INTERVIEW. I LISTENED TO THIS PORTION ONE MORE TIME AND MADE SOME REVISIONS PRIOR TO ADDING THIS TAPE SIDE TRANSCRIPT TO THE WEBSITE: FOR EXAMPLE, THE EVP WORD “VISIT” I ORIGINALLY THOUGHT WAS SOMETHING ELSE AND THIS BECAME AN IMPORTANT MESSAGE FOR ME BECAUSE WHEN I HEARD IT THE FINAL TIME, I WENT TO VISIT MY MOTHER AT THE HOSPITAL WHERE SHE WAS SICK WITH BRONCHITIS. SHE WAS ONLY SUPPOSED TO BE THERE FOR OBSERVATION YET WHILE I WAS THERE SHE STARTED HAVING TROUBLE BREATHING AND THE NURSE WAS TOO BUSY TO RESPOND TO THE HELP SIGNAL FOR MORE THAN TEN MINUTES. THEN, I WAS ABLE TO HELP THE NURSE UNDERSTAND THE SITUATION AND RESPIRATORY TREATMENT COMMENCED THAT MADE HER FEEL BETTER BEFORE GOING TO SLEEP THAT NIGHT.)
G: . . . East of the Rockies, let’s go to you, John, in Ohio. Welcome to “Coast to Coast.” Hi, John.
J: Hello, George.
G: Yes. Yes sir, you’re on the air.
J: Great to hear your voice. (X)
G: Well thank you. (or “WELL THANK YOU”)
J: And I have a comment.
G: Okay.
J: (You) know (or “NO”), “Coast to Coast” audience knows about what’s going on. Like what we’re — what — what does Art call it?
G: The Quickening.
J: Raising consciousness.
G: Consciousness and the Quickening.
J: Yeah. There we have it. In a nutshell, I have a thought. I’ve been reviewing Karl Jung’s work and applying it to “Coast to Coast.” (X)
G: Okay.
J: 1956 — he’s writing about flying saucers and the phenomena. He’s talking about the collective unconsciousness. He (X) coined words: syn(X)chronicity. He (X) coined that word. Are you aware of (X) how the origins are?
G: Let me tell you, Jung was way, way ahead of himself.
J: Well (or “WELL”) what part — let’s talk about some of these archetypes. Okay, George? (X)
G: Alright.
J: Symbolism. Now they (X) talk about crop circles and sacred geometry.
G: Um-huh.
J: The perfection — not the debunkers and the hoaxers — the reality of it. Wind(mill) (X) Hill, etc. There’s not a human being alive that could do that in 50 years. (X X)
G: I agree with that.
J: So what is the represen(X)tation? What I feel that it is — and this is a message of hope (X) out there, “Coast” listeners. It only (X) takes a little bit of critical mass — well they say two percent in (X) quantum mechanics. Well hey, if you’ve got (X) twenty million listeners, do the math on that. (X) It’s not going to (X) take very many of us to feel the love and have a little bit of (X) peace in our hearts to realize that we’re all one part of a living organism called Earth, an infinitesimal orb (X) in a grand cosmos before that (X) Quickening oc(X)curs. So folks out there, keep listening, keep believing and keep that love in your heart. (X “I BUIL”) Truly believe, George — and I think Art was (X) called into this and Mike after him and you and Barbara and all the rest. (“NN”) With enough love, one (X) person can change this world. (X)
G: Well said, John.
J: That’s a thought for you, my friend . . .
(TRANSCRIBER’S NOTE: THERE IS PART OF A WORD HEARD THAT SOUNDS LIKE JOHN WAS BEGINNING TO SAY SOMETHING FURTHER BUT THE ENGINEER TOOK HIS CALL OFF THE AIR.)
G: Well said. Well said. You know, (“E”) he’s right. When you consider the strength of all of us together collectively. All of us. (X) Not just me or Art or Barbara — all of us. You can change things. And (X) we’ve all demonstrated this on this program, (X) haven’t we? (X) Just got to be able to put it together, (“DO”) just do it in a different way, I think. (X) You can change things. (X) Well in a moment we’re going to talk about (X) entities. Yup. (X) So stick around for this ride. I’m George Noory. My (X) guest will be Michael Lynch — (X) Dr. Michael Lynch, (X) Para-Vision, (X) leading the way in ghost and entity (X) investigations. You’re (X) listening to “Coast to Coast AM.”
