Thoughts from the Other Side -- Sha'Tara

 The Singer, the Song, the Music


 While on the topic of manifestation, I've been pondering the purpose and usage of singing and music.

Today's singing and music is an expression of society's decadence.  The medium carries hardly any  meaningful or useful energy.  It doesn't help that much that most is done for monetary gain and  entertainment.

It wasn't always like that.  Long ago music and song were used to tell stories of individuals, of the tribe or the land.  Often singers were
banned, exiled, thrown in dungeons or killed for telling stories not favourable to the current lord or ruler.  And the pay for wandering
troubadours was usually little more than a bed in a stable and some dry crusts of bread or moldy cheese.  What made them do it?

But before that,  in what we now consider to be myth, the art of singing and of composing songs was used for casting spells.  Spells could bring favourable weather, usually rain for crops;  health and healing, or cast
death and devastation upon enemies.  They were used to strengthen buildings, bridges and castle walls. They were used to guarantee a
healthy pregnancy and delivery.  Even to "order spell" water from stagnant pools or poisoned wells, or keep foods from spoiling,
especially when armies were on the march and food had to be carried long distances. 

The "spell song" was a difficult thing to do and dangerous for the composer.  The words had to be exact.  They had to match the music
perfectly.  Any imperfection in the Song meant an imperfection in the spell and that meant the intended result was not achieved or something
terrible could happen. 

I don't know how I know this, but I am aware that the spell song is still done - perhaps not on earth, at least not openly, but on other
places.  It is still the way to do things where there is no technology as we know it.  Our technology has set us back, not moved us ahead.  It has confused and blinded.  Technology harnessed to the powers is
destroying this world much more certainly than any mis-spelling (!) of incantation ever would have.

Some people still wonder at some of the structures encountered on this world, monoliths and megaliths definitely "man" made - not wrought by raw nature.  The placement of squared stones hundred of tons in weight
often miles from their quarries.  Exact alignments of huge stones to certain stars or positions of the sun, or the inexplicable purpose of some, such as the Great Pyramid and Stonehenge.  Giant stone statues
quite meaningless today.  So much that was done presumably by stone-age peoples using crude  stone axes and wooden rollers... hmmm. 

There are the "miracles" of construction such as Europe's famous cathedrals,  mosques, the Taj Mahal and hidden, much older temples in
deserts and jungles.  Who really designed these things?  Who really made them happen?  Indentured laborers forced to work for nothing?  Slaves?
Priests, kings, mullahs, lords living in poverty or harassed endlessly by border wars and invasions and rebellions? 

There are huge gaps of knowledge in earth's human history - entire sections deliberately wiped out.  Just like millions of women healers and "priestesses" were slaughtered to push forth a whole new way of life
here, so were shamans, druids, "pagan" priests, sorcerers and spell-casters.  But time and again some of survivors  were called back
to serve and to help build some monument, repel some invader, or heal some plague.  Just as Saul, the mad kind of Israel, after implementing the slaughter of every "witch" in the land finally found himself alone with no one to turn to for information regarding his coming battle with the Philistines but the witch of Endor who had somehow escaped the slaughter by going into hiding.  (See 1st Samuel, Chap. 28)

We may wonder how some old buildings have endured the test of time - a difficult test - and some even endured burning and escaped bombing - and never understand unless we swallow this current pride that would choke a
world and look back over [our] time.  Unless we decide it's time to fill in the blanks in our past or pasts.  Until we face our current "smart
guys" and tell them they're just full of it. 

What made these great works and saved them from the ravages of time and war are certain enduring webs of energies spell-casted over them.  Some such webs so strong that "ghosts" are seen and heard in those places.
Webs capable of holding life together through long half-life, somewhat like radio-active elements do.

Our great technology, based on finite resources, is going to fail. Computers will not survive the crash either for they will have no reason to exist.  Sources of "free" energy to run an alluded-to "new" technology are not available here.   So, we have this choice: do nothing and be dead or part of a remnant of misfit cannibals surviving through another "stone age" civilization, or we can remember, dare, and look into the places made empty for answers to our current dilemma.  The "help" we need is right here, not in the stars or the heavens. 

What was erased to our physical senses is not erased to our spirits. The record of the past still exists for us if we dare think the unthinkable: that what is called "magick" is a force greater than earth, than this solar system, than all the great gods who have hidden this
legacy from us and given us material things in exchange knowing that we could not take those with us. 

"There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy"
[Hamlet - Shakespeare]

"Yet though I'm full of music
  As choirs of singing birds,
  I cannot sing the old songs --
  I do not know the words.
[Songs without Words - Robert Jones Burdette] 


          The Spell Singer, the Song and the Music II (Thoughts from the Other Side)

Just jotting down some random thoughts on related concepts to the spell singer, the song and the music as a follow-up to yesterday's post. 

First, there is too much evidence of sound power having been used, and still being used, to deny that "singing" is not about entertainment or making money, though it can be watered-down and twisted to do only that.

Sound/song power:  The first time I read of such a thing was in the Bible.

