TELEVISION — ON THE PLUS SIDE (Mostly)

TELEVISION: ON THE PLUS SIDE (Mostly)

My lengthy blog last week – which many have correctly called a rant — was perhaps a bit tough on paranormal TV shows, but rightly so. However, I want to underscore a couple of things said in the article, which perhaps people may have glossed over, related to the positives of TV and people I’ve worked with over the years.

Having read that blog, some might feel I’m mighty down on television. While that may be true with regards to most of the paranormal “reality”(unreality, in my mind) shows, there have been occasional shows that at least tell a good ghost story, and that don’t seem to have screwed with the story or the interviews with witnesses.

One that I’ve enjoyed from time to time has been Ghostly Encounters on BIO, which at least appears to allow people with all sorts of ghostly experiences (good, bad and neutral) to tell their own story, with re-creations happening on screen under their own narration. I don’t know for sure that the editing hasn’t screwed with the stories, but at least they fall more into the range of the experiences that parapsychologists have had reported to them for over a century.

On occasion, there’s a good portrayal of a medium or psychic at work, though all too often these days the show devolves into one where the camera is more interested in the non-psychic activities of the medium/psychic and her/his family. They also give the impression that these folks can walk up to anyone on the street and start giving a reading, no matter how intrusive – and I’ve had a number of people (viewers) tell me how off-putting that seems.

Those folks and everyone reading this should be reminded that almost anyone these days backed by a TV camera crew can walk up to just about anyone on the street, and often someone from the crew makes sure it’s “okay”(after all, the person does have to sign a release).

I’ve met a few of the psychics/mediums who do those shows, and none of them (they tell me) would walk up to someone on the street, in a market, etc. and start a reading uninvited without a TV crew to smooth the way.

Frankly, this isn’t much different than a street magician (a la David Blaine) walking up to someone saying “want to see a magic trick?”No camera crew, most likely the people would walk away – and that I’ve seen in person (I used to be a magician myself).

On to Positives…

Television has the ability to bring good information to the masses. It has the ability to educate while it entertains. It has the potential to be a tool to introduce concepts and experts to many millions of people, and the potential to push them to question all sides of a subject or issue.

As mentioned in that last blog, having grown up in a TV production family, I’ve been around TV people all my life, and absolutely through my formative years. My first appearance on TV, I was told by my parents, was when I was 6 months old and my mother was visiting the set of a NY talk show my father was working on. I worked as a “runner” (okay, a go-fer) for NBC Sports at a bunch of baseball and football games when my father was a producer, and ended up on camera a couple of times playing catch with Joe Garagiola. Had a great time as an extra on All My Children back in the early 80s (only one day, unfortunately).

I love television, and have known great people over the years, both through my family connections, and ever since I had my first job in Parapsychology at the ASPR. Some of the folks I’ve worked with – whether for actual shows or pilots or for proposed series – are still people I’d jump for the chance to work with, and a few of them have become good friends.

There are, in fact, people with real creativity and integrity working in the industry who have either a genuine curiosity about the phenomena and experiences, or even an abiding interest. But there are also folks who think the paranormal can make good television, yet want to make it“right” and have respect for the knowledge, experience and even creative ideas of the experts and the witnesses. They respect the ghost story and they respect the base of what’s actually known and the questions we, the researchers and investigators, ask. They might suggest new technology and new methods, but respect our reactions – positive or negative – to such suggestions.

In my experience, sometimes the right question that needed to be asked in a case that was being shot for TV actually came from a member of the production crew, and not from me or people with me. TV crew members should always be reminded to ask questions and even make observations (though some directors have gotten a little testy when a sound guy or production assistant points something out or asks a question, regardless of whether I’ve thought it was a good one or not).

WHAT TV NEEDS

There are three very important things to keep in mind when working with television.

First, it’s important to always remember television is a visual medium. That’s why producers are always looking for a way to “get something happening on camera.” TV is not just “Tell,” it’s Show and Tell.”

After the release of The Amityville Horror (the original film, ), and after Poltergeist (1982) in the 1980s, the media somehow got the idea that we could take a reporter or TV crew to places where they could pretty much get phenomena happening. Mainly, they thought they would see/record things moving of their own accord any time, as if what was on the screen was an actual representation of what really goes on. I still get people asking the same thing today – and my response is the same as back then: “If we could find places where phenomena happened all the time, or on demand or request, do you really think parapsychologists would be so under-funded (or non-funded) as we are? Or that the field would have little or no acceptance academically?”

Post Poltergeist, and especially post Ghostbusters (1984), there was this expectation that we had an arsenal of technology. Back then I had to remind them that Steven Spielberg had a much bigger budget for pretty equipment than we ever have had. That and “None of that stuff in Ghostbusters was real, guys.” Of course, once environmental sensors became reasonably available (and priced), we did have toys to use on camera – though for a long time some producers moaned about them not having pretty lights or sounds.
The reality is that while phenomena might happen during a shoot, it’s as likely as not to happen behind the camera, or simply out of frame from where the camera is pointed – if it happens at all.

Well, I totally understand the issue and desire of the producers and their networks to have visuals on camera. Hence reenactments/acting out of some of the stories with actors and even occasional special effects during the reenactments. If done well, if representing the story and reported phenomena correctly, this can be quite compelling and even of use to the investigative process.

There are other ideas along those lines which have yet to be done on TV which I’ve shared with a couple of producers who have been trying to pitch shows – but unfortunately networks see their shows as “too different”from the current crop of crappy ones (which still get the ratings).

Then there’s the need for dramatic events in the shows, especially around the phenomena.

But if there’s no phenomena, and you’re not willing to fake it (there’s the integrity thing), you have to get your “drama” from the people– who have to be able to tell a good story, and the story itself ought to be interesting. The experts need to be able to relate to the story, to the location, to the witnesses and above all, to the viewing audience.

To me, one of the reasons to dislike so many of the“investigation” shows currently on TV is that they’re missing the actual ghost story. And unfortunately, most of the shows that focus on the ghost story and reenactments have again and again been shown to play fast and loose with the actual story – even editing the witness testimony to give a particular focus or element to the story that was not actually reported by the witnesses.
Not that there’s always an easy fix to make a ghost hunting show interesting, visual, and accurate. But it is entirely possible, if the producers are willing to learn about the phenomena and science (Parapsychology) AND the experts are willing to learn something about the needs of television.

Now, the second point: TV people are often ignorant of the paranormal/parapsychology or have the same misconceptions as the viewing audience because what they know came from other TV shows.

