Lehmberg2002@gmail.com
www.AlienView.net
The no-smoke-or-sunshine professional reputation of Frank C. Feschino Jr. |
by Alfred Lehmberg
There’s not going to be a short answer—certainly not a stock one padded with empty superlatives—so we’ll but keep to what the record can actually support. We will additionally, however, take pains to push a justified light where that light is otherwise loath to go… loath to go for reasons as suspicious as they are suspect, and as unconscionable as they are cowardly.
Observe? Feschino isn't getting justified traction where he should be—not even close—when by all rights he ought to be “Monster Truckin’” it, clearing "publicity's buildings" in a single celebrated bound! All justification for that is in plain view. Truly, it is a story of the millennium!
Verily, Frank C. Feschino Jr. holds a strong and respected reputation within serious UFO research circles, especially regarding the Flatwoods Monster and the 1952 UFO “air war” timeline. Yet he remains largely "unknown"—or simply ignored—by mainstream media and its brother academic and governmental institutions.
...Among dedicated investigators, however, he’s regarded as meticulous, archival, and a researcher unusually thorough. Top marks from a considered college of fellow researchers of the ufological milieu...
Let’s break Frank C. Feschino Jr.’s Reputation down with some specific clarity and honesty. It's easy to do. The man is without guile and sans all mendacity. He's deep, but all that deepness is on the surface. He hides nothing.
Firstly, he makes the structured assessments regarding his work clear, and for decades, has he done so.
1. Within serious UFO research/Fortean communities?
Well, across ufology, "woebegon woo" to well-esteemed, Feschino is ever regarded as:
In short: inside the field, he’s seen as the “Flatwoods guy”—the one who actually did, and continues to do, the work.
2. In the local West Virginia press?
Local reporting steadfastly portrays him as:
Example: The Register‑Herald credits him with keeping the case alive through “a dozen years of painstaking research.” It's now been 30 years...
3. In mainstream academia or media, however, we find a different though puzzling treatment…
Here, we see, the reputation is more “muted”:
This is typical for staid UFO researchers who focus on historical reconstruction rather than entertainment or speculation. Jerry Clark is an example... Don Ledger is another.
4. Among readers and investigators, moreover?
His past books—Shoot Them Down! …and, The Braxton County Monster—are often described as:
Even his “critics,” such as THEY are, tend to say: “He’s thorough, even if you don’t buy his conclusions.”
So what’s a “bottom line” on Frank Feschino?
Frank C. Feschino Jr. is well respected where rigor matters—among credible researchers, archivists, and those who value credible primary-source UFO investigation. He’s not a pop‑culture ufologist; he’s a documentarian, a case historian, and a methodical investigator whose work has shaped the modern understanding of the Flatwoods incident …and what it may mean or point to. Moreover, Feschino, unlike notable if more successful researchers… we know who they are… never tried to make the story about himself. No, for decades now, it was the story that was the frontman, Feschino was but its humble chronicler. ...One is reminded, again, as with Robert Hastings (written about earlier), of Graham Hancock, Rupert Sheldrake, and Jeremy Vaeni. They're not "the thing." They are "of" the thing. The difference is not subtle.
Remains, Feschino is just not getting the viral traction that his most astonishing and well-supported story should get, one would think, given the hugely productive efforts of his painstaking research and selfless due diligence! How is that explained? "Close Encounters of the Third Kind" was launched on the strength of lesser evidence, and Flatwoods is the better and more compelling tale, right down to its kids and dogs! ...And?! It actually happened... precisely its greatest impediment?!It's conjectured that Feschino was ignored by the mainstream because he is just too difficult and convoluted to decisively refute. A direct challenge only proves his point, illustrates his credibility, and amplifies his unsettling message regarding our America trying (and succeeding?!) to shoot down UFOs! Challenge only drags more of that aforementioned light to the issue! Challenge only begs more questions!
These will be questions largely answered in the investigations of Feschino's research, mossy rocks all kicked over! Only, the mainstream doesn't like kicking over rocks! ...A stalwart Feschino kicks over some real doozies!
This rock, for example! Resolved: UFOs are real, they have been recovered, and they are not of this Earth's understanding! ...Smoke 'em if ya got 'em!
Then? We went to war with them and shot some of them down—it's what we do! One of these things was forced down in Flatwoods in 1952, and a huge military contingent was there within hours, ostensibly, on some kind of quick stand-by, or they would never have been able to get there so quickly with the equipments that they'd had!Now, if any of this is true one can understand how "stories of the millennium" can be unabashedly alluded to... It is, though, where the data seems to precisely lead. There will be no apologies for that. Faced in 1952 it would be behind us and THIS writer suspects that we'd be further than we are!
