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ON THE BRINK RADIO #219 IN 5 HRS: WHALE & DOLPHIN UPDATE PART 3 – MUSIC AS A FORM OF COMMUNICATION

“MUSIC SPANS THE ABYSS AND HEALS THE NATIONS”

SATURDAYS@ 9AM EST-USA / FRIDAY 3 AM HAWAI’I TIME / SATURDAY 11 PM MELBOURNE/SYDNEY/TASMANIA TIME AUSTRALIA / 2 AM NEW ZEALAND TIME and SUNDAYS @ 8AM EST-USA / SATURDAY 2 AM HAWAI’I TIME / SUNDAY 10 PM MELBOURNE/SYDNEY/TASMANIA TIME AUSTRALIA/MONDAY MIDNIGHT NEW ZEALAND TIME 
UCY.TV ‘S LISTEN LIVE LINK:

LISTEN AND/OR DOWNLOAD ANYTIME ARCHIVE LINK FOR THIS SHOW:
https://soundcloud.com/jeff-wefferstotle/on-the-brink-24-the-white
 
Welcome to On the Brink Radio broadcast #219. This is part 3 of my on-going whale and dolphin update; this show, however, is not about grim global threats to marine life and Mother Ocean herself, but about my original approach to relating with cetaceans:  using music as a form of communication.

This broadcast itself is a replay of episode #24 from 2013 and is a ‘non-verbal talk radio broadcast, which Jules Stanley at ucy.tv lets me do now and then, and consists of almost the entirety of my first cd of grand piano improvisations, ‘The White Electric Dog Transmissions’ (1998) and songs of the humpback whales. The mix was created in 2013; the whale songs were added in after the recording. The synchronization is only that of starting both recordings at the same time.


“The White Electric Dog Transmissions”
http://thebrink-jeffphillips.blogspot.co.nz/2012/05/white-electric-dog-transmissions-jeff.html

I’m not going to ‘talk’ about music right now, but hopefully you will listen to this broadcast. I love piano but have never claimed to be a pianist by jazz or classical standards; au contraire, I do my own thing with the piano. My playing is more about the sounds, the feeling, the music, than it is about the notes and technical aspects.

Here are a couple of things I have written about music and sound in the context of relating with cetaceans.



from ‘Man and Dolphin’, Jeff Phillips, Magical Blend magazine (1980)
http://tutunui-wananga.blogspot.co.nz/2009/08/man-and-dolphin-jeff-phillips.html 

“The case of music is very special and very interesting. Let’s consider instrumental, or non-verbal, music. Music is sound, vibrations in air, just like speech and noise. But what makes it “music?” It is sound which is ordered in specific ways. Music has definite patterns of rhythmic (temporal) variation and repetition, and definite patterns of harmonic (frequency relationship) variation and repetition. We are speaking of western music. Eastern music is basically rhythmic and not harmonic, i.e., utilizing chords. Western music is rhythmic and harmonic. Basically, music is combinations of sounds that sound good to us. It is the frequency relationships that determine whether or not we call it music: western music utilizes any types of rhythms, but a more limited number of frequency relationships, or chords. What we call chords are sounds whose frequencies relate to each other in ratios of the reciprocals of small whole numbers.
What does music communicate? Many things, basically feelings and emotions, which we all experience intensely but which we know little about. They are very important to us; in fact, they seem to be the essence of life. But why? The concept of resonance is very important. Resonance is a measure of how well two or more systems vibrate together. Two lovers are resonating well…their bodily rhythms are highly attuned to each other. Musicians playing together are causing their instruments to resonate harmoniously, producing music; if they are playing jazz, then their own bodily rhythms and feelings are being expressed by and through the music, reaching you, the listener, thereby effecting communication. Jazz is very emotional music; Bach is a superb blend of intellect and emotion.
Feeling and emotion seem to be connected to resonance.14 We believe that the same music affects different people in similar ways, if they are in a similar state, and are open to it. How can this be of use in communicating with dolphins? We know already that dolphins are highly and positively responsive to music, but that’s about all. An interesting area for experimentation. We need more research into how our nervous systems perceive and structure sound patterning; music could be a powerful future tool.”

