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Posted on by janet

Running Away Conclusion

Find out what you are “running away from.”

As you release these thoughts, your cup becomes empty.  You can fill it up and change your reasons for running.

You can now “run to” in clear and conscious awareness.

 You can create a multitude of distractions that keep you from finding out who and what you are. You can use all the words that you want to say that this is not the case, but it is your actions and how you live your life that are the final determinates. 

Proactively take control of your own destiny. 

Become one with it, releasing your outer distractions so you can get on your correct and rightful path. Allow yourself the freedom to not only find out who and what you are, but to fully express and be the soul-personality at its finest.  The End.

7 Responses to Running Away Conclusion

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    Roger David Cornejo says:

    POSTED:

    Blonde Haired Swedish Superman Programed Twin Sisters!!!

    http://www.youtube.com/watch?v=ggWOkor8t8s

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    Beth says:

    POSTED:

    Hi Janet, I’m looking forward to the slower days of summer to look within.

    Holy Cow Roger, this is an amazing video! “A puff of madness” says Psychiatrist Eastman…I don’t think so. The clear footage of these Superman programming antics is surreal.

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    MIke Palko says:

    POSTED:

    Stewart and Janet,

    I find that oftentimes if I’m feeling uneasy, anxious, short of breath, etc, I will pull out my saxophone and play some notes. This really seems to get me breathing in a normal way and I feel energized. I wonder if there are certain notes/tones I could play to help me get into certain positive mind-sets. It’d be interesting to experiment.

    Just thought I’d share.

    Thanks,

    Mike

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    Ben says:

    POSTED:

    This is a rare & fascinating video. However, if anyone thinks it may trigger them, please take precautions. I just had to watch this and knew it might cause a reaction. It did cause a reaction. I’m lucky I had someone with me who knew what was happening and could stabilize me.

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    D. Ch'an-Moriwaki says:

    POSTED:

    Hi Mike ——–

    Thank you for sharing in your post. But for only a very few metaphysically oriented musicians, instrument builders, and computer/midi specialists, we in the West have all been playing and listening via the tempered scale for almost a thousand years, for the solfeggio scale had been banned by the Roman church since the Medieval period, including the augmented fourth. Its PTB purpose was quite specifically to subvert the natural, creative acoustic and thus disempower the people’s natural or “pagan” knowledge into nescience and devolution … slowly, ever-patiently, a thousand-year ‘program.’ This is serious stuff.

    http://www.unisonicascension.com/solfeggio/
    http://forum.davidicke.com/showthread.php?t=56986&page=5
    http://www.solfeggiotones.com/432-hz/

    Whether you play soprano, alto, tenor, or even baritone sax, if you try these pitches or their harmonics, at their respective octaves according to your range, and even though the tempered pitches or intervals might be off, relative to their exact solfeggio frequencies, you nonetheless may find some significant therapeutic (or at least purely musical) benefit from their equivalents. Then maybe you can build some riffs around them via their fundamental chords, or key structures. With your key signature or your home key as the specific healing frequency, all the notes and their harmonics of whatever you play will incorporate all the other solfeggio pitches in your music. If you improvise or compose, you would thus have a full-spectrum divine harmonic which you create, in all its healing power, based upon a specific healing modality, or frequency (or solfeggio Hz). The foundational healing tone vibrates at 528 Hz and is ‘roughly’ middle-C on the piano keyboard, so your saxophone harmonics would resonate that. (It’s the ‘generis’ idea behind pop-culture’s recent “528″ ubiquity, such as in the Hollywood film “Inception,” etal.)

