“At Least Four Species”: Former CIA-Funded Researcher Claims Extraterrestrials Were Recovered From Crashed UFOs

On the podcast “The Diary of a CEO,” physicist Hal Puthoff, 89, has revived the most explosive rumor in American ufology. Yet he himself admits he has no direct access to the information he relays. An investigation into a spectacular statement, and into what it does not prove.

A Statement That Went Around the World

In late May 2026, Dr. Harold “Hal” Puthoff appeared on “The Diary of a CEO,” the podcast of British entrepreneur Steven Bartlett, alongside filmmaker Dan Farah, director of the documentary “The Age of Disclosure.” During a roundtable on unidentified aerial phenomena, the researcher dropped a line that was picked up by the American, British and Australian press: people involved in craft-recovery operations had allegedly told him that “at least four distinct types” of living beings exist.

Puthoff immediately spelled out the limits of his claim. He said he has had no direct access to this information, but that he believes the people he spoke to. He added that, according to the researchers he consulted, there are many variations on these four forms, and that he has even heard of amphibian-type creatures.

Who Is Hal Puthoff?

He is no stranger to the UFO community, nor to the American intelligence services. A Stanford-trained physicist, Puthoff led a “remote viewing” research program at the Stanford Research Institute in the 1970s and 1980s, funded by the CIA and later by the Defense Intelligence Agency. That program, later known as Stargate, was shut down in 1995 after an evaluation concluded it had no operational value. Puthoff worked on it with Russell Targ and tested the famous Uri Geller, a collaboration that has durably divided the scientific world.

More recently, he served as an adviser to AAWSAP, the Advanced Aerospace Weapon System Applications Program, a Pentagon program launched in 2008 at the urging of Senator Harry Reid and entrusted to Bigelow Aerospace. In 2017, he helped found To The Stars Academy, an organization created by musician Tom DeLonge that helped bring the Pentagon’s interest in UAP into public view.

Grays, Nordics, Reptilians, Insectoids: The Alleged Bestiary

During the show, Puthoff did not detail the nature of the four species. According to the New York Post, it was his former AAWSAP colleague, physicist Eric Davis, who had previously mentioned four categories: the “Grays,” the “Nordics,” the “Insectoids” and the “Reptilians.” The Grays correspond to the archetype of small, hairless beings with large black eyes. The Nordics are said to be the closest to humans. Reptilians are described as scaly creatures walking on two legs, and Insectoids evoke praying mantises.

This catalog is nothing new: it matches almost point for point the typology that has circulated in UFO literature since the 1950s and 1960s. Author Kent Heckenlively, interviewed by Fox News Digital, pointed out that Grays are the most frequently described, while Insectoids are reported more rarely.

Dan Farah’s Testimony: Sources “Too Frightened to Speak”

Beside him, Dan Farah says several senior intelligence officials interviewed for his film stated on the record that dozens of craft of non-human origin have crashed over the decades. He also says he spoke privately with people linked to these operations, many of whom fear speaking publicly. He recounts that one source withdrew at the last minute, convinced that an interview would cost them their life.

None of these people is named, and no document, sample or image has been produced to support these accounts.

The Shadow of David Grusch and Congress

These statements follow in the wake of David Grusch’s testimony. A former US Air Force intelligence officer and ex-member of the UAP task force, he stated under oath before a House committee in July 2023 that the US government held “non-human biologics” from crash sites. Like Puthoff, Grusch said he got his information from witnesses rather than observing it himself. His hearing set off a global debate over the possible existence of secret retrieval and reverse-engineering programs within the military and intelligence apparatus.

The 2026 political context adds further resonance: the Trump administration is promoting a policy of transparency on UAP, and the Pentagon released a second batch of documents on the subject in late May. Puthoff, for his part, welcomed this momentum, judging some of the disclosures remarkable.

Reconstructed Dossier: What the Established Facts Say

Summary document reconstructed by the editorial staff from public sources. It contains only verifiable elements.

DOSSIER – ALLEGED RECOVERIES OF NON-HUMAN CRAFT

1947: Roswell incident (New Mexico). A 1994 US Air Force report attributes it to Project Mogul, a balloon program designed to detect Soviet nuclear tests. A second report, in 1997, explains the accounts of “bodies” as parachuted test dummies.

2008-2012: Pentagon AAWSAP program, funded by federal money and carried out by Bigelow Aerospace.

July 2023: David Grusch testifies before Congress; allegations of “non-human biologics,” with no physical evidence made public.

2024: The Pentagon’s AARO office publishes the first volume of its historical record report and concludes it has no verified evidence of recovered extraterrestrial technology.