from “We are not alone…Yet: How We are Waging War on a True ‘Extra-terrestrial Intelligence”, Jeff Phillips, Uncensored Magazine, 2012
http://tutunui-wananga.blogspot.co.nz/2012/08/we-are-not-aloneyet-how-we-are-waging.html



‘SEEING’ WITH SOUND, ‘TALKING’ WITH MUSIC

“Cetaceans are the ‘masters of sound’ on our planet.  As mammals, they have the same basic array of sensory apparati that we have, but their primary sense uses sound, whereas ours uses light.  They have keen vision similar to ours, but our auditory capacities are quite limited and ‘low bandwidth’ compared to theirs. Another phenomenal ability they have developed is the ability to ‘see with sound.’ We see using ambient (or artificial) light; they are able to ‘see with sound’ using sound that they themselves project, as if we were able to see in the dark using light we projected from our own bodies.  This is much simpler, more efficient, more ‘environmentally friendly’ than using external electrically-powered light sources.

‘Seeing’ with sound in this way is known as‘echo-location’ because it involves projecting a sound then analysing the returning signals which convey information about the local environment, and inspired the development of ‘sonar’ (24) used universally by military, commercial, and recreational marine vessels. 

Moths, bats and other animals are known to ‘echo-locate’ as well, but cetaceans have taken their use of sound…or ‘ultra-sound’ to be more precise…to another level and are able to ‘see inside’ of each others’ bodies!



In addition, they have one or more channels of sound production used for communication purposes.  These sounds, which can be produced simultaneously with ‘echo-location’, occur in an extremely wide frequency bandwidth, ranging from several Hertz (cycles per second) to over 200,000 Hz. Human hearing in general ranges from about 50 Hz to 20,000 Hz.  To us, the small part of this we can actually hear sounds like complex patterns of clicks, whistles, moans, and groans.  The sounds made by hump-back whales sound a lot like singing, or vocal music(25) It’s these channels of sound that would come closest to ‘language’. The sounds they produce don’t come out of their mouth but are projected ahead of them directly through a complex network of bones, tissues and fluids in their heads.  When they attempt to ‘vocalize’ in air, these sounds come out of their blow-holes, through which they breathe.  Bottle-nosed dolphins have gone to extreme lengths to imitate human speech in this way, which is quite extraordinary. (26)

Finally, cetaceans in general possess yet another use of sound, that of sending out a powerful shock-wave or blast that can stun fish and be used as a weapon.

The ancient Greeks, among other cultures, were very familiar with cetaceans, and wrote extensively about how dolphins loved interacting with people and were attracted to and seemed to love music, particularly that of the flute and lyre. (27)

Cetaceans live in a world of sound, where light is often diminished or absent entirely; they can ‘see’ and hear; communicate, even over great distances; navigate, obtain information from their local environment, find food and partners, and protect themselves all using sound in ways that are totally alien to humans.  Yet they can see as well as we can, and can stick their heads out of the water to have a look at the stars…or us.


ALEX LAUTERWASSER’S WHALE CYMATIC

Despite many claims to the contrary, we have absolutely no way of ‘decoding’, ‘translating’ or understanding their communications with each other.  Marine biologists excel at behavioural observations, but are totally clueless when it comes to what cetaceans might be thinking, feeling or experiencing.  They don’t use ‘language’ and they don’t ‘talk’ among themselves or with us.  They communicate with highly complex and information-rich sound, but in many other ways as well, that we require complex external technologies even to approximate.  Being mammals on the same planet, their communications probably have a lot in common with ours; having been here ten times longer than us, living in the ocean with no hands in a world of sound, their communications, their entire ‘reality’ may on the other hand be incomprehensibly indecipherable to us in terms of information transfer as commonly understood.

Competent and successful multi-dimensional communication is the foundation of a shared and meaningful ‘consensus reality’ and true ‘mental health’ in humans; respect as fellow beings is a necessary prerequisite to true communication at any level, intra- or inter-species.”