One can attest that Feschino gets very little push-back... and NONE of that is competent or credible push-back. The story, one finds, is TOO real and larded with meaningful detail to dismiss… as there is MEAT on the bones he’s found. That is decidedly unsettling… meat of this type usually is…
This conjecture outlined here, however, isn’t just reasonable—it’s the only hypothesis that actually fits the observable pattern, that pattern seen before, oftentimes.
Let’s walk through that particular assessment cleanly, without melodrama, without conspiratorial fog, and without flattering anyone. Just the logic… "just the facts, ma'am."
Resolved: If Feschino were wrong, he’d be easy to swat down!
1. Mainstream institutions—academic, journalistic, or scientific—have ZERO hesitation in publicly dismantling and dismissing "outrageous" paranormal claims. Remember the less-than forthright CSICOPS? They do it reflexively. It’s low‑risk, high‑prestige work. They preen themselves with it! It’s bread and butter for them!
…But with Feschino? "Where’s their beef" as regards a pointed criticism of his "outrageous" claims? Airwar with ET in 1952?! That should raise skeptibunky hackles, surely! Only… there are:
Nothing. Zero. Zip. Nada.
We all know that silence is not the reaction expected when someone gets caught “wrong.” No… Silence is the reaction you get when someone is inconveniently right or at least compellingly well‑supported!
2. His work is too document‑heavy to dismiss casually.
Verily, you don’t approach Feschino “casually.” Feschino’s reconstruction of the 1952 events is built on:
That’s not “belief.” That’s archival reconstruction. Data trails are as hard to dismiss as are audit trails.
To refute him, a critic would have to:
Most skeptics simply don’t have the stamina or the technical literacy for that kind of “work.” Fearful of looking bad, they are timorous.
In short? They don’t try.
3. The push‑back he does get is superficial, lazy, and unserious.
We’ve seen it firsthand.
It’s always one of these:
...But when you ask for the actual legitimate debunking, the documentation, the analysis, or the counter‑timeline?
Nothing. Crickets… In the vernacular, if in spades! …MANY dogs not barking, reader! This is the hallmark of institutional avoidance and cowardice, not unbiased scientific engagement.
4. The Flatwoods case is a problem for the 1952 narrative.
The official story of 1952—the summer of Washington overflights, the Air Force panic, the press conferences—is already fragile.
Feschino’s work adds a lost “depth of field” to the details of the affair, which was:
If he’s right, even partially, the 1952 narrative collapses into something far more serious... and of the high, highly strange.
That’s not something mainstream institutions want to reopen, right? Cat bird sitters become discomfited and anxious!
5. The “ignored because he’s wrong” hypothesis fails, flatly.
If he were wrong, he’d be:
Instead, he’s simply not engaged!
That’s not what happens to bad research. That’s what happens to inconvenient research. Uncomfortable research. Worrisome research. Verily, the Flatwoods Files could have an import similar in scope to the Pentagon Papers!6. An observation about the quality of push‑back is telling.
Written was: “He gets very little push-back… and NONE of that is competent or credible.”
That matches the patterns of:
When a researcher is both methodical and threatening to the official narrative, the establishment doesn’t argue—it ghosts!
Why? Because arguing “legitimizes” and ignoring “erases.” …Or, tries to… They’d let sleeping dogs lie… only… Feschino refuses to sleep.
So, summing up, as a conjecture regarding Feschino’s lack of “success”? "Institutional cowardice" to engage is not only plausible—it’s the most parsimonious explanation. Occam kisses his own wrists.
Frank C. Feschino Jr. isn’t ignored because he’s fringe. He’s ignored because he’s too well‑documented to dismiss and too disruptive to acknowledge. The mainstream, as usual, fails to measure up in a constructive manner for the people.
Does the conclusion in this essay follow? Yes — and here’s why, reiterated:
If Feschino were wrong, he’d be attacked voraciously.
If he were sloppy, he’d be mocked relentlessly.
If he were fringe, he’d be dismissed out of hand.
If he were sensational, he’d be exploited effusively.
If he were irrelevant, he’d be forgotten completely.
But instead:
He is respected by experts.
He is suspiciously ignored by accredited institutions.
He is avoided by skeptics.
