16 Feb 2012 Feast of St Paul, Shipwrecked

1)St. Michael the Archangel, defend us in battle.

Be our defense against the wickedness and snares of the Devil.

May God rebuke him, we humbly pray, and do thou,

O Prince of the heavenly hosts, by the power of God,

thrust into hell Satan, and all the evil spirits,

who prowl about the world seeking the ruin of souls. Amen.

2) Today the spirits of frustration and despair are making themselves known. Apparently, not just to myself. I don’t know when St. Paul went and wrecked his ship, but it’s appropriate to how one feels today– shipwrecked. We look to the “leaders” of our Church, and think to ourselves about too many of them, “Damn, we been had. Bamboozled. Run amok!” Christ himself promised that the gates of Hell would not prevail against the Church, but they sure have been having a good go at it.

3) In that spirit, some music is needed. We’re not yet at the stage when Angela’s “Beautiful Fighter” is the theme, not quite yet. But, I do think my two favorite pieces from the Tsubasa: Reservoir Chronicle Soundtrack fit well.


Solar-Seismic Update

There was a 6.0 off the Coast of Oregon last night:

The Suspicious 0bservers, at the end of their daily vid, address the current solar weather:

Other interesting bits of science: Capturing images of photons:

Finally, you may wonder why I’ve been starting to have running updates on Solar and Seismic activity. To be honest, a year ago I didn’t really care, but then the Japan quake happened, and there were some really interesting things about it, especially that some people, working of varying theories, had predicted it. One girl called the exact date, and begged for people living on the Pacific Coast– and she called out Japan specifically– to get to high ground. Her video was dated several weeks before the Quake/Tsunami hit, but she got it right. Now, since then, I’ve learned quite a bit, and I honestly think she’s a bit of a kook. But, no amount of kookiness can deny the fact that she called the exact date of the quake, and also got the location. She was definitely on to something.

Since that time, I’ve been running into a few interesting theories, most of which have a great deal of overlap with each other, but each with essential, core differences. These theories run from the edge of reason–Sitchin’s Nibiru theory– to the much more plausible Magnetic Universe theories. In particular, I am very interested in the Harmonic Resonance theories, which work in nicely with the Solar Magnetic Influence Theories. I take to these theories because, honestly, I am a musician by training, and they make a lot of sense to a music-theory nut like myself.

As best I can describe it, imagine this– the gravitational/magnetic influence between any two given bodies in the solar system is a certain “pitch” which is determined by the relative mass of each pair and the distance between them. So, Sun-Earth has a pitch that increases or decreases throughout the year. Same with Earth-Moon, Earth-Mars, Earth-Pluto, Earth-Vesta, Venus-Uranus, etc. . . Most of the time, these various “pitches” are a muddled mess, frequencies and harmonic overtones mostly cancelling each other out save for the great Bass notes and overtones coming from the Sun to each main body (planet), and from each planet to their relative satellites. However, at certain points, these pitches and harmonics fall into “chords”– moments when pitches are no longer cancelling, but amplifying each other, fitting into each other like pieces of a puzzle. In those moments, the Gravitational/ Magnetic forces resonating between the bodies invovled in the “chord” are such that noticable effects happen, such as increased (or sudden) seismic activity. In the worlds of older times, this is the Music of the Spheres.

Due to my interest in the overall subject matter, the videos I’ll be posting in the future will include the Solar Forecasts (as the sun is just as effected by these chords and progressions as eery other body ni the system), as well as the upcoming Planetary Alignments of note. Here us one recent video (mind, it’s an hour and a half, so if you’re interested, set some time aside) that evaluates the Nibiru and Harmonic theories in light of some of the most ancient records still surviving.

Classic, Metal

Yesterday, AceofSpades linked to this wonderful article, wherein a classical voice teacher critiques several metal singers. I loved this article because it so delightfully breaks the artificial boxes people place around their favorite music genres. It’s refreshing. It’s somethign that has irked me for years.

I majored in Vocal Music Education, and the thing about the vocal music world, especially in universities, was the attitude that the only music worth studying was classical “Art Music”. I spent every moment I could challenging this view. When other girls were studying Scarlatti and Donizetti, I was tossing Gershwin and Carmichael into the mix. When in Theory people were analyzing Handel, I tossed some U2 into the ring (and very publically threw the curve, much to my classmates’ ire). When in Orchestration people were  orchestrating folk songs, I threw in some Linkin Park. When my classmates had recitals along the lines of “A Night of Italian Songs and Arias” (All ruffles and lace), 3/4 of my recital was written post 1900, angsty and dark and, yes, ending with some U2.

Every semester I insisted that my voice teachers allow me one sing from my Billie Holiday Sings the Blues songbook. They indulged me, as I generally allowed them to choose everything else. So long as I had the one jazz piece.

I realized the flaw early, I think, when listening to the Pavarotti and Friends benefits for charities like WarChild. Meatloaf, Sting, Bono, Simon leBon, they all sounded fairly decent when singing opera. Pavorotti singing outside his genre sounded ridiculous. Him singing Duran Duran just. . . Mm, not quite. It’s why, I think, Bono and Edge wrote a part in Miss Serajevo specifically for him, for an operatic voice– because while a rock star can do a passable job at Nessun Dorma, and Opera singer shouln’t even try Stairway to Heaven.

This vexed me– that the so-called “pros” were less versatile than the “untrained, ignorant ‘pop-stars'”. . . The Bel Canto method was, while good, clearly incomplete. If all your years of vocal training means you only sound good in Italian, what good is it? If Ella Fitzgerald’s virtuosity taught no one anything, we’re useless. Yes, Bel Canto is important, it teaches projection, focus, support, beautiful legato. But . . . if it ain’t got that swing, what’s it mean?

Not a thing.

So happy to see someone breaking out of these false barriers. Metal and Opera should be lovers, not rivals.