May 2026: Hal Puthoff’s statements about “at least four” types of beings, relayed secondhand.

Status of the evidence: No physical item has been submitted for independent examination.

Critical Analysis: Thirdhand Testimony

Methodologically, Puthoff’s statement carries very little evidentiary weight, and he himself does not claim otherwise. It rests on a chain of transmission: unknown people allegedly took part in recoveries, they allegedly told researchers, who allegedly told Puthoff, who tells a microphone. Each link adds uncertainty, and none can be verified.

The Pentagon, for its part, has taken the opposite view. In 2024, the AARO office reviewed decades of files and interviews and found no verified evidence of recovered extraterrestrial technology. Its first director, Sean Kirkpatrick, defended that position, and independent analysts such as Mick West stress that many crash rumors rest on memory confusion, retold stories and misidentifications.

The striking resemblance between the evoked “bestiary” and popular culture is also worth noting: the Grays, popularized notably after the Betty and Barney Hill case in 1961, have taken hold in film and television, raising the question of possible contamination of the accounts by the collective imagination. Skeptics finally recall that the “disclosure” community has long maintained close ties among officials, producers and media players, which encourages the circulation of stories without independent checks.

NASA puts it soberly: the agency has not discovered life on another planet and has no scientific evidence of extraterrestrial life, but cannot say at this stage that aliens do not exist. It continues its search, notably for microbial forms.

Why These Stories Fascinate

Beyond the question of evidence, the affair reveals a social phenomenon. With a respected researcher on one side, a hit documentary on the other, a platform of millions of listeners and a favorable political climate, the “crash retrieval” hypothesis has become a central narrative of contemporary American culture. It is a narrative where documented facts (the existence of AAWSAP, the congressional hearings, the Navy videos) mingle with unverifiable assertions, at the risk of blurring the line between the two.

“I have not had direct access to that, but I believe the people I talked to.”
— Hal Puthoff, on the four types of beings allegedly recovered

That sentence sums up the situation on its own: a sincere conviction, probably, but not proof. Until a sample, an authenticated document or a direct witness is submitted to independent examination, the story of the four species will remain what it is today: a secondhand assertion, spectacular and unsubstantiated.

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Bruno Amadio: The Painter Who Allegedly Made a Pact with the Devil

Behind the glistening eyes of "The Crying Boy," once hung in millions of living rooms, lies one of the most persistent urban legends of the twentieth century: an artist, an orphan nicknamed "Diablo," and a curse said to spare the paintings while the houses around them go up in flames. An investigation into a myth born in a British tabloid.

A Weeping Child in Millions of Homes

You have almost certainly seen him: a child with a fixed gaze, cheeks wet with tears, lips turned down, often dressed in a dark jacket against a black or ochre background. In a grandmother's hallway, in a hotel corridor, on the wall of a flea market stall. Reproduced in the hundreds of thousands from the 1950s onward, the image became a monument of European kitsch. In some countries it hung in practically every household: an Israeli columnist, recalling his youth, says it was hard to find a home without this tearful boy on the wall.

But since 1985, the portrait has also carried a far more sulfurous reputation: that of a cursed object, drawn to fire, signed by a painter who supposedly sold his soul.

Who Was Bruno Amadio, Really?

The "Crying Boys" are generally signed "Bragolin," sometimes "Giovanni Bragolin" or "Angelo Bragolin." Yet no painter ever existed under that name. According to the available biographies, the pseudonym hides Bruno Amadio, born in Venice in 1911 (on November 9 according to some sources, January 15 according to others) and died in Padua on September 22, 1981. He also used other pen names, including "Franchot Seville."

Trained at the academy, Amadio worked in postwar Venice as a painter and restorer, producing for tourists these portraits of tearful children. At least sixty variants are attributed to him, in boy and girl versions, which the image industry then reproduced worldwide without always paying him properly. Another detail contradicts the legend: in the 1970s he is found alive and well, fairly prosperous, and still at his easel in Padua.

The Legend: An Orphan, a Priest, and a Pact

Here the popular tale takes a frankly diabolical turn. In the most widespread version, Amadio fled Italy for Spain after the war. There he met a small vagrant boy, an orphan whose family had supposedly died in a fire. A priest warned the painter: wherever the child went, fire followed. The boy's nickname, "Don Bonillo" or, more dramatically, Diablo, completed his reputation as a little demon.

Amadio, out of pity or pride, ignored the warning, took the child in, and painted his series of portraits. Then his studio supposedly burst into flames. Convinced that the boy was responsible, the painter drove him away. In most versions the child then dies in a car accident or a fire, and his portraits, now steeped in his curse, begin spreading fire through homes. The painter himself is said to have perished in the flames.

