One of the most unusual of times is that in which computers exist and games are tolerated, which happens all too seldom, what with the wide variety of repressive governments in place all over the galaxy, but at least for the moment, we can make Orbs and you’re allowed to download and install them, although for how long that will be is anybody’s guess.
Of course, “approved” games will always be available, but you won’t want to play them, and besides, my “games” are not really games at all — they merely rely on a gaming engine to deliver them and make them useful to you. Continue reading →
For the first time ever, you get a full professional world-creation system that is easy to use, easy to master and makes fabulous reality environments that YOU can make. No math skills, no programming skills, any artist can use this INSTINCTIVE system of world-making.
I’ve made a video of the most basic first introductory lesson in Bluelining technology. The video is being uploaded even now.
This world-making tech is amazing and has several powerful advantages over simple mental imaging and visualization, the most vital of which is that repeated exercise of these actions WILL have a major effect in the spiritual zones, because you are taking actions in the deepest and most enduring levels of quantum mechanics.
Repeated uses of these Orbs will at some point trigger Thalamic or Pineal reactions and a wormhole type gateway could open up within your own brain and hey, like I always say, if they offer a price on your head, take it.
The underlying quantum world is electronic in nature, and so is the 3D GODD® Game-Maker Engine & Editor.
If you go wildcatting around with the editor, you’ll never master it, even in several decades. There are just a few, not many, definite tricks to using the GODD Editor, and you need to know them.
First of all, you’ll have to learn to refresh your map in order to get a firm update of all the textures and box placements. This is easily learned, but MUST be mastered before doing much else.
Of course, if you don’t know how to download and/or install something on your machine, you have a much deeper learning-curve ahead of you. A quick review of your computer, as in, “this is the keyboard”, “this is the monitor” and “this is the mouse” will have to suffice. Do try to keep those straight as we plow ahead into the simple mechanics of creating a universe by carving out a section of the Void.
That is what we’re doing. The map is Voidness until you define the space within the Void, and fill it with boxes and models and other objects and a number of invisible “operators” that in fact are the things that make things happen.
What appears to be happening in a game world seldom is. Operators are essential, and they reflect the actual magical conditions of the quantum world.
Bluelining will eventually yield some serious answers in that area, but be patient — the teaching comes in stages, meaning that there are some flat stretches ahead.
There are always flat stretches between each peak you’ve conquered behind you. Those allow you to develop and deepen your understanding at each stage of development. Continue reading →
As you know, I don’t have a regular guitar player in the band, so I’m forced to learn more guitar than I ever wanted to know, and in accordance with that aim, I also need my own songbook with our own songs and arrangements in some sort of usable order, and with the songs playable and singable by me.
I am therefore announcing the imminent publication of my Prosperity Path Songbook, which has in it songs we wrote as a group, at Meadow Vista, Grass Valley and Penn Valley, over the past 45 years or so. I want to especially thank all the folks who made it possible. All the credits I know of are listed on each song sheet. I tried to limit the size of the songs to a single page, except in the case of the Government Meltdown Blues, so it’d be easy to use at a gig, recording session, or at band practice.
These songs are licensed for busking where a tip jar is used. If you charge admission or want to record these songs, you MUST have permission, but we’re easy — just ask. We want to know where our songs are going and who is covering them, wouldn’t you???
NOTICE: I have rewritten these songs, to make them easier for me to play.
I have more than 50% rewritten these songs, for which I take full responsibility. If I’ve lost the feel or sense of a song, you can blame me for it. I’ll listen to complaints, but my musical skills are limited to standard open chords, so take it easy on me — a lot of those songs were unplayable by anyone except Parker, Meg, or Jimmi, and that’s a fact.
I’ve made them easy FOR ME to play and sing. If you want the original formats, the original meters, timing and chords as they were, and the original songs as they were sung by Parker more than 35 years ago, you can send for a xerox copy of the Angel Songbook from Iven at, I believe, $35. It does not contain about half the songs my new songbook features.
Myself, I can’t sing them or play them EXACTLY as Parker or Meg or Jimmi or Menlo did — not even remotely like what they did. I just don’t have the guitar and singing skills that they do, so I reworked the songs for my own use, put them in keys that I can easily play, worked out rhythm, meter, rhyme, sense and chord progression changes that are easy, easy, easy for me to play — so easy that even YOU might be able to play them!