. . . It ain’t me, it ain’t me I ain’t no fortunate one, no Some folks are born silver spoon in hand Lord, don’t they help themselves ou(t) But when the taxman come to the door Don’t the house look like a rummage sale yeah (no) It ain’t me, it ain’t me I ain’t no millionaire’s son, no (no) . . .
(“Fortunate Son” performed by Creedence Clearwater Revival)
Q: So last night George’s guest was Michael (X) Lynch, a paranormal investigator. (X) I listened to a little bit of the interview and it was rather dull so I taped an hour as I went to bed. And I just listened to the tape and it includes putting a tape recorder in an empty room and getting ticking that fades out and back in; and discus(X)sion — (“OF”) previous lives (X) during hypnosis; and being (X) told that these lives are simultaneous. So George is really getting a lot of (X) evidence. (X) I remember the same night that I called Mr. KABC last, while I was recording the show, I listened on my other radio (X) to a little bit of “Coast to Coast AM” and there was (X) — I guess he was a (X) truck driver or something and he (X) called in about a time warp experience or something (X) where he (X X) saw (X) a road and saw (X) a house that seemed like a very old-fashioned house. (X) And he looked in the window and there were no people there but there was a big bell (X) in the house. I wasn’t (X) taping that. (“BUT” X) George is getting all of this (X X) correlating evidence for my (X) experience in my book. (X) I don’t think that Michael Lynch (X) knows about unattributed (X) sounds and EVP; however, all broadcasts and they’re very clear as always, (X) if you know they’re there and what to look (X) for or what to listen for. I also meant to (X) send Email to Lloyd Auerbach, the other paranormal investigator (X) who was on a while ago but I just haven’t had time and it’s something (X) I want to do. (X) Now it’s almost (X) time for another (X) “Coast to Coast.” (X) I notice that the one who’s on tonight (X) has been on before and I didn’t think he was really (X) that (X) great of guest. A Robert. (X) Anyway, I guess I should say (X) that I did listen to (X) a tape of my last call to Mr. KABC and I’m not entirely pleased. (X) I do (X) think it’s (X) important to question the surface of things in the news and the reports but (X) in this situation people (X) are so quick to brand you a (X) “conspiracy (X) theorist.” And that’s what happened, of course. Because you don’t really have (X) time to go into details. (X) And there is plenty of evidence. I mean Monica Lewinsky came up. (X) If you start questioning the surface of her story, (X) there’s a lot there to question. (“BUT”) The news journalists weren’t questioning (X) at the time. I remember thinking to myself, “What was going on with Monica (X) that she had to go to Kinko’s not only in Washington but out here in California?” I mean a computer (X X) outfit doesn’t (X) cost practically anything (X) anymore. What is that all about? (X X) Anyway, this weekend I was passing by (X) the living room where my mother’s bed is and she was watching the news. (X) And I was offended. (X) If I’d had a baseball bat, I would’ve slammed that television. You had, again, (X) the bimbos with their hair all lacquered up and they’re (X) saying all lacquered up words. They were talking about the (X) beached squids. The (X) hundreds of beached squids. And I also heard (from a radio show caller) (X “THAT”) abalone too had to (X) crawl out of the water. It must’ve been something in the water that was making it (X) too painful for them to stay in their natural habitat. (X) Probably sonar. The same weekend they had (X) reported that the biggest war games in the history of the United States were going to happen. (X) But you know what those bimbos said? And my mother didn’t even question it. They said, “Oh well, the squid probably were chasing a school of fish and they got trapped on the shore.” (X X) Now isn’t that exactly what (X) the government and the military (X) would want them to say? It just — it’s disgusting. These people say what they’re told to say because they get their (X) $100 grand a year. Or less. And that’s all they care about. They want to look their best (X) and they’re just idiots. (X) They’re evil idiots on the corporate payroll like I once was. So here I am, not accepting the surface of things — my God, who can accept the surface of (X) George W. (X) Bush’s (X) career? I mean when he sounds so polished, it’s a joke. I mean he’s a human (X) being. He’s got kids. Ask him about grandkids? Ask him what kind of environment they deserve? I mean why would he just (X) work against environmental protection and improvement when he’s (X) got — he wants to have (X) heterosexual grand(X)kids. It doesn’t make any sense. I’m disgusted by it. What else was I going to say? I just had a thought that I thought was im(X)portant. I was thinking about those promos again for Rush Limbaugh: “Those environmental wackos!” I mean how could any (X) decent human being work (X) against simple, decent environmental (X) concern? It’s just not right. (X) I mean it’s obviously an agenda. Obviously, the only environmental wacko is one who does nothing to help (X) the environment (X) or has no (X) care of the environment. What a metaphor going deaf is, (X) for someone like that. Anyway, the speaker last night, Michael Lynch, (X X) also talked about love (X) being the most important thing in the world. (X) So let’s see (X) if George comes through where Ian and Barbara and (X) Hilly and Art, (X) for whatever reasons, (X) haven’t been able (X) to succeed.