That is the "pact": an artist who agrees to share his roof, and his glory, with a child the rumor calls damned.

1985: "Blazing Curse of the Crying Boy"

Yet the curse was not born in Spain, but in the columns of the British press. In early September 1985, a local newspaper in Rotherham, South Yorkshire, reported a house fire. Two days later, the national tabloid The Sun seized on the story. On September 4, on page 13, it ran an article titled "Blazing Curse of the Crying Boy": a couple, Ron and May Hall, blamed a painting of a weeping child for the destruction of their home, with the picture supposedly the only object to have survived the flames. Ron's brother, a Rotherham firefighter, allegedly added that similar cases were circulating at the fire station. (Some sources date the publication to September 5.)

The research of folklorist David Clarke shows that the affair was blown out of proportion by the newspaper. Its editor at the time, Kelvin MacKenzie, sensed a good story. Weeks of letters from terrified readers, accounts of fires, and new "victims" followed. The legend grew to the point that families who owned a copy no longer wanted to keep it in the house.

The Sun's Bonfire

Faced with the flood of letters, the paper offered to take readers' reproductions off their hands and destroy them. On Halloween night 1985, around 2,500 prints were burned on a bonfire in Oxfordshire. A firefighter present mocked the ceremony: they had expected stifled screams, but heard only the crackle of paper. The tabloid then declared the spell broken.

"I always say it's the tears that put the fire out." – the wife of firefighter Alan Wilkinson, quoted by David Clarke in Fortean Times.

What Rational Criticism Says

The case is rich in mundane explanations, which skeptical investigators lay out without difficulty. First, the argument from numbers. The Sun itself estimated that around 50,000 copies were in circulation in the United Kingdom. When an object decorates that many homes, it mechanically turns up in a share of domestic fires. The bias is pure statistics: comedian Ray Peacock, in an episode of The ParaPod, ironically sums it up by saying that any popular record, present in as many living rooms, would be "cursed" too.

Then there is selection bias. No one reports "a fire where the Crying Boy burned": only the cases where it survives make the story. Investigators also noted that the paintings were not identical: "a motley assortment," in David Clarke's words, of cheap prints sold in British department stores in the 1960s and 1970s. The only thing they shared was mass marketing.

To explain why the frames survived, commentators generally point to how these reproductions were hung and the backing they were mounted on, but this hypothesis, common in the skeptical literature, remains a plausible explanation rather than definitive proof. It was in any case not taken up by The Sun, which, as Clarke notes, had no interest in looking for a rational cause.

Finally, the genealogy of the myth. David Clarke points out that the story of the orphan "Diablo" does not appear until 2000, from the pen of Liverpool author Tom Slemen. This storyline, which explains who the child is and why the painter would have come to a bad end, therefore postdates the 1985 panic by fifteen years. As for Amadio, far from perishing in the flames, he died of illness in Padua: broadcaster and comedian Steve Punt traced his story for BBC Radio 4 (Punt PI, 2010), then published his conclusions in The Sun. The legend of a Spanish exile and a burned orphanage could not be confirmed. Italian skeptic Massimo Polidoro, in the Skeptical Inquirer (November-December 2012), likewise files the affair under urban legends.

Why the Myth Survives

The story of the diabolical pact endures because it ticks every box of the gothic tale: an artist on the margins, a cursed child, an ignored warning from the clergy, an innocent-looking object that spreads misfortune. It also works as a remnant of the folklore of "haunted objects," in which a painting becomes the vessel of a presence. The internet has only revived the rumor: forums, videos, and dealers' listings swearing they hold "the original cursed one."

The mystery, in the end, is how a myth gets manufactured. A portrait of a sad child, sold by the dozen to tourists in Venice, was enough to feed four decades of fear, with a well-oiled media cycle as its only "devil." Bruno Amadio never signed a pact. He painted, he sold, and without knowing it he left behind one of the finest case studies in crowd psychology.

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A "Time Traveller" Back From the Year 5,000 Shows a Photo of Los Angeles Under Water

A man calling himself "Edward" claims to have returned from the year 5,000 with a photograph of a submerged Los Angeles. His story, first circulated in 2018, is resurfacing in the British press.

In a video broadcast by Apex TV, a YouTube channel specialising in paranormal stories, a man known only by the first name Edward holds up what he presents as a photograph of Los Angeles entirely under water, taken in the future. His face remains hidden and his voice is digitally altered, officially to protect his identity. The Express is here picking up an account originally published by the Daily Star.

The story: a secret experiment in 2004

Edward says he took part in a secret time-travel experiment in 2004. Working at a Los Angeles laboratory, he claims he was asked to travel into the future to take photographs. He says he was sent 3,000 years ahead, to around the year 5,000.