I cannot possibly calculate the amount of time spent on the phone with producers, directors and production staff answering their questions about the phenomena, research and investigation methods, and findings– as well as misconceptions. In my last blog, the final point made was about getting paid. Yet other than extremely rare circumstances, I’ve not gotten paid (or asked for payment) for time spent educating TV folks about the basics and what they can and cannot reasonably expect. Just as I don’t charge average folks to consult (basically) with me – though I do charge for classes, and for mentoring people beyond the basic conversations.

It’s always been part of my mission in this field is to help educate the public, which is why my first job in the field, as “Public Information and Media Consultant” in the Education Department of the American Society for Psychical Research was so apropos. Even though there’s so much misinformation and misconception –crap – out there in the Media, as the late D. Scott Rogo told me just after I finished my Masters’ degree in Parapsychology, if there’s even one good, credible story in the middle of a lot of bad ones, someone will recognize the good from the bad, and follow up on that. If I and others don’t try to educate and correct the misconceptions, what chance is there that any good information will get out there?

So, I work with the Media, always hoping that the time spent informing and discussing with the production people will lead to occasional bright spots in the darkness that is unreality TV (and even TV news coverage of the subject).

People in TV, until they are assigned a topic or story, or get a request to develop a show, or even a contract for a show/series, may have no personal interest in the paranormal. Consequently, one cannot fault them for not knowing anything, especially how to separate the good info and experts from the oh so big pile of crap that’s out there on TV and the Web.

Most of them are open to what my colleagues and I have to say, even if they can’t follow up on it due to the constraints of the show/series as it has been pitched to a network, or as the network dictates. I’ve had great conversations with producers I’d love to work with on other projects, just not the one they’re calling me about (again, because of what the network wants/has dictated). Some of them have even gone back to the network with what they’ve learned to try to sway them in a different direction (usually fails given the network folks having their own ideas about what “works” without any clue as to what’s actually possible for credible coverage).

Some got so interested in the “real paranormal” that they contact me every now and again for updates, and even try to sell a decent series idea every so often.

In other words, not all people in television fall into the areas I covered in my “Unreality TV” blog.

The third point: What’s on the screen is a result of network executives/personnel ordering the results or intervening directly as much as or even more than what the producers had in mind.

Television is a business, and there are advertisers to be placated, ratings to be had, and politics and personal preferences within the networks. The production companies are in business, and the more the networks like their product, the more shows they sell – or they go out of business.

I totally get that. After all, my father worked for a network (NBC) and then was out on his own. No orders for programming means no business and no money.

Television does not purport to be educational in general, though naturally PBS has strived to be that, and some of the cable networks have claimed to provide educational programming (and some do) besides news programs.

But there’s much more to this. Even educational programs on PBS need sponsors, though we hope they don’t have a say about the content. Educational programs, such as they are, on cable networks do depend on ratings for continuation, and as with all programming, no ratings = no sponsors = no shows.

I have little problem with shows that at least admit to be attempting “entertainment,” but real problems when the folks representing the shows – producers, talent, network people – claim it’s all “real” or “as it happened” or “a true story” when it’s very clearly been edited or otherwise put together in a way that is not real, not a representation of what happened (or the order in which things happened), or a story that’s been altered in the writing or editing. Saying events represented on the show have been “edited for time” is fine, as it lets the viewers know something vital (and as long as the events are still presented in a fair representation).

I have a problem if the show utilizes naysayers who clearly have not looked at the actual evidence, or yea-sayers who accept everything happening as paranormally real, without question.

I don’t have a problem when a show spoofs the paranormal, parapsychology, psychic phenomena/abilities, psychics or ghost hunting. As long as it’s an honest attempt at comedy, even if I don’t find it entertaining, I can appreciate the effort.

It All Boils Down to Ratings

The most credible show we could come up with would still need to get decent ratings to stay on the air, though we’d have to get on the air in the first place, and hope the network sees the potential.

On the plus side, I’ve worked with many producers and writers who had great ideas or really wanted to portray this stuff correctly within the context of trying to build an entertaining show.

On the negative side, getting those shows past the network “deciders” is tough, since almost no one in the management of TV networks seems that interested in trying something really “new” – they don’t want to be first to fail, and consequently even if they think a new idea is a great one, they’re often unwilling to take a chance on that in favor of a retread of something they know does get ratings. They have to think bottom line, with little regard to credibility.

Can it be done? Absolutely. I’ve been involved in numerous show concepts that have real centers of good information and stories, presented in a variety of entertaining contexts.

Can it be sold? There’s the rub: how do you sell “credible” when it’s unclear that “credible” can get ratings and clear than non-credible (in-credible) does indeed get ratings (although as we’ve seen, not always).

If it’s sold, will they give it a fair chance? This is a problem in and of itself with networks. I’m sure all regular TV viewers reading this can recall at least one example of a new show they liked being bounced around the network schedule week after week, giving viewers no real chance to consistently even find the show, let alone watch it to help its ratings.

There have been several pilots or specials or single episodes – not just ones on the paranormal — for cable networks being scheduled in such a time period that it’s unlikely anyone would find it (unless they did a search of their cable provider’s schedule) if they even knew in advance the show was coming up. Network doesn’t want to give a show a fair shake? Schedule it at 1 in the morning on a weeknight or early to mid morning on a Saturday or Sunday and don’t do any promos for it. Series have been cancelled by being moved to the worst time slots so ratings would drop (remember the third season of the original Star Trek – moved to a network “death slot” of the 1960s, Friday nights at 10).

I’ve met and worked with and become friends with many in the television industry of good heart and great ideas when it comes to covering the paranormal – and here I’m talking about all facets, from ghosts and haunting to ESP and psychokinesis, from field investigation to laboratory studies, from psychics and mediums to the psychic experiences and encounters of “normal”people.

Great people, with lots of integrity.

Even met people at the network level with the same.

But the unfortunate reality is that such people in the industry are few enough, most especially at the network level, and often can’t get past the biases and expectations of others in the industry who have the buying power or decision-making ability for their networks.

If there were sponsors out there willing to put their money into advertising only on credible shows, we’d have a chance.

One Final Thought….

I came to my interest in psychic phenomena mostly from being a comic book and science fiction fan, with a little bit of the TV/movie watcher fascinated with ghost-infested comedies and dramas – NOT from the horror/scary side of things.

To me, and why I got into the field at all in any serious way, psychic abilities and apparitional phenomena indicate there is way more to human beings and our potential than what we might currently believe. Humans have potential to exceed what we are now, both when we’re alive and when we’re dead.