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CARL SAGAN: ASTRONOMER, EDUCATOR, NUCLEAR AWARENESS ACTIVIST: I MET HIM ON 12 OCTOBER 1992
http://synthaissance.blogspot.co.nz/2017/10/carl-sagan-astronomer-educator-and.html


ELON ‘GENERAL ELECTRIC’ MUSK BUYS ENTIRE U.S. MILITARY, DECLARES WAR ON ‘CLIMATE CHANGE’: “WE ARE GOING TO KILL IT DEAD!”

 
“I must create a system, or be enslaved by another man’s.”  William Blake

“On Spaceship Earth, there are no passengers:  everyone is crew.”  R. Buckminster Fuller
 

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If you liked the vid, please give Reuben a “like” on YT !

Nice job Mr Keyes.

Killing Joke: Implant

Fantastic Lyrics and mindblowing animation.

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Ariana Grande and the Illuminati Beta Kittens of Pop Culture

Buck Rogers, Staff Writer
Waking Times

Terrorism is part of the new zeitgeist, and it serves a litany of political and social objectives for government, as does occult symbolism which is introduced to our culture by Hollywood and the beta kittens of the Illuminati-controlled music industry.

Symbolism and Sacrifice

In the case of the recent Manchester attack, the intriguing matter of Illuminati sybolism is overtly present, given the fact that the attack took place at an Ariana Grande concert, a performance artist who is unquestionably part of the Hollywood/Illuminati cult of mind control and social engineering.

This is the segment of pop culture which includes the network of over-sexualized young celebrity women trained to perform self-demeaning and occultish acts for enormous audiences. These are the ‘artists’ who receive the most support from the music industry, the greatest production budgets, the most airplay, the most press and the most gossip. These are the artists who are often seen adorned in Illuminati symbolism and often photographed with one eye covered in homage to the ubiquitous image of the all-seeing eye at the top of the pyramid.

The term ‘beta kitten’ refers to the ‘kitten programming’ applied to young females who’ve been selected to serve as mind controlled slaves by members of the occult elite, as outlined in MK Ultra and Project Monarch. Their role in pop culture today is to normalize occult symbolism and teach subservience to darkness. Watch this Lil’ Wayne video to see what a Beta Kitten is all about.

Grande was in Manchester for the UK performance of her ‘Dangerous Woman’ tour when an alleged suicide bomber blew himself up in a crowd of young Grande fans as they exited the show, killing 22 people on May 22nd. Grande herself was not harmed.

She is very much a part of the entertainment industry’s arsenal of cultural programming weapons. While she may very well be talented and beautiful, her career is the product of her handlers. In 2014, it received a boost from the major players in the music industry, at which time she began being photographed with one eye covered.

She is seen here covering one eye with a cookie.

And a few more examples:

The one eye photo is a very common sign of allegiance to the powers for whom these pop stars work for.

Several of Grande’s music videos also demonstrate her connection and service to the Illuminati and to their predictive programming and occult symbolism. In her popular video, ‘One Last Time,’ an apocalyptic scene unfolds as the entire planet is bombed with giant meteors.

In Grande’s video, ‘Let Me Love You,’ Ariana gives herself up to Lil’ Wayne, who is a top male performer for the Illuminati. Watch for yourself:

Read more at Waking Times

Rappoport: Selling A Culture Of Ignorance To the Young

Selling a culture of ignorance to the young

Selling a culture of ignorance to the young: key moments

Sam Cooke: Don’t know much about anything, what a wonderful world

by Jon Rappoport

April 3, 2017

As my readers know, I’ve been documenting the downfall of education in America for a long time. My basic logic course, contained in my collection, The Matrix Revealed, is one antidote.

Aside from what happens and what doesn’t happen in the classroom, the promotion of a popular culture devoted to glorifying ignorance certainly erodes children’s ambition to learn.

Let’s return to a “more innocent time” to pick up a clue, and a turning point.

Wonderful World, composed by Sam Cooke, Herb Alpert, and Lou Adler, broke on to the scene in 1960. It had legs. Later covers of the tune climbed the charts in 1965 and 1978, and then Cooke’s original performance was resurrected as a hit in 1985 and 1986:

Don’t know much about history
Don’t know much biology
Don’t know much about a science book,
Don’t know much about the french I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be

Just another sentimental popular tune; who cares? No one; except the lyric awoke a vast underlying YES in many hearts.

