SUBJECT: UfO Cover-Up ? FILE: UFO135
PART 1
UFO Magazine was privileged--or is the word cursed?--to be
let in on the 'latest' inside information and gossip as the
production of "UFO Cover-up? Live!" developed over the course of
many months in the latter part of 1988. When the final product
aired on October 14 of that year, it was both more and less than
expected by the UFO Community--enlightening some, frustrating
many, and throwing most of us back into that endless, spinning
circle of rumor and speculation as to just who sits at the
controls when UFO information breaks into big media. Barry E.
Taff was the original writer hired to prepare the treatment and
screenplay for the show. The following is his first-hand
impression of what transpired over the course of "UFO Cover-
up..." Though based on real events, the opinions he expresses
should not be taken as reflecting those of either ParaNet or UFO
Magazine--Vicki Cooper/ASK UFO
"UFO Cover-Up? Live!": The Untold Story
by Barry E. Taff
During the course of development and production of the two-
hour, prime-time LBS syndicated special "UFO Cover-Up? Live!"
wild and unsubstantiated rumors circulated throughout the UFO
community about what was happening, particularly in regards to
what (or who) the sources of information were and who was calling
the shots behind the scenes.
As the original writer for that much discussed show, I can
reveal some rather startling, although perhaps less-than-
sensational truths about what REALLY occurred during the course
of the production, and why the resulting program was an
amateurish attempt at trying to chronicle and document current
events and the history of ufology.
I was hired at a salary well below scale, which was
acceptable at the time, for we all believed that this program
would be the chance of a lifetime, especially considering some of
the creative staff: Tracy Torme, Curt Brubaker, Bob Emenegger,
Marty (J.R.) Pasetta, Jr. During my initial interview for the
job, I found the producer to be extremely friendly and very
concerned that the end product of the show reflect a high caliber
of writing regarding the show's topic or premise.
The situation couldn't have sounded any better, and given
the involvement of associate and segment producers whom I already
knew and had worked with, along with UFO consultants such as
William Moore, Jaime Shandera and Stanton Friedman, it was truly
a once-in-a-lifetime opportunity.
However, after being told that the show's budget was
approximately $1,250,000.00 only later to learn that it was
closer to $825,000.00, I began to worry that things weren't as
they seemed. As the show progressed in development and
production, I discovered that I was hired for my vast knowledge
of Ufology's history, related technology and current events.
Although as it turned out, this zeal was not shared in entirety
by the show's producer.
As we began to choose the sources of information and those
individuals we wished to be associated with the show, based
entirely on the validity, accuracy and what we believed to be
corroborating evidence of their information, incredible rumors
began to flourish that the show was being run and/or manipulated
by insiders who were supposedly government intelligence officers
from such agencies as CIA, NSA or even MJ-12. This matter became
so comical that the creative staff made up a batch of "MJ" cards,
ranging from one through twelve, and pasted one on each of our
desks just to get a laugh when visitors came to the offices.
End of part 1
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