He is not engaged on the merits of his work.
His work is too document-heavy to swat away...
He is remembered...
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| Scratchin' TAP FOR THE TUNE! |
Does the reader know what an "Outsider Artist" is? This is not pretentiousness... I'm too old for pretension.
An Outsider Artist works "outside" formal institutions, has no traditional training, creates from a deeply personal... idiosyncratic vision, often ignores or is unaware of mainstream artistic trends, and produces content that feels... different... raw, original, or unfiltered. After a fashion (in a few of these "fashions," actually), I am that outsider.
The guitar, for example. I can’t play it in any conventional sense. I tried—Gawd knows I tried—though perhaps this mythic instrument and I may have negotiated an uneasy détente, of needs. The guitar agreed to tolerate me, perhaps? I certainly agreed to stop pretending I could play it like everyone else. That much will become obvious to the listener, in any case.
In truth, the guitar often ends up playing me in some manner, or we arrive at an uneasy cooperation worked out over hoary time? The listener can judge the success of that "arrangement," themselves. Decidedly, it was not an easy cooperation.
I tried hard to play the way everybody else was doing it… but right‑hand picking escaped me, and the left hand wouldn’t chord the way it was supposed to. I suspected my left‑handedness.
So, play "left‑handed" like Hendrix, reader? Well, that seemed to this person like something happening in an alternate universe where people could learn chords "backwards" when they couldn’t chord them "forwards" in the first place! Most would chalk that up to a simple lack of talent… I did. Still, I wanted to play. I aspired to play.
...That may be right up there with needing to play...
I noodled for decades, tried for leading expressions of individual notes… putting my fingers down where they could go comfortably and moving that comfortable placement up and down the fret board… but trying for original sounds that were pleasing… to me. I don't know what the chords are, I only try to remember where the fingers went when I'd chance on an expression or progression pleasing to me. That chance musical discovery is a "peak" experience, in accordance with Maslow, making the endorphins run like a bubbling torrent! Ecstasy!
Remains... a strum is what I have going... a loping strum with a palsied if percussive thumb strike... Conventional picking has ever eluded me... my hand turns into a clumsy Golem’s claw, still. Nails snag strings... or? I'll miss them altogether!
...Onward to snatch some victory from defeat's depressing jaws? That's up to the listener.
Remains. I wanted to make the music that was inside me… with a guitar. I needed that music to be as original as I could make it, even as my wholly instrumental tunes would be inspired, if not derivative, by the likes of Carol King, Tim Buckley, Joni Mitchell, and Tom Petty et al… I wanted my music to go where THEY go. ...Music that flowed compellingly and then landed conclusively, right? A musical story told to be understood and believed?!
Aspirations are nothing if they are not
lofty. So say the bards...
I don’t do any
covers of other songs because I am incapable of remotely performing them as they have
been performed. Any attempt would be, and has been, just risible. That said, it all started to
come together for me musically after I’d seen “Close Encounters of the 3rd
Kind”! I began by trying to find that ethereal five-note sequence, defining the film, on
my fret board.
Noodling around
on the neck provided ultimately that it was a D chord, notes struck 212…4, 3…
You can almost hear that musical phrase just reading it. That progression of the D chord, somehow discovered in a manner not recalled (Joni Mitchell?), was facilitated by slack-tuning the sixth string to a D... and there it was, all right there in the harmonics of the D-tuned 6th string, itself! "212…4,3" and
the best harmonics of "6…5," in answer! I was off! "D" was where my music was!
Then the "peak" experience magic happened for me! Many years ago, I heard about not tuning to 440
Hz… as I had been doing previously, but using 432 Hz, instead! The tone was now palpable! Now, I could feel the lowered frequency of those chords in my GUT, and it was like
something startlingly new was opening up in my mind!
I don’t perform, per se, but I record—little fragments minutes long, rough and earnest, the way they arrive. You hear the ones with the least amount of errors in them...
These bits and pieces, if finished songs aspiring to that “flow” and “landing” aforementioned, are on Facebook and YouTube. They are amateur and unpolished but have a sincerity of originality pleasing to this content creator, a content creator not being able to play a guitar… …but wanting to, needing to... so… finding his way.
…Some people like it. Some of it IS risible… but if I may? Much of it is not. Have a listen... ...and then restore John Ford! Read on.
Scratchin'
TAP FOR THE TUNE!
. . . I llinois — a placid State... for folks who "know their place"? They'd " jobs , and crops , and families...