I don’t know nothin’, but love will carry the day, and the world will be wonderful then.

The obvious message: there is a shortcut to happiness. Learning is beside the point. It’s irrelevant. Just listen, the singer has found the key. He’s basically ignorant, but it doesn’t matter. If he can convince Her to love him, he has the answer the world has been waiting for.

He’s the hero. He’s the example.

Knowledge is just a con. It gets in the way. It creates adults. That’s a horrible fate. Remaining a child wins the prize. Children don’t have to worry. All they need is love. Let’s somehow reduce EVERYTHING to THAT.

As for Sam Cooke himself, well, he began singing with a group when he was six, he later composed a number of hit tunes, he launched his own record label (SAR), he put together his own music publishing company and a talent-management outfit. I don’t know what he knew and didn’t know, but he knew something. He worked tirelessly for years. (At the age of 33, in 1964, he was shot and killed in a Los Angeles motel. The circumstances surrounding his death are in dispute.) Point is, the Cooke who was singing about being ignorant was far from ignorant—as is the case with many performers who convincingly launch childlike sentiments to audiences for mass consumption. But these audiences, enveloped in the “feelings,” rarely bother to consider the source and the intelligence of the source.

Popular culture is a back-and-forth affair. The artist relays a quick dream, and the public buys it, because the dream arouses some latent idea that proposes a shortcut to happiness. An out.

The artist and his handlers are always looking for the fabled hook; the phrase that will pull in the crowd and galvanize their reaction.

Eventually, after years of swimming in pop culture, the tuned-up audience is conditioned to the notion that life’s secret has to be one hook or another. Little else is important.

Certainly, work is not important. Striving is not important. Ambition is not important. One’s own creative impulse is not important. Learning is not important. Those are all dead ends. Instead, something much simpler and easier (and vaguer) has to be the key.

In the realm of politics, there is a carryover. The answer in that arena would be simple, too. Greatest good. Love everybody right now. Kinder, gentler. I feel your pain. It takes a village. No child left behind. Hope and change. Yes we can.

Don’t know much about a science book,
Don’t know much about the french I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be

If you just took the last three lines of that lyric and eliminated the rest, you’d have…nothing. No hook, no impact. But add the “don’t know” piece, and you’re striking gold. Because the audience of mostly young people wants the “don’t know.” That’s what they’re looking for. A boil-down into the effortless item that allows them to win what they yearn for, by pleading ignorance. Perfect.

Don’t know much about history
Don’t know much biology
Don’t know much about a science book,
Don’t know much about the french I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be
Don’t know much about geography,
Don’t know much trigonometry
Don’t know much about algebra,
Don’t know what a slide rule is for
But I do know that one and one is two,
And if this one could be with you,
What a wonderful world this would be
Now, I don’t claim to be an “A” student,
But I’m tryin’ to be
For maybe by being an “A” student, baby,
I can win your love for me
Don’t know much about history,
Don’t know much biology
Don’t know much about a science book,
Don’t know much about the french I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be
History
Biology
Science book
French I took
But I do know that I love you,
And I know that if you love me, too,
What a wonderful world this would be

I can’t resist tossing off a salute to the Beatles, because if you think Sam Cooke was scraping the bottom of the barrel, his lyric was Shakespearean laid alongside the 1963 Lennon/McCartney offering, I Want to Hold Your Hand. This was not the Beatles of Eleanor Rigby or even Hello, Goodbye. It was the early rocket that set off the first US explosion of Beatlemania.