Too bad that the network named after science fiction, SyFy, has chosen to focus on scares and chills, rather than wonderment and inspiration, for its coverage of the topics involved. I love many of the dramatic and adventure shows on SyFy. But the only “wonder” their paranormal shows inspire in me is wondering why they consistently choose to buy and produce shows that hit almost all my “crap” points (from my last blog).

The Paranormal, when presented properly, can activate the Sense of Wonder! It can inspire!

Psychic phenomena is cool!

There are TV people who get that. Isn’t it time they get a chance, too?

*****

To any network people or sponsors reading this: Get in touch. I know great people in the industry who can put out a phenomenal (pun intended) product and know how to promote it to draw an audience, to give them awe and wonder, to keep them coming back.

Take a chance on credibility and real psychic experiences, research and investigation. Reach out to the majority of people who believe in this stuff (but who rarely watch your current shows) and make them feel wonderment at their paranormal experiences and attitudes about them.

Guaranteed it will get them talking more. It will make psychic experiences more “normal.” It will expand the potential audience exponentially.

More viewers = better ratings = more money.

 

Son of Things That Make Me Go Aarrgghh! (a bit on the longwinded side)

Another thing that makes me go AAARRRRGGGGHHHH!!!!

Paranormal Unreality TV

“If you’re such an expert, how come you don’t have your own series?” or

“You can’t be an expert (or someone knowledgeable) on the paranormal, because you don’t have a TV series.”

Yes, I’ve actually had people ask/say that to me, with a few variations. And what can one say to that, other than “Huh?” Frankly, for those people who think the “experts” are only those who have paranormal TV series (including students and plumbers!!!), I have little to say. Although when they are snide about it (and sometimes downright nasty), I have to come back with responses not only about my education and professional experience in the field of Parapsychology (you know, the actual field that studies this stuff, and has for over a century), but also my own TV experience.

It’s this experience which I discuss below, leading into some possibly unflattering opinions of the current state of what I have to call…

I’ve been involved in television coverage of the paranormal since my first job almost right out of graduate school, as Public Information and Media Consultant to the American Society for Psychical Research back in 1982/1983. Let me restate that – for over 30 years.

Over the years, I’ve appeared in a couple of hundred (maybe more — lost track) television shows, a large portion of which have been national, from talk and news show interviews, to appearances and full segments in other shows, including a few paranormal-themed series. Even appeared on Criss Angel: MindFreak and ESPN’s SportsCenter. In the early 90s, I did several episodes of the paranormal magazine show Sightings (and was a consultant on one of the two initial pilots), which aired first on FOX then on Paramount TV (which became UPN). Many, many of the shows I’ve done air in reruns on BIO, the Discovery Channel, TLC, the Travel Channel, A&E, and even SyFy (rare, mainly because SyFy seems to avoid any shows with actual parapsychological researchers whenever they can) – and the reruns keep coming back over and over. Last year, there was even a show I did back in the mid-80s that resurfaced in reruns on cable.

I also worked on several specials for Tokyo Broadcasting System at the time (and about to do some work for NHK Japan).

I’ve generally been pretty lucky with the television shows and interviews I’ve done. While many of the edited segments/interviews I’ve done have cut out important bits of information or cut down what I said to too little – mainly because of time crunch for the segments — or even had a slight change in context, it’s been pretty rare that my portion was too far off what I said or did. On occasion, some of the shows cut the footage so it appeared that I was “finding” a ghost when an EMF meter or two went off (I wasn’t, since they can’t detect ghosts, only changes in EM fields).

I’ve spoken with many dozens of producers and production companies, so many I’ve lost count. Had my name attached to numerous projects that failed to sell, both as on-screen talent and behind the scenes consultant or even production staff. Those shows generally failed to sell for a variety of reasons, from poor execution of the pitch by producers, to the networks – having asked for something “real” — deciding instead to go with “what already works, like the other shows already on,” to not being able to find the right “team members” to suit the production company or network. Would you believe one pilot got away from me because I was unable to find a young, twenty-something (preferably blond) “hot” psychic?

I’m actually surprised no one’s done a mash-up of a ghost hunting show with Bay Watch – a group of good looking, scantily clad ghost hunters investigating haunted beaches and beach resorts. (Yeah, I know, now that I put this out there, Paranormal Beach Babes is sure to be pitched to some network, or at least end up as a porn flick).

I’ve been a consultant on several shows, both fictional (such as a full day with writing staff of Shadow Chasers and a short consult with writers from L.A. Law a ways back), though mostly “non-fiction” specials and series. Even worked with a few screenwriters over the years.

On occasion, I’ve worked as production staff, including associate producer on one pilot in the 90s, field producer for a few segments of Mysterious Forces Beyond, and consulting producer on a big budget ghost investigation reality show pilot (still sitting with the network that paid for it, seemingly going nowhere). I helped with a proposed game show called Telepathy for the Game Show Network (which is GSN these days), in developing one of the games for the show, working with “contestants” for the run-throughs, and effectively “on camera” for the run-throughs. The show was apparently picked up, then dropped when management of the network changed right before it went into production.

Here’s the important piece: I’ve turned down working on several shows or with certain production companies. I’ve turned down working on or appearing in a few shows already in production.

Have you been taken aback? Are you gasping, asking “Why, Loyd, would you do that when it could give you so much more presence in the paranormal community?”

Don’t get me wrong, I love television. I practically grew up in the TV industry. My father, Dick Auerbach, was a well known sports producer (though he did news, including the Mercury and Gemini space shots) for NBC, and then on his own. My uncle, Larry Auerbach, was a director of soap operas (Love of Life, All My Children, One Life to Live), and heavily involved with the Directors Guild of America (still somewhat with the latter). I have a brother who works as a stage manager on The Today Show, and my other brother is co-owner of a major movie trailer (coming attractions) production house in NY.

TV is in my blood – perhaps my very genetics. But it’s not only TV.

I also have an uncle on my mother’s side, Herb Norman, who was a radio newscaster for WMCA Radio in NY, and later a professor teaching broadcasting. And I’ve appeared on literally thousands of radio programs (plus all the podcasts of late) over the years.

But back to my TV-turn downs…

In science fiction literature, there’s an adage from writer Theodore Sturgeon I read decades ago (partly paraphrasing someone else, I’m sure).

Sturgeon’s Law: 90% of all science fiction is crap. But then, 90% of everything is crap.

I just read a brief interview with Joel McHale of the TV shows Talk Soup and Community, referencing a similar adage, and applying it to television.

But perhaps, when it comes to paranormal (un)reality TV, it should be more like 95% or even more is crap.