( . . . )
Q: I’ve decided I’ll present a clip from last night’s show here. (X) Can’t tape every(X)thing like I (X) have sometimes in the past. But just a sample.
M . . . And (“THE”) the more you (X) talk to people who’ve (X) had near death experiences, the more that (X) they’re kind of somehow in tune to this (X) alternate (X) parallel (X) time dimension (X) via electromagnetics, via (X) collective (X) consciousness, (“DD”) via, no, (X) trapdoors in the (X) electromagnetic abilities of our universe, time and space; however they’re connected, it is real for them. They see it. They smell it. They hear it. They (X) taste it. (“YEAH”) It is real (X) for that split second, for that — (X) for that — the — (X) for those (X) ten seconds or twenty seconds it just is real. Okay? So (X) I know there’s a connection. (X) I just don’t know how it all interrelates. But when you go back to these hypnotherapists who follow the psychoses and neuroses of (X) past problems and solve it somewhere in a (X) past life — (X)
G: Which I believe in, by the way. (X)
M: Oh you do? Well that just . . .
G: Oh absolutely. Oh absolutely.
M: I’ve seen these people after —
G: Yes.
M: — they’ve been (X) cured. And (X) — but the jury on how that’s done even in my mind is so complex that I have to take notes. (“I”) I virtually have to take notes when they describe that they went back three life(X)times to (X) fix a (X) problem — a migraine headache problem (X) three lifetimes ago. Now I take notes because when they’re in the hypnotic state they go — their sub(X)conscious will go to the problem, go to the source of the problem automatically. They don’t even have to be prompted by the hypnotherapist. And I have a hypnotherapist on my team and she has (X) taken several patients back in their — (“LI”) their lifetime (X) now, like back to when they were three year(s) old (X) to find the neuroses of — of what’s happening today.
G: I’m going to go out on a limb and say that consciousness throughout the universe may be the single most im(X)portant factor (X) of the universe. (“GO[D]”) Of everything we know. (X)
M: Yeah. Well (“A”) yes and no. I would say what the most important factor (X) is. And it’s the only truth. And love, (X) George, is the only truth. And (“AND I”) — and I can stand here —
G: Could you say love and positive are the same thing?
M: Love is greater than positive. (X)
G: Alright, stay with us because we’re going to listen to your audio tape when we come back (X) about that investigation. Michael Lynch, Para-Vision. I’m George Noory and you are listening a(X)cross the country and the world to “Coast to Coast AM.”
( . . . )
G: (X) Okay, Michael, let’s talk a little bit more about this audio tape, which you were able to record and kind of set the stage for us, would you?
M: Yeah. The best way I can describe it (X) was the lady had had enough and she was moving out of the house. And the house is (X) devoid (X) — I mean it’s empty. (X) There’s no furniture whatsoever. (X) There is nothing in these rooms. The house is absolutely empty. (X) I think there was a couple of pieces of (X) furniture (“Y[OU K]NOW”) still there but (X) it was empty. And she was (X) packing up and (X) leaving. (X) Again, our analysis (X) started (X) to lean (X) more not that it was haunted (X) but there was some other dimensional (X) event (X) going on that we couldn’t really control or shut down or (X) stop. And that (X) gave us a very futile (X) feeling. (X) So what she was doing was she was — it was like (X) the last thing and she was checking (X) the (X) entire house out (X) and so we (X) kind of put down (X) little re(X)corders to (X) try to just listen to see if we could (X) hear anything — (“JESS”) pick up anything. (X) And, again, this (X) — my idea was that it was, you know, (X) enough electromagnetics that it could almost (X) do anything: we (X) may not catch anything, we (X) may catch something. Now, again, what you’re going to hear is an inanimate object (X) and when you listen (X) to it there’s going to be a lot of white (X) noise in it. (“BUT”) When I filtered (X) out the white noise, the actual (X) sound of the object (X X) went away.
G: Hmm.