On arrival, he says, he found himself standing on a huge wooden platform, as were the houses and buildings around him. He gradually realised it was Los Angeles, but covered by water. He adds that he spoke with inhabitants of Atlantis, the legendary sunken city, who allegedly blamed the flood on climate change.

The "bad news": rising seas

According to Edward, this is not merely a warning but an unavoidable reality. His account draws on a very real concern: the warming of the atmosphere is melting the polar ice caps and gradually raising sea levels. Environmental campaigners fear that, without curbs on fossil fuels and pollution, major cities around the world could face devastating flooding.

An old story

This story is not new. It was already circulating in February 2018, when several outlets, including The Sun and IBTimes, relayed the same video, the same masked man and the same photograph. The account is therefore several years old, and is regularly put back into circulation.

What science says

The kind of time travel Edward describes has never been validated. Many people have declared themselves time travellers, but no claim has ever been confirmed. NASA itself says that this type of travel, to the distant past or future, "only happens in books and movies".

The agency does point out, however, that clocks on aeroplanes and satellites run at a different rate from those on Earth, an effect predicted by relativity that GPS satellites must account for. These are minuscule differences, with no connection to a leap of several millennia.

An unverifiable photograph

In Edward's case, nothing allows the picture to be authenticated: the author is anonymous, the laboratory and the 2004 experiment are not identified, and the image cannot be tied to any date or place. The references to Atlantis, a myth of Platonic origin with no archaeological evidence, add nothing verifiable. As it stands, the testimony amounts to an unsubstantiated claim.

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Hitler Mussolini Takes Office: In the Peruvian Andes, a Village of 730 Souls Elects a Mayor with an Impossible Name

With a 25-vote lead, Hitler Mussolini Simeón Flores, 45, won the municipal election in Queropalca, tucked away in the department of Huánuco. Cosmic coincidence, a prank of fate, or simply a naming fashion? We look into one of the most baffling electoral stories of the year.

On Sunday, October 4, 2026, Peru went to the polls to renew its regional and municipal authorities, a few months after Keiko Fujimori's victory in the presidential election. Among thousands of lists competing across the country, one ended up crossing borders: that of the district of Queropalca, in the province of Lauricocha, north of Lima.

In this district of barely more than 730 inhabitants, the contest was close. According to the provisional count relayed by several Latin American media outlets, the candidate of Ahora Nación, a center-left party, gathered 229 votes, or 34.54% of valid votes. He finished 25 ballots ahead of Renovación Popular Perú (204 votes), while Partido País para Todos came third with 187. Alianza para el Progreso (35 votes) and Somos Perú (8 votes) brought up the rear, for a total of 663 valid votes.

While Euronews and several other outlets speak of an "elected" mayor, others, including El Imparcial and NTN24, are more cautious and refer to a "virtual winner" based on the provisional count. Official proclamation by the electoral authorities remains the step that will seal the result.

Who Is Hitler Mussolini Simeón Flores?

According to information circulated during the campaign, he is a native of Queropalca. He also runs Simeon SAC, an investment group based in Pillco Marca, also in the department of Huánuco. His biographical profile, so far, contains nothing pointing to any sympathy for the regimes whose leaders his first names recall: he ran under the banner of a party that describes itself as center-left, and whose platform rests on the idea of Peru as a "nation in formation."

It is therefore only the candidate's civil name that triggered international interest: the pairing, on a single line, of the master of the Third Reich and the founder of Italian fascism, two Axis allies during the Second World War.

"Hitler sí, corruptos no" ("Hitler yes, corrupt politicians no")

Slogan chanted in the streets of Yúngar in 2018, during the victory of another Peruvian mayor named Hitler.

The Yúngar Precedent: The Andes' "Good Hitler"

The Queropalca case is not a first. In October 2018, another Peruvian, Hitler Guesclin Alba Sánchez, was re-elected mayor of Yúngar, an Andean town in the province of Carhuaz, in the Áncash region, perched at more than 2,800 meters above sea level. A graduate in statistics and computer science and the son of farmers, he had already held the post from 2011 to 2014.

His campaign made headlines around the world with slogans worthy of an alternate-history novel, "Hitler returns" and "Hitler with the people." The man himself readily described himself as "the good Hitler," insisting that he rejected everything the German dictator stood for. He won 47.7% of the vote. The episode took on a farcical tone when a resident of a neighboring district, Lenin Vladimir Rodríguez Valverde, tried to have his candidacy invalidated, without success: the electoral authorities rejected the request.

The same onomastic universe also reached the legislature: according to Diario Panorama, a surgeon named Hitler Saavedra Casternoque held a seat in Congress for Somos Perú from 2021 until his death in 2024.