Here I’m not talking about how entertaining the shows might be.

For many people, a number of the shows I’d throw in the “crapper” because of the lack of credible portrayal of the phenomena, investigation methodologies and conclusions, and even experiences (in some instances, especially the experiences/stories) are actually entertaining and worth watching.

For me, it’s tough to watch these shows and the people on them which proclaim they are even close to accurate portrayals of anything – including a supposedly close representation of what went on during the so-called investigation that was shot for the show. Because of this, I find most of them not entertaining, often boring, and often insulting to my field and the people who have paid their dues in it.

Crap: Manufacturing Evidence: While mainly driven by the production staff, or the network itself, it’s been clear that some of what has been shown on TV is made up, faked, or edited in such a way as to tie an unrelated (though explainable) bit of sensor equipment data or even explainable bits coming through the production camera or mikes to some other such thing or to the reaction of one or more members of the “team” on camera.

Crap: Misapplication of the Sensor Equipment: Either because of lack of education, inappropriate direction by producers/directors, or pure stupidity, environmental sensing equipment provides readings (data) that is used to support statements that cannot be shown to be true.

For example: “An EMF reading of 3.8” (or any other specific number) “indicates there’s a ghost present.”

No, Virginia, it indicates the strength of the electromagnetic field it’s sensing, or the change in the fields (depending on the device), NOT a ghost.

Please pay careful attention to the following (skeptics and debunkers also pay attention to this, something I’ve been saying since the late 1980s when EMF detectors were first being used by us, contrary to what Randi and others would have you believe about me):

EMF detectors, thermometers, static electricity sensors, and all other environmental sensing equipment ONLY are designed to detect the changes in the environment relevant to each specific piece of equipment. An anomalous (unexplainable) reading is only that. There has not been any real study to determine if specific environmental changes are indicative of a ghost or residual imprint or any other paranormal phenomena.

There have been correlations between certain environmental changes and peoples experiences of apparitions, hauntings and the like. In other words, a person is having an experience at the same time as or in the same space as (and without knowledge of) some environmental anomaly. Not cause and effect, but correlative.

If one does not believe in the paranormal, that’s fine. The correlations still stand, as saying this correlates to the experience of a ghost is not the same as saying the correlations are to the presence of a ghost.

Before anyone jumps on me regarding the issue of no consistent environmental conditions and the proverbial “cold spot” or dropping of temperature when a ghost apparently is in the room, I have to point out that this is an old wives tale (old psychics’ tale?), fully supported by the visual medium of motion pictures. The idea is that when a ghost “manifests,” he/she draws energy (heat, in this case) from the very air in the local environment. People report feeling “a chill” or even downright “cold” when they also see, hear, or sense a spectral presence.

Problems:

1) The vast majority of ghost sightings (and here we’re talking between 90 and 99 per cent) is people who clearly perceive a relative, loved one or friend who just died. People do not report drops in temperature, or generally even a “chill up their spine.”

2) In many, many cases where people report feeling a drop in temperature, not everyone in the room feels it, even if they come to the same spot as the individual reporting this. Not everyone perceives the ghost, either.

3) In many, many cases where people report feeling a drop in temperature, temperature sensors do not support the actual change in temperature.

4) In some cases where people report experiencing a ghost, they report feeling warmer.

That’s not to say temperature changes are not recorded in apparition or haunting cases at all. Sometimes they are (temperature drops or rises a few degrees). But this is incredibly far from consistent. And in some cases, there have been physical cold spots recorded – but often there is a less than paranormal explanation for them.

Yes, there are exceptions – still unexplained temperature changes. That’s cool! (Pun intended).

Crap: Misapplication of Technology in general: Ghost Boxes and other devices supposedly designed to detect spirits or communicate with them have not been tested properly as to whether they, at rest (when no supposed spirits are around) are actually random scanners, as they purport to be. The developers and users have also ignored the decades of data in parapsychology showing psychokinetic effects on random event generators by living people, and it’s next to impossible (without very cooperative apparitions) to do a test of how well discarnate entities can psychokinetically affect such devices.

At this point in time, however, to say that any tech-related “communication” is definitely from a spirit is way too strong. It might be, it might be the intent and expectation of the operator working unconscious PK on the device, or it might be pure chance. One can certainly lean in one direction or another, but no definitive statements can be made – unlike what we see on TV.

Crap: Misapplication of the term “scientific”: “The investigators are conducting scientific investigations,” they tell us on the shows. I’ve yet to see any evidence of anything close to that being true. I do see lots of evidence that the producers and the team members on the shows seem to equate using technology to being scientific.

Okay, so I cooked bacon one morning last week with my microwave oven. So, I was being scientific in the way I cooked the food, right? (No, I was not, at least no more than using the stove and a pan – and I actually have some idea how a microwave oven works).

Using technology does NOT equate to doing science. And, by the way, any man-made tool is technically technology, including a tape measure and even stone knives.

Parapsychology, while often bringing in some of the tools and methods of physical sciences, is mainly a social science (like Psychology and Sociology). Parapsychologists study phenomena of the Mind, of Consciousness – and that means at least starting with people’s experiences.

Many of my own investigations, which are mainly in people’s homes, are not fully scientific, or sometimes even close. Our concerns are for the clients, and taking up their time to do measurements and observations over enough time to have enough data to play with “scientifically” is often to the detriment of their well being. I’m just sayin’.

Crap: Dismissal of all witnesses during the investigation, and dismissal of their experiences as “anecdotal.” On the first front, given that it’s the witnesses who have already had a connection to the reported phenomena, removing them from the location during one’s investigation does not do justice to the case. What if the ghost has a connection to them? Will he/she even stay around or will he/she head to the same hotel as the family? What if it’s poltergeist phenomena, caused by a family member???

It is not a bad idea to remove them from the place if you suspect a normal explanation, so you can really look into that.

As to the second, if witness experiences don’t count, what the hell are you investigating? For private home cases, or even “new” cases in workplaces, it’s the very report of a witness (in other words, a witness experience) that one is investigating. If you dismiss that, there’s nothing to investigate. All witness testimony must be considered – even though it indeed may be inaccurate or based on misinterpretation, faulty perceptions, or emotional reactions.

In public places, reputed to be haunted, without current witnesses you are investigating a rumor or folklore. That’s okay, but the investigation without witnesses should be aimed at finding why people might have concluded in the past that the place was haunted, then you can consider whether it might still be haunted.

Crap: Dismissal of all psychics and mediums in favor of technology. Okay, I understand there are lots of publicity seeking frauds or publicity seeking individuals who simply believe they might be psychic – same, by the way, goes for ghost hunters and paranormal investigators, who seem more interested in getting a TV pilot or series than doing a credible job of investigating.