M: So somehow it’s in this airy white noise (X) frequency. Now when I listen to it on the actual (X) tape and I put on my headset—I’m listening (X) to it—I know exactly what this is because my parents owned one, you see? And so when I hear this, (X) I know exactly what this is. And I grew up with (X) one, okay? (X) So let me (X) play it. I — I’ll — I’ll — I’m sorry it’s in the faintest end and (X) so were the phone line and everything (X) so —
G: Well no, I understand.
M: I’ll play it for a few seconds. I’ll have to take my — I’ll have to put the micr(ophone) — the (X) — the headset down to the speaker here. (X) I’ll play it for a few seconds to see what we can do, okay?
G: Okay. We will (X) do that.
M: Here we go.
G: We will be listening to this audio (X) tape taken by (X) Para-Vision/Michael Lynch. Listen closely. (tape plays with ticking/tick tocks in rapid succession)
M: Now (or “NOW”) I don’t (X) know if you could hear that. (X)
G: I heard the (X) clicking —
M: Clicking, okay.
G: — and the rushing sound in the background.
M: Yeah. (or “YEAH”) That, now (X) — that is just basically (X) white noise (“VISIT” X) — was recorded on analog tape. Now the clicking is a (X) clock. (“IT’S”) It’s a wind-up alarm (X) clock that was (X) manufactured — because my parents owned one. It was an — (X) a smaller but (X) heavy (X) mantle clock. The (X) clock you’d set up on the mantle (X) of your fireplace and you would wind it. And my parents had one as an alarm (X) clock and (X) it was the same type: (“HE HAD LIKE”) four-inch face, very heavy duty (X) and when it would (X) click, it’d (X) often skip a (X) click and it would (X) click all the way through. Now I listened to this tape. This goes on for (X) 20 minutes. (X) And the most amazing thing about this is that it act(X)ually fades (X) away — (“THE” X) clicking of the (X) clock fades away (X) and then it comes back. (X)
G: Now were — were — (X) were you able to hear any of that in real — real time?
M: No. (or “NO” X) No. No.
G: Nothing?
M: There is nothing in this (X) room whatsoever. There is no furniture. (X) You leave (X) the recorder on the (X) floor and you walk away.
G: Now can you play that back one more (X) time for us?
M: Yeah, I’ve got a lot of it (“SO”) so let me play it again.
G: Alright . . .
M: And (X) this is an old —
G: And you’re pretty sure it was the clicking sound of a clock? (X)
M: Oh yeah. On the reel (X) tape —
G: Okay, presumably —
M: — you can actually hear the — it’s like (X) not a me(X)tallic sound.
G: Alright. Well (X) before you (X) play it, why would we hear in — as you were saying earlier — inanimate (“YEAH”) objects on the tape and why not the sound of a ghost or something like that?
M: Because we may not be dealing with a ghost. There are two (X) things that (X) we remember the most. We remember background noise like (X) the ticking of a (X) clock in our sub(X)conscious because it’s always used in music; (X) it’s been used in hypnotherapy; it’s this rhythm that we (X) can remember. And so we (X) can manifest that on the other side with enough energy. The other thing is what if — (“JUS”) just think for a second — what if this is (X) another dimension altogether and the only thing that’s coming (X) through that we understand is this (X) electromagnetic field and sound waves? Now again, I’m going back to this original model. If you go back to the model of this electrical po(X)tential, an electro(X)magnetism and you harness the two, (X) you have something like a (X) tape recorder head — get me?
G: Yeah?
M: A (X) tape recorder head is electrified electromagnetic energy. (X) And it records something. And this is possibly how psych(X)ometry works. The human body trans(X)fers elec(X)trons elec(X)tromagnetically (X) to an object. (X) The object records it forever.
G: Alright, let’s hear it again.
M: Okay. (laughs) (“YEA” “I”) Jus(t) like I said, yeah, okay this is — this may be inter-(X)dimensional and not a haunting. (X X or turning on tape player) (plays tape with ticking/tick tocks in rapid succession)
G: What’s the rushing wind sound I hear in the background?
M: That’s — that is — that is not the wind. (X) That is just white noise. That’s how low this is. This is so (X) soft that we just crank up the volume (X) and that is the white noise. It is just (X) right there on the border.
G: When you first heard that, did you think there was something wrong with your (X) tape recorder?