Why Emperors' and Tyrants' Names in the Andes?

The answer has less to do with the paranormal than with the sociology of first names. Hitler Alba himself explained to Peruvian radio station RPP that in the 1980s, giving a child a foreign name was a novelty, and that his father was unaware of the connotation of the name he had chosen. He had even considered changing it before giving up out of respect for his father's wishes, according to the Reuters dispatch.

The phenomenon goes beyond the name Hitler. Reuters noted in 2018 that parents in Latin America regularly choose exotic names despite their negative associations abroad, and cited a certain Osama Vinladen called up to a Peruvian junior national football team the previous year. In Yúngar, the rivalry with a "Lenin" extended this curious tradition that leads Andean families to draw on the pantheon, glorious or sinister, of world history.

Nomen Est Omen? When Names Seem to Write Destinies

This is where the story brushes against the fringes of our beat. Since antiquity, people have believed that a name carries a destiny, from the Latin adage nomen est omen to magical traditions in which naming is summoning. In the 1990s, the "Feedback" column of the science weekly New Scientist popularized the term "nominative determinism" for those amusing cases of people whose profession resembles their surname.

The Swiss psychiatrist Carl Gustav Jung, together with the physicist Wolfgang Pauli, proposed in 1952 the concept of "synchronicity," a meaningful coincidence between events with no apparent causal link. A mayor named Hitler Mussolini in an Andean district, after another mayor named Hitler a few hundred kilometers away: here is ample material for the boldest Jungian readings.

The Critical Analysis: Coincidence, Bias, and the Law of Large Numbers

The skeptic will temper the enthusiasm of sign-seekers. Statisticians Persi Diaconis and Frederick Mosteller formalized in 1989 the "law of truly large numbers": in a large enough population, improbable events cease to be exceptional. With thousands of municipal candidacies and a widespread use of history-inspired names, the probability that one of them carries a controversial historical name approaches certainty.

As for "nominative determinism" itself, its scientific foundations are disputed. The "implicit egotism" hypothesis advanced by Brett Pelham and colleagues in 2002, according to which we would be drawn to choices resembling our own name, was challenged by Uri Simonsohn in 2011, who identified confounding factors that could explain part of the results. Nothing demonstrates that a first name steers a political career, let alone a vote.

Nothing in the published material indicates, moreover, that the name weighed at the ballot box: in Yúngar, voters explained that they had no "complex" about their mayor's name, whom they judged on his record. The story's virality owes much to a media framing bias: in the global news flow, the mention of a name loaded with history attracts clicks, whatever the real significance of the event. Finally, a name is not a platform: a father's choice, sometimes made in ignorance of the name's historical weight, says nothing about the adult's convictions.

What Happens Next?

The official proclamation of results and the swearing-in should, in principle, take place over the coming weeks and months, following the calendar of 2018, when the mayor of Yúngar took up his mandate in January. Until then, Queropalca, its roughly 730 residents, and their future mayor will have to cope with a notoriety nobody had planned for. The Strange Courier will follow the case as it develops.

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Johnny Hallyday and the Devil: Anatomy of a Sulphurous Legend

The montage has been circulating for years on social media and forums. It shows Johnny Hallyday, camera rolling, claiming to talk to the Devil "every day," insisting it is not a joke, then explaining that the registration plate of his car, JH 666, is no coincidence. Then comes the "confession": he supposedly signed a pact to reinvent himself and will go to Hell. It is often accompanied by a song title, "Je suis le fils de Lucifer" ("I Am the Son of Lucifer"), and by a conclusion delivered in the tone of a revelation: the stars have "almost all signed," and the public keeps applauding.

The device is effective: short sentences, a familiar face, a loaded number. What remains to be determined is which parts of this story are documented, which are rumour, and which are editing. We followed the trail.

What Can Actually Be Verified

The most solid fact is also the least spectacular. The pact does not appear in a filmed statement by the artist, but in reported testimony: in October 2018, on the programme "Radio Brunet" on RMC, journalist François Jouffa, presented as a close acquaintance of the singer, claimed that Hallyday had confided to him, "in all seriousness," that he had signed a pact with the devil. The clip was later recycled endlessly by religious or conspiracy-leaning websites.

"Signed a pact with the devil and that he would go to hell" — words attributed to Johnny Hallyday by journalist François Jouffa, RMC, 19 October 2018

Since the singer died on 5 December 2017 in Marnes-la-Coquette, these words can neither be confirmed nor denied by the man himself. That is the first point to keep in mind: this is reported speech, with no known original recording, from a private conversation whose tone nobody can establish (a serious confidence, a joke, or the provocation of a veteran rocker).