I understand it’s tough to find a good psychic or medium, especially one whose talents actually work in given situations (contrary to popular belief, psychics and mediums, like artists and musicians, are often specialists – specializing in a certain application of their talents, like a violin player who could never play the flute or drums).

I understand that people often get turned off by many of the psychics and mediums they see on TV, thinking the behavior of all is represented by the behavior of the few (often flamboyant or diva-ish) on television. But that’s like saying the folks on Jersey Shore represent all the natives of the New Jersey/New York area. Not!

Given all that, let me say that the best piece of equipment IS a PERSON. This can be one of the witnesses, or it can be a psychic or medium. However, one must use this “sensor” like any other piece of equipment – what they “sense” needs to be correlated to all the other data, including witness testimony, history of experiences, environmental readings, and so on.

On the other hand, psychics and mediums – the right ones, anyway – are excellent at dealing with the living inhabitants of the home. In other words, there’s the accuracy issue, but more important is the usefulness issue. [Note: in the next few weeks I’ll post a short piece on the qualities of the best psychics and mediums]

Crap: Dismissal of outside experts or editing of the expert opinions. All good researchers and investigators seek alternate opinions. Why don’t you see scientists on Ghost Hunters? Because they might make more sense than the TAPS folks, and given who the stars of the show are, that just won’t do.

What’s worse is when an outside expert is invited on a show, to have his statements placed out of context during the editing process, or even having the comments edited in such a way that on-screen what’s said is the opposite of what the expert actually said. Yes, this happens a lot.

What also happens – and it’s happened to me and many of my colleagues – is having a director or producer during a shoot try to direct the expert to say something the expert does not agree with. Got into a bit of a fight with a director during an Unsolved Mysteries shoot in the 1980s when I refused to ignore evidence as to what I thought was actually going on and state I thought it was “demonic.” Got cut out of that episode, completely.

Crap (okay, the last one, for now): Investigators running scared from a location like frightened little children. An EVP that says “Get Out!” being declared it’s an indication there’s a demonic spirit present.

As to the latter, I not only see this on TV, I also hear it from individuals and groups out there. But imagine if you were the ghost, and a group of people came in and started invading your space, challenging you to appear or otherwise communicate, even insulting you and yelling at you. Wouldn’t you shout “Get OUT!” to them? Or simply leave so they get no “evidence” at all. Frankly, I’m surprised no one’s gotten a “Get the F*%K Out!” EVP yet.

I ask you, who was being “demonic” – the rude, obnoxious, provoking ghost hunters or the ghost who was just minding his own business?

Idiotic assumption!

As to the former, really? Running screaming from a house? Saying it’s “demonic” and that you’ll never enter the premises again? Really?

Wimps! (and certainly not like any professional or scientist I know in the field).

If it was me, it would take a pretty big spider to send me running (or a living person with a gun or big knife)….

That’s enough “crap” for now, on to other things.

Why have I turned down a bunch of shows in the past, and continue to do so?

My Top Thirteen Reasons

1. The producers are not interested in a credible portrayal of the phenomena or the ghost story.

2. The producers are so insistent on having “something” on camera, that they hint (or even blatantly state) that they might have to fake things.

3. The producers have little regard/respect for the people who need help (the clients), promise them one thing, but don’t follow through. [This happened with a couple of producers for Sightings during their last season or two, with producers promising resources for – meaning money to support — follow-up past the segment shoot.] Or they make the people look silly, ignorant or even psychologically disturbed when they are not.

4. The producers have little regard/respect for the statements of the expert (someone like me), and have proven this in past shows/series they’ve done. Editing statements out of context, or cutting so the expert says/does something other than what he/she actually did/said during the shoot. Making the expert look foolish.

5. The show is focused on “evil.” I refused to work with one show on principle, because the show’s opening indicated that all paranormal experiences are brushes with Evil. That’s about as far from my own position as it comes.

6. The producers are focused on demons as a major explanation for people’s paranormal experiences. Also about as far from my own position as it comes. I don’t even believe in demons (as defined by current religious beliefs).

7. The show is positioned to engender fear (related to #5 & #6). I love a good scary movie (scary, not gross-out). But “reality” television should not try to engender fear by portraying all paranormal experiences as potentially dangerous or evil or harmful. I won’t work with such shows. Nor will I work with such shows as try to focus on what look to be harmful experiences, as though all are that. The regular News is often scary enough.

Got a call recently from someone from a proposed show called When Ghosts Attack (anyone recall the old show When Animals Attack?). The person I spoke with was surprised to hear from me (though she heard this from others as well) that ghosts almost never attack. I had no cases for her, and explained that this is not exactly the kind of show that draws me in to help. Fear-mongering is not good for the field.

By the way, she was also surprised to hear (as so many other producers have been surprised to learn) that even if I had any cases like that, the people would most likely not want to talk on camera. Most people don’t even want their neighbors to know they have a “paranormal problem,” let alone broadcast it to the world.

8. The producers have not done any research/education about the actual field, and instead have bought into the “crap” on other TV shows as “how it really is.” This is not actually a problem, unless the producers are unwilling to take the time to learn about the actual experiences of people, the behavior of the phenomena, and the field of Parapsychology and its findings.

But more often than not, they don’t want to spend any time on that, given the network could care less about such things (or at least, that’s what the producers believe, and sadly often the case).

9. The production company’s track record. With some relationship to #s 3 & 4 – I sometimes hear from production companies that tout how “successful” their previous shows (paranormal and not) have been, thinking this is going to sway me to work with them, even if for only one episode of something. It’s not.

Ratings success is very different than critical success, and the amount of Crap that the shows have included, whether about my subject or something else. Producers of Crap have to prove to me that their new project won’t be the same.

10. The producers are unprofessional/idiotic. Do I need to say more on this?

11. Logistics: Sometimes, my refusal is simply a matter of when and where they want to do the shoot. There have been a few times when I did want to say Yes,, but the lead time was not enough for me to rearrange my schedule, or most frequently it conflicted with something I simply could not change or cancel.

One of the biggest such conflicts was back in 1995. I was slated to go to New Orleans with Tokyo Broadcasting for yet another TV special centered around Japanese psychic/medium Aiko Gibo. I really liked working with these folks, they were respectful, listened to me, and even paid well. Mrs. Gibo was a pleasure to work with.

The shoot was scheduled for early summer, 1995, then got pushed back, and again…I warned them there were absolute blackout dates for me in early September. I was getting married, and heading off to French Polynesia for our honeymoon (which was already paid for, and not alterable).