M: Yeah. Actually, I took the tape out of the original one, put it into (X) another recorder, rewound it, put in, (you) know (or “NO”), fast-forwarded it, (X) cleaned the head, the whole nine years, heard it — listened to it (X) again. And, like I said, this goes on for (X) twenty minutes because the tape recorder is in the floor. And what surprised me the most is when you hear someone walk into the room, it fades. The tape re(X)corder almost — I mean the — the ticking fades away. (X) And when they walk back out of the room, y(ou) — it gets louder again. And on the original (X) tape, George, this is an old (X) Timex mantle clock. (“THA[T] WE”) This was a smaller (X) version and this one was used as an alarm (X) clock — at the head of the bed and things like this. And this (X) was in the bedroom. But there was no (X) furniture there at all. (X)
G: Now I’ve known you for a couple years, Michael, so I know you’re not making (“I’M”) this up.
M: I’m not making this up and (X) I — that’s why — (X X)
G: If anybody else played it for me, I’d go, (X) “Um-huh?”
M: Yeah. (or “YEAH”) (You) know (or “NO”), that’s why I —
G: I know you’re not making it up.
M: I even sat here and I (X) tried on my computer to, like, (X) create another one — no (or “NO”) see (“WHA[T I]F” X) if I could do this, and I would have to have that (X) clock and a microphone and I would have to have had it, you know, a certain (X) distance and things like that. I’m (X) trying to theoretically find ways to duplicate this but — but (or “BUT”) — but every time I run it (X) through my computer, the sound of the (X) clock (X) is (X) different than the white (X) noise; where on (or “WE’RE ON”) this tape, if I (X) turn the, you know, the white (X) noise down, the (X) ticking of the clock disappears. And that’s not supposed to happen. It’s supposed to be a (X) totally different frequency on the board all the way through. But it’s not. As soon as I turn down the white noise, it disappears.
G: What are your other investigators, Morelan and Johnson, what do they say (X) about this tape?
M: If (or “IF”) — they’re not sure. Borderline. It’s borderline. And I know because (X X) Jim has been (X) trying (X) to get EV(X)Ps for (X) a (X) year or so now. (X) We’ve (X) kind of got in(X)to it — we (X) kind of — he (X) kind of went another way. He wanted (“TO VIS” X) to develop a portable vor(X)tex machine, (X) which he almost got (X) finished, I think, (X) and, anyway, he went on vacation and I haven’t (X) heard back from him so (X) he (X) kind of went into his electromagnetic field (X) theory. (“MORE”) And so we kind of got away from (X) EVPs for a little while but now I’m — I’m (X) going to get back into it. (X) I’m going to —
G: What — (or “WHAT” X)
M: — get back into it.
G: Have you ever been (X) on an investigation where the (X) person that has asked you to (X) come in has (X) literally (X) lost it? I mean emotionally lost it?
M: Oh. Not (X) totally. Normally, when they get to us — oh, I’ve got another story I’ve got to tell you but when they get to us, yeah, they are at their end of the rope. They’ve gone to the — (X) the priest. They’ve gone to the psychiatrist. They’ve gone to everybody. (X) And it’s either we (X) do an — (X) it’s either we call the priest in and (X) we do a complete (X) exorcism or (X “WE”) we’re going to have give ’em some (X) type of conclusion or answer. (X) And many times when we whip out our video equipment, (X) there is no doubt left in their mind (X) that there is or there is not (X) something there. (X X X) We’re getting ready to go on another investigation (X) and this is — (X) I want to bring this (X) up real quick (X) because this (X) (phonetic:) ‘p(r)elim’ — (X) a friend of mine — he’s a (X) very good friend of mine — moved into (X) a very old (X) home and (X “HE”) moved (X) out from (X) California. He moved into this house. He — (“HUNG” X) a picture over (X) his (X) piano. His (X) piano’s an (X) upright piano against the wall. This picture came off the wall and ended up in the middle of (X) his diningroom and (“JUS” X) smashed the glass all to (X) pieces. When I went and (X) looked at that picture, (X) on the back of it was a (X) piece of (X) paper that was glued (X) on to the back. (“YEAH”) It had (X) a rip down the cen(X)ter of the piece of paper and the edges (X) were — were (X) torn. And I asked him about the back and about the (X) front, and he says, “No, this was in (X) perfect (X) condition when I bought it.” And so what I (X) did was I took it back (X) to the room it was in — (“[Y]EAH BUT HE”) he (X) took it and put it in the base(X)ment. Okay? And (X) I took it and I picked it up and I put it against the wall and I said, “This is exactly what happened.” Now there’s not a mark on his (X) piano (X) and there’s not a mark (X) on any of the furniture that’s there — (“IT JUS”) on the floor where the im(X)pact of the (X) print was.
