Perched upon folding chairs in a convention hall in Mesquite, Nevada, a blister of a town located 75 miles north of Las Vegas, an army of truth seekers — ponytailed dolphin-communicators, walking conspiracy-theory encyclopedias in fatigues, cyberdelic technophiles, and skittish-looking women in natural fibers — has gathered for one of the country’s largest UFO conferences. Pen and paper in hand, they are transfixed by the statuesque platinum blond who has taken the stage before them. Her rhinestone-encrusted lizard lapel pin dances under the spotlight as she tells of a personal journey of extraterrestrial contact, humanity’s reptilian origins and the transcendental power of music.
Pamela Stonebrooke is a professional jazz singer who happens to be in touch with higher beings. Her resonant contralto has been described as a more aggressive Billie Holiday, chased with Shirley Bassey, and has a language unto itself. Inspired by Holiday (whose birthday she shares), Stonebrooke assembled her first rock band at 16, and put herself through Kent State by singing six nights a week at Salem Topless Lounge in Akron, Ohio. After a sojourn through the cabarets of New York, Stonebrooke moved to Southern California in 1975. Soon after, she was invited to open the Playboy Club in Roppongi, Japan, which led to performances with the country’s top jazz musicians for the next eight years.
Returning from Japan to Los Angeles, Stonebrooke carved a reputation for herself within the local jazz circuit. Not yet cognizant of her otherworldly visitors, she subconsciously expressed the experiences in her music, performing as Lilith in Exile (her dark, one-woman project named for Adam’s heretical seductress) and as one half of Incubus, an atmospheric, jazz-inflected beat-box hybrid named for reptilian supernatural beings that materialize in the night to seduce humans.
"Reptilians are not a politically correct species in the UFO community," she says. Their visits are often marked by sexual liaisons and telepathic communication with humans. Many UFO researchers believe that the reptilians, while both sinister and calculating, are the ancient guardians of humankind, interdimensional beings — deified by the cultures of Babylonia, Sumeria, India, Japan and Central America — that genetically manipulated man in prehistory and have been making return visits ever since.
A practiced astral traveler, Stonebrooke had no interest in extraterrestrials until an unprovoked physical journey deposited her in the hull of a metallic spacecraft six years ago. Since then, she has had numerous encounters with reptilian beings, who she believes are preparing her for an apocalyptic planetary unheaval: "I think we’re close to having a global near-death experience — whether it’s brought about by Y2K, solar flares, nuclear warfare, polar shifts or suitcase bombs, something has to wake us up."
To watch Stonebrooke perform is to feel instantly evolved. Clad in salmon silk, she packed the Cinegrill for a recent concert, backed by bassist Tom Warrington, pianist Rich Eames and drummer Dick Weller, trolling out smoky renditions of Cole Porter’s "I’ve Got You Under My Skin," Van Morrison’s "Moondance," a number of originals, and improvising on Miles Davis’ "All Blues." "Roger [Leir, local podiatrist–cum–UFO researcher] got five phone calls from people in the audience who had experiences that night," she says.
The favorite entertainer of the late Gene Roddenberry, Stonebrooke has only given a handful of performances recently, some coinciding with such UFO-related events as the 50th anniversary of the space-saucer crash at Roswell. Much of her time has been devoted to writing Experiencer: A Jazz Singer’s True Account of Extraterrestrial Contact, an entertaining personal account of her reptilian encounters.
"When I first woke up to these experiences, I had a real hard time for about a year and a half," she says. She retreated from music and focused on unraveling the nature of her extraterrestrial adventures. Her revelation that this planet could be "one big, terraformed experiment" led to Experiencer, a "contact-inspired" album of atmospheric, textured jazz, sprinkled with Third World percussives, groovy synthesizers, flourishes of electric guitar and seductive horns. Like a Sade with sass, Stonebrooke wraps her stellar pipes around wordy, worldly lyrics of rain forests, romance and otherworldly visitors.
Billing herself as "The Intergalactic Diva," Stonebrooke sees her music and forthcoming book as tools for enlightenment: "I’ve come to realize I’m on this planet to make peace on some level, whether it be between humans and extraterrestrials, or [between] contactees and those who ridicule us. I write songs about E.T.s because I and countless others know that extraterrestrial contact is real, and that the discovery of this worldwide phenomena is the most profound revelation in human history."