They changed the dates again…and again…until finally – you guessed it: the dates conflicted with our trip. Realistically, and as I told them, we could have pushed our honeymoon a week or two, but the production company would have had to cough up the money for the new trip, on top of what they were paying me. They were not willing to do that, so, regrettably, I had to bow out.

Had a great time on our trip, though!

12. Non-disclosures and crazy language in a release form.

A non-disclosure agreement (NDA) is one that ties the parties from talking about any details of a deal, production, etc. for a designated period of time, or under certain conditions. In the past, I’ve had releases with NDAs that were workable – usually either stated that or I was able to change to I couldn’t talk about the production or what actually went on during the shoot and the case (if we were investigating). I have no problem keeping my mouth shut about a shoot until the specific episode airs. But once it’s on, all bets are off – if they changed the story, disrespected me, other experts or the witnesses, or did an exemplary job, I want to be able to talk about it, either way.

 In the more recent past, there have been overly inclusive non-disclosure clauses in releases (which look more like contracts than TV release forms). Language restricting not only the ability to talk about the shoot, case or show in anything but non-derogatory terms (!!!), but limiting the ability to even use the name of the show (or that I was in it) in any of my own publicity materials without express written permission. On top of that, one I saw recently actually restricted one’s right to say anything other than the “non-derogatory” about the series, production company and even the network!

That last bit would mean that one could never say anything negative about the network going forward, whether for the particular show the release was related to, or any other. Talk about restriction of Freedom of Speech.

In all cases, when presented with something like that, I change the language, crossing things out, and changing the wording. If they or their lawyers don’t like it, I simply tell them I won’t do the show otherwise. It’s not like they’re paying for my silence (see the next item). In a few cases, including an interview I shot (via Skype) for Ghost Lab, they refused to change the language.

I refused to do the shows. In the case of the Ghost Lab show, that meant they couldn’t use the footage of me.

There’s been other crazy language in the releases, including signing what amounts to an admission that you (the signer) are aware they are able to (and even likely to) humiliate or otherwise defame you, make you look foolish, and you have absolutely no recourse, even if they had intended to do this from the moment they began speaking to you about being in the show. The last one I saw like this actually stated that you had no recourse even if they had “malicious intent” to do all that to you.

By signing without changes, you would give producers free reign to make you look as bad as possible (on purpose!) now and forever – and because of the NDA, you could not say anything but a non-derogatory word about it, let alone sue them.

So, when presented with such an agreement, you have to decide a) What’s your reputation worth? and/or b) What’s your ability to speak freely about the shoot, the show, or even the network, worth? and c) What are you getting out of doing the show, whether monetarily or otherwise, and is it worth as much as the potential losses (of a & b)?

To me, it’s simply not worth the losses here, and it’s not like they’re paying enough to make me think twice about it – or often even offering to pay anything at all.

13. Pay (or lack thereof).

I have been around TV production all my life. I know shows have budgets, and I know the reality of Reality shows is that they usually don’t have great budget (unless they’re broadcast network). In many, if not most, cases, the production company is simply “for hire” and gets a flat amount for the budget of an episode, with no piece of the action down the road (no residuals, no percentage of profits from DVD or online sales or rentals, etc.). Consequently, they often have to penny-pinch, and where that especially comes in is with on-air “talent.” This includes the principals in the show (e.g. the ghost hunting team, or the host(s)) and any outside experts or others being interviewed.     

That said, it’s important to remember that the production crew is being paid, and any outside services (travel, food, lodging, equipment rental, even temp “go-fers”) are being paid.

The production companies have often been able to keep budgets down by not even paying the on-air “talent” (the team), at least for a first season series – though generally they pay travel, lodging and food. However, so many people are so hungry to get on TV that they don’t question the “sorry, but we can’t pay you – but you’ll be on TV!” statement. From what I understand, some have gone broke by giving up a paying job to take a non-paying gig for a short-term on TV, thinking it’ll lead to much more. Yes, sometimes it can, but most of the time, it does not.

Like everyone else who went through several years of education, and like everyone else who’s worked hard to establish a reputation as well as a strong knowledge-base in a subject, all that investment of time, money and experience should be worth something. In other words, like everyone else in every profession, I should be paid for my time.

Naturally, there are exceptions. News programs can’t pay (can’t pay for a news story, even though it may be more of a feature than an actual news piece). Talk shows usually don’t pay, unless you’re a member of AFTRA or SAG unions. The latter usually pays expenses, and sometimes the former does as well.

Radio can’t pay (not even for expenses – they don’t have the money).

The cable shows don’t usually have large budgets, but they do have some money they can spare for experts. I know this, having gotten to know a number of cable producers over the years (and because of my Dad’s looking into this for me many years ago).

“We can’t pay you, but we really want you on the show.” Okay, if it’s a show that sounds appealing to me, or there’s something I do in fact get out of it (such as doing the recent ESPN piece I did on the “Madden Curse” – fun to do, a fun piece, something different, a new audience, all of the above!), or perhaps one of the locations I work with regularly gets something out of it, or maybe as a favor to a colleague or if I have a friend working on the show.

All of the above had led me to do things for no payment. And I’ve done interviews for a number of documentaries for free (or next to nothing), and as long as they’re educational, have the right angles, and are from producers with integrity and/or are actually interested and care about the subject in a serious way, I’ll continue to do so.

When they plead “nothing in the budget,” logistics really do come into play for me. Do I have to take time off actual, paying work (in other words, do I lose money)? Are they willing to come to me, on my schedule, at a location of my choosing? How much time will be spent on this? I consider all of those – and have done a number for little or no money.

Otherwise, I turn them down.

I’m not going to list my fees for doing shows here. That’s between me and any show that wants to hire me, and it totally depends on what I am being asked to do, how much time will be spent –including getting to/from their shoot-location. Often, it’s logistics that makes me decide “No, sorry,” especially if the travel is long/time consuming compared to the money offered. I don’t ask for a huge sum, and I’m told I’m undercharging, especially given how much (free) time and advice/information I’ve given over the phone to producers.

But it boils down to whether I’m being treated as a professional, or an expert – which is what they want me to be on camera.

 So, when people ask me why I don’t have a series, there are many reasons, but it boils down to “most series are crap…crap sells, good ideas don’t…I don’t do crap.”

Sometimes it sucks to have some integrity.

Of course, I am willing to do comedy…. I’m talking to you, Stephen Colbert!!!

 

 

Loyd Auerbach’s YouTube Channel is now Live!!