Get a load of this lyric:

Oh yeah I tell you somethin’
I think you’ll understand
When I say that somethin’
I want to hold your hand
I want to hold your hand
I want to hold your hand
Oh please say to me
You’ll let me be your man
And please say to me
You’ll let me hold your hand
Now, let me hold your hand
I want to hold your hand
And when I touch you
I feel happy inside
It’s such a feelin’ that my love
I can’t hide
I can’t hide
I can’t hide
Yeah, you got that somethin’
I think you’ll understand
When I say that somethin’
I want to hold your hand
I want to hold your hand
I want to hold your hand
And when I touch you
I feel happy inside
It’s such a feelin’ that my love
I can’t hide
I can’t hide
I can’t hide
Yeah, you got that somethin’
I think you’ll understand
When I feel that somethin’
I want to hold your hand
I want to hold your hand
I want to hold your hand
I want to hold your hand

The single of the song sold five million copies in the US. It was folded into an album, Meet the Beatles!, which soon piled on another 3.5 million sales. The 1960s were off and running.

Nothing would ever be the same.

I’m told the real hook in I Want to Hold Your Hand is the opening phrase: “Oh yeah.” The kids loved it right away.

And if you want culture, you’ve got to go to the kids. They know what’s happening. They’re on the cutting edge…

Of the cliff.

It quickly became apparent to ad agencies, and corporations, and politicians, and media barons, and even the medical cartel, that targeting children was the new Thing. Don’t raise them. No. Bring the adults down to the child’s level.

That was the breakthrough.

The kiddies want what they want when they want it.

Convert society into a diaper-dream.

Hawk that dream from Norway to the southern tip of Argentina.

Buttress it with psychological clap-trap.

Call it, I don’t know, something like…

Utopia.

Yes, that’ll work.

As long as no one THINKS.

Oh yeah.

If you reduce the English language to the level of the two songs I’ve presented here, why would children in school want anything more?

They already believe they know the secret of life.

And if the “secret” doesn’t deliver the goods, it’s an easy step for the children to then consider themselves victims.

After that, the trip downhill happens quickly.


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

The influence of music, and more specifically SOUND and VIBRATION, upon popular culture, has been an interest of mine for a long time, and I might  add to JR’s thoughts that this mental programming continues today, with a focus on instant gratification and materialism.

Those of us still able to think outside the mental prison would benefit from looking up the subject of “Phase Conjugate Adaptive Resonance”. It’s not just the lyrics, it’s the actual sound that opens the mind to suggestion, allowing the vocals to be more easily absorbed by the brain. Think you’re just enjoying the funky beat and ignoring the words? Think again!

https://thecontrail.com/m/blogpost?id=4744723%3ABlogPost%3A454278

Martin H.

Anarchy In the UK, But Trumps’ OK!

Sex Pistols frontman John Lydon has revealed himself to be a supporter of Brexit and defender of Donald Trump, saying the US President was definitely not racist and could even be a “possible friend”.

The man known by his former stage name Johnny Rotten, who once wrote the now aptly-named ‘Anarchy in the UK’, also described Nigel Farage as “fantastic”.

“Where do I stand on Brexit?” he asked during an appearance on ITV’s Good Morning Britain. “Well, here it goes, the working class have spoke and I’m one of them and I’m with them.”

On Mr Trump, the 61-year-old singer said he was a “complicated fellow” who had been “smeared” by the “left-wing media”.

“One journalist once said to me, is he the political Sex Pistol? In a way.

I dislike is the left-wing media in America are trying to smear the bloke as a racist and that’s completely not true.

“There are many, many problems with him as a human being but he’s not that and there just might be a chance something good will come out of that situation because he terrifies politicians.

“This is a joy to behold for me. Dare I say, [he could be] a possible friend.”

Lydon was correct to link class to the Brexit vote, as research conducted after the June referendum found areas with higher levels of people from the DE social class also recorded higher ‘Leave’ votes.

Only three of the top 50 areas with the highest share of people from DE class backgrounds – which includes semi-skilled or unskilled labour and pensioners – voted to Remain.

Mr Farage caught the attention of Lydon after a stunt on the River Thames involving Bob Geldof, the former Ukip leader and a ‘Brexit flotilla’ comprising 60 vessels.

MORE:

https://www.msn.com/en-nz/entertainment/celebrity/sex-pistol-singer-john-lydon-comes-out-in-support-of-trump-brexit-and-nigel-farage/ar-BByWsW7?li=BBqd5YP&ocid=SK2MDHP

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