As for the phrase "I converse with the devil every day," it has circulated on forums since at least late 2018 as a video excerpt whose primary source we could not trace: no programme, no date, no recording context. The same goes for the "JH 666" plate: we found no document, authenticated photograph or verifiable testimony establishing it. Finally, our searches turned up no trace of a song titled "Je suis le fils de Lucifer" in the artist's discography. These three elements must therefore be considered unestablished.

The Context: A Posthumous Album and a Disturbing Song

What gave the rumour a second life was the release, in October 2018, of the posthumous album "Mon pays c'est l'amour," whose opening track is titled "J'en parlerai au diable" ("I'll Talk to the Devil About It"). The lyrics evoke a day of reckoning, of "honouring the pact" and sitting at the devil's table to tell one's truth. For proponents of the diabolical thesis, it is a confession; for others, it is a life review written by a gravely ill man playing with a classic poetic figure.

The devil was not a stranger to his work, moreover: a title such as "Un diable entouré d'anges" ("A Devil Surrounded by Angels") already appeared on the album "À partir de maintenant…" in 1980. The motif is old, and above all literary.

666: A Number That Does the Work for You

The number 666 is the "number of the Beast" from chapter 13 of the Book of Revelation. Some very ancient manuscripts actually give 616, a reminder that the interpretation of this figure is far from settled. Today, 666 has become a badge of recognition in hard rock and metal culture, brandished by artists who see it as nothing more than a stage prop.

A traditionalist Catholic activist site claims Johnny Hallyday had this number tattooed in his final years, a source to be handled with caution given its openly religious reading of events. Even if the fact were accepted, it would prove only one thing: a rock singer's use of a provocative symbol, in a tradition dating back to the 1970s.

Faust, Robert Johnson and Paganini: The Long History of the Pact

The "pact with the Devil" was not born with rock. The legend of Faust, set down in Germany during the Renaissance, is its archetype. In the eighteenth century, the violinist Giuseppe Tartini said he dreamed the Devil played a sonata for him, which he then tried to transcribe as his "Devil's Trill Sonata." In the nineteenth, Niccolò Paganini, whose virtuosity astonished audiences, was suspected of sorcery. In the twentieth, the bluesman Robert Johnson inherited the legend of a soul sold at a Mississippi crossroads.

The pattern is always the same: a talent judged "too great" or a reinvention judged "too sudden" calls for a supernatural explanation. The legend says less about the artist than about the public's difficulty in accepting work, chance and genius as sufficient causes.

Rock, or the Art of Cultivating a Dark Side

Rock has turned the sulphurous into a business model. Black Sabbath built its identity on occult imagery, and the "devil horns" gesture, popularised in metal by Ronnie James Dio, became the salute of an entire audience, with no religious meaning for most of those who make it. In this context, a singer who lets doubt linger about his infernal associations is practising a form of storytelling: the rumour feeds the myth, and the myth feeds sales.

With Hallyday, a figure of French rock raised to the rank of national institution, this play with darkness was part of a persona built since the 1960s: the rebel, the biker, the survivor.

Critical Analysis: Why the Pact Thesis Appeals

Three mechanisms explain the story's effectiveness. The first is apophenia, the tendency to link unrelated elements (a number, a song, a confidence) into a system. The second is confirmation bias: once the thesis is accepted, every song title or stage gesture becomes "proof." The third is posthumous rereading: a song recorded by a man aware that his end is near is read in light of his death, which loads every word with additional meaning.

As for the closing claim, "almost all of them signed," it is unfalsifiable: no evidence can contradict it, since the absence of a pact would be read as a well-kept secret. This is the classic hallmark of conspiratorial reasoning, which relies not on specific facts but on conviction. It also ignores survivorship bias: we cite the artists who succeeded, never those who would have "signed" and gained nothing.

Finally, an ethical question: the witness's words are reported, the artist is dead, and the viral montage provides no date, no source and no context. Attributing unverifiable statements to a deceased man in order to make him an example of an occult system is closer to rhetoric than to investigation.

Key Takeaways

A secondhand testimony broadcast on RMC in 2018 attributes to Johnny Hallyday confidences about a pact with the devil. A posthumous song with an evocative title revived the debate. The rest of the file (a filmed daily dialogue, the "JH 666" plate, the song "Je suis le fils de Lucifer") is, at this stage, supported by no primary source we have been able to find. The story is fascinating, but it belongs to contemporary folklore rather than to established fact. If a reader has the original video excerpt, its context or a photograph of the plate,

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"Jesus, I Trust in You": The Unexplained Remission of a Polish Teacher

Late March 2012. Adam Biały, a 48-year-old art teacher from Rozkopaczew, near Lublin in eastern Poland, notices a red spot on his chest. It itches, grows day by day, and changes color. Then similar spots appear on the top of his left foot.