Visit parapsychologist Loyd Auerbach’s new YouTube Channel, featuring numerous appearances he’s had on TV, going back to the early 1980s, including some pieces from 1984, when GHOSTBUSTERS was the top film, and from 1986, when his first book, ESP, HAUNTINGS AND POLTERGEISTS: A Parapsychologist’s Handbook, was released.

http://www.youtube.com/user/loydauerbach

 

Professor Auerbach will be adding more (as time permits), including some other interesting footage he has in his video library.

For example, he has added an extended-cut of a new piece shot and aired by nationally syndicated Independent Network News in 1983. The piece focuses on the research into Out of Body Experiences (OBEs) conducted by Dr. Karlis Osis and Donna McCormick at the American Society for Psychical Research. The original piece was much shorter, but Auerbach was able to edit a longer piece from additional interview footage provided to the ASPR by the producer.

View it here: 

 

The Bio Channel is looking for real cases of reincarnation and past life memory in children.

Has your child told you details of his or her inexplicable memories and experiences of another life? It’s not as unusual as you might think.

Children of all ages who claim they remember previous lives are quite common – and hundreds of these accounts have been scientifically documented, researched and studied, both in the United States and abroad, since the 1950’s.

The Bio Channel is currently seeking families with children that have, or have had, past life memories for the new real-life series, GHOST INSIDE MY CHILD.

We are looking for true and compelling stories that must be shared – real stories that will educate and inspire audiences about this amazing phenomenon.

GHOST INSIDE MY CHILD presents the stories from the family’s point of view, recounting what their children (ages 2-17) were/are feeling and experiencing, even if the child is older now.

The series especially seeks families with supplemental materials: Home video footage (preferred), photographs, and/or, children’s drawings of their actual past life memories.

Episodes of GHOST INSIDE MY CHILD will be 1 hour in length and consist of 2-3 stories.

Please e-mail us if you, or someone you know, would be right for this fascinating new series.

Contact the producers at: info@dltcasting.com 323.410.0271

Loyd Auerbach on HOTEL IMPOSSIBLE, January 7, 2013

Back in September, I visited the Hotel Leger in Mokelumne Hill, CA (in the Gold Country), at the invitation of the Travel Channel, to participate in the shooting of an episode of HOTEL IMPOSSIBLE.

While the show focuses on helping hotels that need both a facelift and other work to bring them back from a financial brink, as the Hotel Leger had a reputation for being haunted, they’d asked me to do a brief investigative assessment and something more.

With the crew of the show and the entire town working on physical renovations of the hotel, it was really tough to do a great job of investigating. Fortunately, I also had some information from a colleague, Mark Boccuzzi of the Windbridge Institute, who’d done an investigation several years ago. Maria Lagana-Sales, a psychic who has worked with the Office of Paranormal Investigations, came along for a bit to provide her insight as well.

The show aired on Travel Channel last night, and there was no mention of the haunting at all, which also meant I was not in the episode. Given the focus of the show and the oh-so-enormous job they did renovating, it makes sense that the ghost story was simply something that could not fit in the time they had allotted for the episode. That’s Show Biz (and at least I got paid a fair fee for the shoot).

Of course, I was disappointed, especially since I appeared in a couple of photos posted on the show website. I am also disappointed on behalf of the hotel, as the haunting was yet one more marketable point in its favor, and even a brief mention would have gotten curiosity going which would draw more people to stay there. In fact, besides having me do my assessment (challenging, with all the work going on at the time), the other reason they’d asked me to come was to discuss best ways to “market a haunted hotel,” something I’m familiar with.

However, the Travel Channel did post a video clip about the ghosts and does include me (along with host Anthony Melchiorri and hotel owner Ashley Canty). Watch it at http://www.travelchannel.com/video/hotel-leger-haunted

It’s a good piece, though what’s missing is a short bit on the brief experience host Anthony Melchiorri had in one of the basement areas (which was originally an old jail cell). On the clip, you see me with an EMF meter that’s reacting — you don’t see that this was connected to Anthony’s experience (which is the only thing that made the anomalous magnetic reading have anything to do with a potential psychic/paranormal experience).

More on the Hotel Leger will follow, and I hope to announce an event I’ll be hosting there in the next couple of months within the next few days.

Go to the episode page for the Hotel Leger and check out Anthony Melchiorri’s photos for a  couple of snaps of me as well.

“Why has there been an increase in paranormal programming on TV?

A question that comes to me regularly is whether I know or have an opinion as to this question:

“Why has there been such a surge of television paranormal programs over the last decade?” It’s a two part answer…

First, the fact is that while the quantity of paranormal shows has surged, it’s mainly been on cable – which itself has surged since the mid 1980s. Comparing the number of “paranormal” hours on TV to the total number of cable TV hours, one might be hard pressed to say that the percentage has increased over the days before cable TV (yes, there were days before cable).

As cable networks and channels developed, there was more and more need for the ever-increasing hours to be filled by…something. Yes, it might have been hard to guess that the number of paranormal shows would be as high as today (and seemingly increasing). But in the pre-cable and early days of cable, who would ever have been able to predict an annual week of programming on one channel devoted to sharks?

The second part of the answer is that the paranormal has been with us on television since the early days. Want to see exceptionally good dramatizations of the paranormal? Get yourself some episodes of One Step Beyond. Anyone old enough to remember the exceptional show In Search Of… from the 1970s? Or the first TV show to have a parapsychologist as main character (The Sixth Sense, which later re-ran in edited form on Night Gallery)? Or the real deal investigator, Kolchak: The Night Stalker (the one with Darren McGavin). There was even a short-lived game show in the early days of TV called ESP, and numerous sitcoms with ghostly characters (such as Topper, The Ghost and Mrs. Muir, My Mother the Car, to name but a few).

In the 1990s, a show ran for several years covering the unexplained that included a focus on several paranormal investigators (myself included) who investigated with the lights on (No nightshot! How shocking!). That show, Sightings, did a great job (though edited down) of portraying our interactions with people who had paranormal problems – I say “our,” because I did several episodes of the show and helped launch their initial Sightings: Ghosts special, as did my colleague Kerry Gaynor.

And of course, we can’t ignore a key show that ran before, during and after Sightings that featured unexplained/paranormal topics from time to time – Unsolved Mysteries.

Perhaps other than Scooby Doo, there were no team-centered supposed “reality” or “documentary” shows such as today, but that was not for want of trying. I’ve been involved in a number of proposals and pitches for team-centered ghost investigation shows since Ghostbusters (yes, since the mid 80s), and even a couple of pilots before the current crop of shows.