G: Weirder and weirder. (“GIVE MICHAEL”)
M: Okay, get this. (X) This is how weird this gets. And I didn’t think (X) — well you want to (X) talk about entity damage, this is it. And, remember, there’s a (X) piece of (X) paper (X) that’s glued all the way (X) around the back to pro(X)tect the back. What the entity (X) did was push the (X) painting (X) against the wall and raise it (X) by (X) grabbing the upper edges of it, (X) tearing the paper. (X) As the (X) paint(ing) — as this (X) print went (X) up the wall, the nail (X “TORE THE” X) tore the cen(X)ter of the paper. The next (X) thing you know, it ends up in the middle of the (X) floor and you can (X) see where the hand had gone from the (X) top — of the (or “OF THE” X) painting — the print (X) and down the sides. And then it ended up in the (X) center of the room —
G: Gosh.
M: — smashed. (X) And (X) I looked (X) at the — (“THE”) the odd thing about it was, was the (X) piano that it was hanging (X) over (“WAS”) — there was no scuff, no scratch. And it had not been dusted for a couple of days. So I would’ve (X) known if someone had (X) climbed up there to do this. The other thing was, was that the (X) — the stool for the (X) piano (X) had a very weak (X) leg. (X) And they advised me not to move it (X) because I would break it. (X)
G: Right.
M: So — (“JOYOUS”) and the other thing is they (X) put in a (X) $2,000 motion de(X)tector sensor (X) alarm system (X) on their first floor and (X) — and they (X) heard (X) in the middle of the night this big crashing sound, thought someone had broken through the glass. They come downstairs (X) and then they trip off the alarm. And then they (X) come down and call over the next (X) door neighbor and (X) here’s this painting sitting in the middle of (X) the floor. (X)
G: In the middle of the floor?
M: In the middle of the (X) floor. (X X X) And I went down. And — and (X “SO”) — and so I flipped it up and I (X) go, “Oh my God. (X) This (X) painting is your (X) living room.” And he (X) looked at it and goes, “You’re abso(X)lutely right.” (X) And something about the (X) painting (X) jarred (X) a memory in the entity that lived in the house and that was the only thing that he affected.
G: Have you ever —
M: He didn’t mind (X) the guy moving in. He didn’t mind (X) the guy re(X)modeling the house. (X) He didn’t remi(nd) — he didn’t mind (X) any of the furni(X)ture but when he hung this painting up, that was the only (X) thing he (X) couldn’t stand.
G: Have you ever been (X) threatened (X) by a ghost? Where you felt your safety was at stake? (X)
M: Yeah. (or “YEAH”) Yeah. Yeah. Yeah. Jim (X) can tell you more and Jeremy can (X) tell you more because they have been attacked. (X) They have been attacked and (X) — an I — and this — (“I”) I never like (X) to put my (X) people into danger. You know, I’m the first one that says, you know — (X)
M: You rush to the top of the hill. (end of excerpt and tape side)
(TRANSCRIBER’S NOTE: I SENT MICHAEL LYNCH A FIRST DRAFT TRANSCRIPT OF THE ABOVE PORTION OF HIS INTERVIEW. I LISTENED TO THIS PORTION ONE MORE TIME AND MADE SOME REVISIONS PRIOR TO ADDING THIS TAPE SIDE TRANSCRIPT TO THE WEBSITE: FOR EXAMPLE, THE EVP WORD “VISIT” I ORIGINALLY THOUGHT WAS SOMETHING ELSE AND THIS BECAME AN IMPORTANT MESSAGE FOR ME BECAUSE WHEN I HEARD IT THE FINAL TIME, I WENT TO VISIT MY MOTHER AT THE HOSPITAL WHERE SHE WAS SICK WITH BRONCHITIS. SHE WAS ONLY SUPPOSED TO BE THERE FOR OBSERVATION YET WHILE I WAS THERE SHE STARTED HAVING TROUBLE BREATHING AND THE NURSE WAS TOO BUSY TO RESPOND TO THE HELP SIGNAL FOR MORE THAN TEN MINUTES. THEN, I WAS ABLE TO HELP THE NURSE UNDERSTAND THE SITUATION AND RESPIRATORY TREATMENT COMMENCED THAT MADE HER FEEL BETTER BEFORE GOING TO SLEEP THAT NIGHT.)
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