Worried, he consults a friend who is a general practitioner. "Just from her expression, you could tell it was serious," he would later recall. A biologist friend, consulted in turn, is categorical: the lesion looks like melanoma. She mentions the case of an acquaintance with an identical lesion who died a few weeks after diagnosis.

A surgical oncologist, considered one of the best specialists in the region, recommends surgery as soon as possible, while trying not to frighten his patient further. But Adam understands, from the reaction of the medical staff, that his chances are not good. "I could tell I didn't have a very good chance of surviving," he would confide.

The shrine of Radecznica and the Secular Franciscan Order

A few months before his illness, Adam — already involved in the Catholic Charismatic Renewal — had joined the Secular Franciscan Order, whose community meets in an unusual place: the Bernardine shrine of St. Anthony of Padua in Radecznica, near Zamość, in southeastern Poland.

This shrine is no ordinary place of pilgrimage. According to local tradition, confirmed after a Church inquiry, St. Anthony is said to have appeared there on May 8, 1664, to a peasant named Szymon, asking for a temple to be built and making a promise: "The sick will find health here, the blind their sight, the lame their gait; in short, all who take refuge in this place will not leave without grace." Radecznica is thus said, according to shrine authorities, to be the only place in the world where an apparition of St. Anthony of Padua has been officially recognized as authentic by the Church. The site saw its greatest growth between 1815 and 1869, to the point of being nicknamed the "Częstochowa of Lublin" — an echo of Poland's great Marian shrine.

It was within this community that Adam, while awaiting surgery, entrusted his fear and pain to St. Anthony's intercession through a novena, all the while questioning the state of his own faith: "Do I still see the face of God in myself, or have I buried it in the name of modernity and an unrestrained life?"

The prophetic dream and the road accident

On April 27, 2012, Adam sets out to meet Maria Vadia, an American charismatic preacher and founder of the Magnificat community, to arrange a gathering in his parish. The trip is full of obstacles: he is involved in a car accident for which he is, he says, unjustly blamed. "I forgive," he says at the time, refusing to enter into conflict.

The night before meeting Maria Vadia, he has a strange dream: he sees himself reading, from the ambo of the Radecznica shrine, a passage of Scripture opened at random to a single word — "fly" — while the congregation sings the Magnificat. Everything around him turns golden and transparent, "as if filled with grace." When he wakes, he is certain he will be healed. In the days that follow, he says he also hears a mocking inner voice telling him he has only a few weeks left to live — a thought he counters with a single phrase, repeated like a mantra: "Jesus, I trust in you."

Maria Vadia's prayer and the fading of the lesions

On April 29, 2012, during the long-awaited meeting, Maria Vadia places her hand on the lesion on Adam's chest and prays for a moment. He feels, he says, warmth and tingling, followed by deep relief.

The next morning, the spot on his chest has faded. The red border around it has disappeared, and the itching has stopped. On his foot, only a few of the largest spots remain.

The doctors' verdict

At the next check-up, his primary care physician cannot hide her joy. At the scheduled appointment with the oncologist, Adam asks: "Can melanoma disappear on its own?" — "Impossible," the specialist replies, before asking to see the affected area. "Unbutton further down, I can't see anything." — "But you're looking right at it," Adam replies, pointing to the faded mark. The doctor sits down, visibly shaken: "This spot doesn't even qualify for dermatological treatment anymore."

Adam nevertheless asks for the remaining tissue to be removed, to be certain. "I wanted to be 100% sure I was healed," he explains. The result of the analysis, according to his account: no cancer cells found anywhere in the body. The last spots on his foot fade away on August 15, the Feast of the Assumption of the Virgin Mary — a date Adam interprets as a personal invitation from Mary, having long resisted traditional Marian devotions.

Years later, an older doctor, while issuing him a medical certificate for work, is said to have summed up the situation in one sentence: "You had one of the most malignant forms of cancer there is, and you experienced a miracle. You escaped death by the skin of your teeth."

"I don't understand what's happening here, but Jesus, I trust in you."
— Adam Biały, while awaiting surgery, April 2012

Reconstructed document — medical follow-up notes (April–August 2012)

Reconstruction, based on published material, of the kind of notes a physician following this case might have kept:

03/29/2012 — Evolving pigmented lesion, anterior thoracic region. Irregular border, rapid color change. Clinical suspicion of malignant melanoma. Referred urgently to surgical oncology.

04/27/2012 — Patient reports stable general condition, marked anxiety. Pre-operative follow-up continues.