But for whatever reason, the timing was not right, the networks wanted a cheaper show, we refused to fake things, our psychic wasn’t young and pretty enough (or blonde enough, in one case), we didn’t want to do demons (even though they insisted we also be “scientific”), and so on and so on.

In point of fact, a TV pilot I was involved in both on and off camera was shopped around in the early to mid 1990s featuring a team of investigators (folks I pulled together) called Haunted America (Abbitt-Prest Productions, 1993/1994), and there were several good nibbles, including for syndication. Unfortunately, they wanted a cheaper show, etc., etc. [Note: watch this space for an announcement in a couple of months about the release of Haunted America for home viewing]

To this day, I still hear from producers, have been involved in numerous proposals and pitches, and a couple of pilots, and expect this will continue.

I do welcome contact from producers, since I do still hold out hope (however unlikely), that some network will actually be interested in quality, and in presenting the ghost/haunting/poltergeist experiences (the ghost story we’re actually investigating) in a way that captures the true drama of the situation.

Sadly, I’ve been approached time and again to help develop something “different” or “closer to what parapsychologists actually do and find” or “more scientific,” even at the request of the network, only to have the network turn down the idea in favor of some other production company’s copy-cat of one of the current crop of ghost hunting shows.

I’ve been doing TV on this subject since 1983, and radio before that. I’ve done hundreds of TV shows and news interviews, thousands of radio (broadcast and internet) and podcasts and appeared in thousands of print interviews and articles. I’ve consulted on numerous TV projects (including some episodes of TV dramas and comedies) and even some movies. I say all this because it provides some basis for those who may not know me to ask “who the hell is this guy and why is he qualified to comment on TV and other media?”

But I also know TV and radio from another angle: growing up in the industry. My father (producer) and one of his brothers (director) worked in TV, another uncle was a radio newscaster and taught radio broadcasting, and both my brothers are in the industry (one in TV, the other in film). I grew up behind the scenes of television broadcasting and intended to work with the medium to try to change people’s opinions and perspectives (and perceptions) of psychic phenomena as I entered the field of Parapsychology – at least a little.

Will the increase in paranormal shows continue?

Certainly, as long as there’s an audience, and more and hours to fill on cable.

Will the quality of the portrayals of the experiences, phenomena, or investigations and research ever get better?

Not until the viewing public expresses more vocal interest in that, and supports whatever show first tries to venture into the actual arena of research and investigation of paranormal/psychic phenomena.

Though I can still hope, can’t I?

“How are you different from the TV ghost hunters/investigators?”

When Ghostbusters came out in 1984, the most common question I was asked by media people (and so many others) was an important one: “We know real parapsychologists don’t do what the guys in Ghostbusters did, so what do you do?”  That question was the absolute best one folks in Parapsychology could be asked, and allowed us to respond with clear answers that we could contrast against the fantasy of the methodology, equipment and phenomena from the film.

Prior to that, the media seemed to always ask “Can you take us to a place like the house in The Amityville Horror…with stuff flying around and walls bleeding?” Or “Can you discuss cases you’ve had like the girl in The Exorcist?” Or even “How much of the movie Poltergeist was based in reality?” I had lots of pat answers for those questions, and being more of a New Yorker early in my career, many of them were more than a little sarcastic.

These days, thanks to so much paranormal TV, I’m constantly asked either how much our investigations “resemble the folks on TV?” or “how much of what’s on TV is faked?” Those questions come often from folks in television themselves. Considering the fact that for the most part, what one sees on the screen is under the control (and editing) of the producers not the investigators, that’s actually a pretty odd question to come from others in the same business.

If you’ve read any of my books, heard me speak on the numerous podcasts and radio shows I’ve done, or explored the material on this website, it should be clear that what parapsychologists do when conducting field investigations is somewhat resembled by what people see on television, but that there are dramatic differences. Rarely does the media rarely goes into any depth of coverage (if at all). These range from:

  1. How we approach the cases: always starting with and staying with people’s experiences.
  2. How we use equipment: it’s for looking at potential connections between the environment, the experiences and the phenomena, not to detect anything paranormal.
  3. How we do not conduct our investigations in the dark: partly because that’s not when most folks are experiencing things and partly because it’s been shown quite clearly and repeatedly that people are terrible observers in the dark.
  4. How we base our work in the work of our predecessors: most ghost hunters seem blithely unaware that a) there’s a real history of investigation, documented, back to the late 1800s and b) there’s a field of science, Parapsychology, that deals with the research and investigation of these phenomena and experiences and c) how ghosts, hauntings and poltergeists relate to each other and more importantly, to other psi phenomena (ESP and PK).
  5. How with family-based cases especially, where the goal of helping the family/individuals in their reported paranormal situation/experiences is more important, ethically, than following scientific data-gathering protocols. In other words, many of our investigations end up being more artful than scientific, even though there’s decades of science behind them.

Want to know more? I am teaching an online course on Investigations of Apparitions, Hauntings, and Poltergeists for the Rhine Research Center beginning January 30th, 2013. For more information, including a syllabus, go to http://www.rhineeducationcenter.org/edu/ — pass the course and become part of my own network of investigators.

Or consider a self-paced distance learning course (or our entire series of courses) with the mp3 based Parapsychological Studies Program classes offered by HCH Institute. Visit http://www.hypnotherapytraining.com/parapsych.cfm  Again, work through the courses (mainly the investigations course), and become part of my own network of investigators — and much more.

Or consider a mentoring session, one-on-one, with me via phone or Skype. Email me at profparanormal@gmail.com for more information.

 

 

A SPIRITED EVENING ON HALLOWEEN IN LAFAYETTE, CA

Join me and genuine spirit medium Sandra O’Hara for A SPIRITED EVENING on Halloween at the (haunted) Town Hall Theatre in Lafayette, CA. It will be an All Hallows’ Eve you’ll never forget!

A SPIRITED EVENING features a look at both sides of the paranormal coin – the unreal and the real.

Mentalist Professor Paranormal (in reality, parapsychologist Loyd Auerbach) will amuse and amaze with feats of mindreading and prediction with audience members, getting everyone “in the spirit” for actual contact with the Other Side.Renowned Irish psychic medium Sandra O’Hara will bring the audience in close contact with friends and loved ones across the veil, providing a more personal connection with those who have passed on. Don’t miss this Halloween evening of fun, mental mystery and true paranormal experience. Come in costume, and you might win a surprise.

For tickets please visit: http://www.townhalltheatre.com/music-comedy-series

Want to know more, send an email to profparanormal@gmail.com