I’ve put a solid two months of work into getting this song book together, having already worked on the songs off and on over the past decades, and today, I’m sharing the results of this effort with you. You’ll be able to buy my signed songbook as of today, with our projected shipping date only two weeks away.
I hope you’ll enjoy my collected songs in this new wirebound spiral edition, at only $35 a copy on regular copy paper, and you can make that $45, if you want it printed on heavy card stock. I’ll keep that price as long as I can hold the costs down — printing and paper costs are going up again, and I can’t promise that costs will ever go down to where they were 50 years ago. Things don’t tend to get cheaper and cheaper. Inflation eats everything. Continue reading →
If you want to do a gig like the one we’re doing, and you want a crowd around your performance venue, you have merely to organize your song list from the Beatles tunes that are the longest-lasting pop music in history — in our booth, we got a half-and-half mix of young and old, all asking for Beatles tunes, the tunes with which they are most familiar and that they find the most singable. Here’s the song list I would use: Continue reading →
If there are any Official Secrets to Music, these are they:
1. Tell a Story — this simply means any story about the simple nursery song that you’ve selected for this exercise (such as “Mary Had a Little Lamb”, or “Jack & Jill” or “Sing a Song of Sixpence” — any story will do, including that there isn’t one, ie; a rambling exploration of random notes and measures. Usually it means a story, pure & simple, describing the song’s major points, such as the fact that the farmer lived in a dell, had a wife, many chicks, ducks, geese, horses, cattle, swine, and a couple of wild and crazy dogs with a penchant for handouts. A story like that generally begins with a beginning, goes on a while in the middle, and stops at the end. The MIDDLE part is generally about the obstruction, the pain, the misery or the angst of it all. A typical song story is “my baby done left me”, whether you hear it in blues, folk, pop, ballad, country-western, jazz or classical, it’s always about relationships of one kind or another. That’d be human/human (read as: “human over human”) and bottle/human and a whole chain of seductions that read more or less the same. The story is told verbally before the instrument is sounded. The STORY should NOT take more than 1 minute to tell, especially the “Boy Meets Girl, Girl Gets Drownded, Boy Gets Hanged sort of murder-ballad you’ll find commonly in folk music.
I’ve developed a method for playing guitar that allows you to play very sophisticated and difficult scales without having to learn new chords or retrain your fingers. You’ll use the following chords: E, Em, E7, A, Am, A7, B7, to play in almost all the keys. You will instantly be able to fake solo leads using my simple lead chart. You can’t make a mistake, there’s nothing to go wrong. Total simplicity is the key to this easy to learn guitar cheat. In addition, I’ve developed backing tracks that allow you to remain at your present undeveloped skill level while still sounding absolutely pro. You can use this for holiday gatherings, and blow the minds of friends and family with your apparent skills at blues, jazz, hip-hop, ballad, pop, dance, rock, r&b, latin, reggae, folk, bluegrass, fusion, country and more!!! Each backing track CD has an entire show of about a dozen tunes, and you’ll sound incredible on ALL of them, I guarantee it! You can order the CDs now — see the titles above to order. The CDs will be available in a few days. Download options are being explored even as we speak. Oh, I almost forgot to mention it, but I have a set of backing tracks that will make you sound like the greatest jazz and blues flute player on the planet. Coming soon, a set of backing tracks that will make you sound like the greatest blues harp player in the Western Rim of the Galaxy Milky Way (strictly a local name — we Outer Limits Folks (OLFs) refer to your galaxy as “Shnarg”. I won’t translate, for fear of reprisals.
Here’s the video that mentions me and the other kids riding in the back of this Chevvy monster of the road. Today it could never happen, but back then, who knew from seat belts — and if you had them, you got made fun of!!!
To be fair, not all Gurdjieff’s music was from Gomidas. Actually a number of them were reconstructed from memory and were Arabic and tribal songs from the Caucasus and general region of Greece and Armenia, from which Gurdjieff had come when he arrived in Russia. Here is a very good example of what Gurdjieff could not present to his dance students in France, but which we can construct today from what little remains of the cultures he encountered back in the late 19th and early 20th centuries.
Well, first off, a good deal of Gurdjieff’s Sacred Music wasn’t Gurdjieff’s music in the first place; Continue reading →