04/30/2012 — Patient reports spontaneous disappearance of the inflammatory appearance of the thoracic lesion (erythematous border, pruritus). Follow-up examination scheduled.

Follow-up consultation — Residual lesion no longer meets standard criteria for dermatological excision. Removal of remaining tissue proposed for histological verification, at the patient's request.

Pathology result — No neoplastic cells found in the sample.

08/15/2012 — Disappearance of the last residual lesions on the left foot.

A critical look: what does medicine say about spontaneous remission?

Melanoma is one of the most aggressive skin cancers, responsible for a large share of skin-cancer deaths. Yet the medical literature does document, rarely and under strict scrutiny, cases of spontaneous regression. A landmark review by Kalialis, Drzewiecki and Klyver, published in Melanoma Research, catalogs 76 reported cases of spontaneous regression of melanoma metastases since 1866, with an estimated incidence of roughly one case per 400 patients with metastatic disease. The proposed mechanisms remain hypothetical — an outsized immune reaction against tumor antigens, endocrine, inflammatory, or nutritional factors — but no scientific consensus yet explains why the immune system suddenly mobilizes against the tumor in some patients and not others.

Other research, focused specifically on primary, non-metastatic melanoma, points to markedly higher rates of partial or complete regression — as high as 10 to 35% in some studies — though the phenomenon remains exceptional in advanced or metastatic forms, precisely the kind described in Adam Biały's own account.

Methodologically, it is worth noting that the case rests almost entirely on the patient's own testimony, collected years after the events, without the original pathology reports, dermatoscopic images, or the identity of the treating hospital having been made public or submitted to an independent medical board — unlike, for instance, the procedure followed by the International Medical Committee of Lourdes for the investigation of claimed miraculous healings, which requires complete clinical files, extended follow-up, and the collegial opinion of physicians uninvolved in the case. In the absence of such an inquiry, Adam Biały's case remains, from a scientific standpoint, an independently unverifiable testimony rather than a strictly documented case of unexplained healing — which rules out neither the sincerity of the account nor the clinical possibility, statistically rare, of a spontaneous remission occurring at the very moment of prayer.

Légende - Photo
Grok, CC0,

Sources

• x.com

Tags

Miracle, Sect / Religion

A "craft" nearly 100 meters long spotted right next to the International Space Station

The image was posted in late July 2026 by Scott C. Waring, who runs the American website UFO Sightings Daily and specializes in spotting anomalies in NASA's public visual archives. He says it was pulled from EOL, the Gateway to Astronaut Photography of Earth, which catalogs pictures taken by ISS crew members during mission ISS061. According to Waring, the image shows a rectangular object with no wings, no windows, no visible engines and no markings, floating right next to the station and measuring close to 100 meters across.

For Waring, the total absence of any identifiable feature — no thruster, no insignia, no trace of human manufacture — is itself proof of an extraterrestrial origin. He goes further, suggesting the crew aboard the object could, through a form of telepathy, read the astronauts' thoughts and "download" their entire memories in a matter of seconds, in order to assess whether humanity poses a threat.

A serial "discoverer" of space anomalies

Scott Waring has spent more than a decade documenting visual anomalies spotted in NASA's public video feeds and photographs. His site has previously reported an "alien cylinder" filmed live from the ISS, a "triangular UFO" caught during a live broadcast, and a supposed "cube-shaped ship" near the Sun in images from the SOHO solar observatory — a claim NASA formally rejected, explaining that the dark patches in question were simply missing data in the mosaic-style image compilation.

On several previous occasions, NASA has responded publicly to this kind of report by attributing the light points seen near the station to reflections on the windows, orbital debris, or video-compression artifacts — an explanation the agency says accounts for why such "objects" often remain perfectly static relative to the frame while the Earth moves in the background.

The technical doubt

Under the original post, one commenter points out a telling geometric inconsistency: the object's edges appear perfectly straight, while the surrounding image, shot with the wide-angle lens typical of the station's onboard cameras, normally curves any straight line near the edges of the frame. A real object of that size, sitting in the same scene, should show the same distortion — which it does not here. This is consistent with the object being an artifact added after the fact (a window reflection, dust on the lens, or an edit) rather than a physical body sharing the same optical perspective as the rest of the picture.

No space agency, professional astronomer or scientific body has, to date, confirmed the existence of an object of the claimed size near the station. NASA has not issued any statement specifically about this image.

Légende - Photo
Scott C. Waring, Copyright, https://eol.jsc.nasa.gov/SearchPhotos/photo.pl?mission=ISS061&roll=E&frame=120435

Sources

• www.ufosightingsdaily.com

Tags

U.F.O.