    Note that the original and natural solfeggio scale has 6 intervals, or tones. The additional frequencies added by Dr. Len Horowitz are artifices. Most sound and energy workers use the original Galaxy/God-given frequencies. These natural solfeggio pitches of 6 frequencies are the cosmic tones of the Universe, and our own Galaxy’s fundamental tone is “Ge” according to some sources. I haven’t decided or been definitively shown that “Ge” is G the 5th interval of the C-major scale, or if “Ge” is what we know now as middle-C on the piano keyboard. However, that is ostensibly our galaxy’s vibration . . . and my dear It says that is in fact our so-called Middle-C and its frequency micro-intervals. In other words, 528 Hz. (And Stewart says . . . ?)

    As a very interesting anology, If you think of Leonard Bernstein’s “Maria” from West Side Story and suppose that it were played in the key of F, the first three notes would hit the tonic F, then the augmeted 4th, and then the perfect 5th, which MAY BE what is meant by “Ge” … or middle-C. By the same token, if it were played in C, that tonic would be the first note, and the augmeted 4th the second note, and the perfect 5th would be the third note … which is G. Ma-ri-a. Realize that the augmented fourth has been banned since around the 12th century and called “the devil’s harmonic,” and only since the advent of the 20th century has it been defiantly brought back into music. “Maria” is a clear-cut and accessible example of the intent to break-down the subverting will of the PTB.

    Good energy, cheers, and love to you and to all ———–

    (I’a pianist and a specialist in 20th-Century and Contemporary classical music, had produced/wrote/hosted radio programs devoted to that period exclusively, and to Consciousness and Metaphysics.)

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    Bartolome says:

    POSTED:

    That was a very informative post..Thank you. I have musician friends.. but none have ever explained it the way you did. A long time ago I came in possession on a Hohner wooden recorder, with no instructions on how to play it. Over the years I attempted to play it, (I still play it.) Only by listening by ear..Do not know how to read music, or know the tempered scales or the solfeggio scales..I know at times I may be off key when I play..but once I get to belting out a tune..its a go..The fun part of learning how to play was..observing the neighborhood dogs react to my playing..(everybody has critics).. I do find it theraputic..healing..calming. Sometimes a release of buried memories and deep emotions..that needed releasing..thru frequency-sound..I find it also when I do drumming and toning…Just like Janet talks about doing toning, It is your frequency..IT’S YOU!!..So just keep playing Mike..It is interesting to note that, the sax, the piano, and the recorder reqires use of both hands..thus engaging both the right and left side of the brain..all in perfect balance..it’s great to be ambidextrous..by the way, interesting word…”artifice”..had to look it up. Well gots to go. Adios, take care and Blessed Be!!

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    dianna cm says:

    POSTED:

    Hi Bartolome ——-

    Thank you for your comments. That’s a very interesting point you brought up, about ambidexterity in playing certain instruments, or even multidexterity, since the mouth, feet, etc, might be part of it!

    And congratulations for learning and staying with your recorder. I’ll bet the dogs n’ the ‘hood are listening positively to your music and your sounds. Animals are very responsive to music and its vibrations.

    Years ago, my kitty used to hop into the piano, delicately walk across the strings to the corner, and curl up right where the piano top jointed to the casing and sounding board, remaining there for hours, as long as I was playing. I used to wonder if this would damage her hearing or if she would go deaf with the piano’s volume … but she seemed totally fine, and always very content. Your dogs’ and my cat’s responses are evidence of the beneficence of sound (toning, drumming, music).

    And yes, it does bring up the submerged into consciousness. Perhaps you use those openings to delve into yourself and work through knots, tangles you meet that got buried in forgotten corners of your psyche? These are lovely opportunities of grace… .

    You’re right, as Janet says, these frequencies are YOU — whether you improvise, compose, or re-create already composed music, those resonances, harmonics, and frequencies (your style in color, attack, intonation, phrasing, timbre, etc) which you express are YOU.

    So, as Bartolome says, “…just keep playing, Mike”! And thank you, Bartolome. I don’t want to misuse Janet’s and Stewart’s pages for music thoughts; my website’s down right now, but it still functions for my public email: http://www.MusicOfOurTimes.net.

    Cheers ———–
    dcm

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