"Then the Lord said to Joshua: "... March around the city once with all the armed men. Do this for six days.  Have seven priests carry trumpets of rams' horns in front of the ark (the ark of the covenant).  On the seventh day, march around the city seven times, with the priests blowing the trumpets.  When you hear them sound a long blast on the trumpets,
have all the people give a loud shout; then the wall of the city will collapse and the people will go up, every man straight in." (Joshua
6:2-5)

During the Vietnam war, amplified rock n' roll was used in helicopter gunships to spread terror.  People running from the noise were then easier to shoot down.  Trumpets, bagpipes and drums have been used in
war to cow or confuse enemies, as have whoops, shrieks and yells. Debilitating sounds have been used by martial arts masters.

So we do have records and stories that tell us sound - music, voice, and words, can be used to "cast spells" on enemies, even to the destruction of lives and fortifications.

There are other evidences that singing is powerful.  The song of the sirens in The Odyssey of Homer.  The harmonic chanting of monks in religious ceremonies, of Catholic priests during the mass (if they still
do that - they did when I was there and it was an entirely different sensation than just hearing the same words read.) 

Often a life is referred to as one's "song" - as in Abba's "I have a dream, a song to sing..."  Inloveness has engendered many a love song or ballad, though now we are not into power but rather into whimsy as so much of that is feeling sorry for oneself one way or the other.

So, there are singers, songs and music that empower, create fear, destroy, give hope.  Then there are those that dis-empower: that sing of loss, despair, darkness, waste, confusion; and those that become a
mockery and travesty of what singing and music once was.  The screaming obvious fakery, artificiality and superficiality of commercial singing and music.

Yesterday I wrote about the possibility (if not the certainty) that song-spells were used in ancient times to build astounding monuments -
for reasons we can only guess at.  I base this "knowing" upon my own travels through history and man's myths, fairy tales, fantasies and science fiction.  I know that thought creates, quite automatically, if not always in palpable ways.  Whatever has been thought, uttered, written, or sung must of necessity exist at some level of creation. That is my "proof".  Fiction is creation.

Let's look at the word "spell".  Today "spelling" means the ability to put letters in some order that create words.  The words can then be used grammatically to create written communication.  But the word "spell" does not mean that, or I should say, means a lot more than that.  It means power.  Spelling: the power to use symbols to create repeatable
meanings that can then be "cast" upon nature to create change.  To cast spells is to use divine power.  Such power can be used for good or forevil purposes. 

Divinities and sorcerers have a different understanding of what good and evil are than we do.  They have greater power and a broader vision.  So they were greatly feared once, when their power was the only thing that
could defy nature.  Things have changed.

New divinities and sorcerers are in power here.  They are called presidents, generals, dictators, warlords, CEO's, businessmen.  These are backed by armies of slaves: [self] elected politicians, scientists, philosophers, priests and preachers, and the ubiquitous
information/entertainment media.  These have technology, much of it developed for warring purposes.  They possess weapons of mass
destruction -- nuclear, biological and informational.  Millions can be annihilated in an instant with a keyboard and a set of instructions.


Spells still work, even if the new magick is crude by comparison to the old.

So, how can we know about the old ways; the power of sorcerers, witches and shamans if the gods won't talk and the aliens remain aloof?  Who will answer our queries?  My guess is, we will.  Sooner or later we will
have had enough of the concocted BS or the obvious ignorance of those who preach, teach and lead or rule on this world.  We will look askance at the books that fill musty libraries and question every new assertion by science that "another breakthrough" has been made in explaining the unexplained. 

The first step is to realize that what we are living in today is a fairy tale.  Not a very nice one, not a pretty one.  There doesn't seem to be
an identifiable hero in it as yet and the end does not indicate a "and they lived happily ever after."  It's rather the opposite at the moment. But it's just a fairy tale.  And it's not being sent for publication just yet.  There may be a few chapters to be added, if someone finds the inspiration to do so.  I like a real good twist at the end of a plot, and God knows, earth man's fairy tale is in desperate need of a twist right about now.

Fairy tales are songs.  Spell songs.  They are designed to make us think about the impossible as if it were possible.  When we enter into the
fairy tale we become a player in it.  We take sides.  And as the tale develops, our minds create possibilities for the good guys and the bad guys.  And always, we wish for the line that says, "and they lived happily ever after" and always we feel cheated when we have read it because, well, that's all folks.  Then we have to re-enter our own world and its boring tick-tock; its sadness, despair, pointlessness,
silliness, emptiness, hollowness - by comparison to the fairy tale we just finished, that is.  And for us here, there doesn't seem to be a possibility for "and we lived happily ever after."

That's because we don't believe in our power to cast spells.  To enter life as into a song that is being written by us and is waiting to be
sung by us - in some kind of harmony.  Life is a fairy tale.  Nothing here is real simply because everything is considered real.  When
everything becomes something, it is nothing.  When all is light, for example, there is no light anymore.  Nothing that is everything can be
known for what it is anymore.  That's our dilemma and confusion.  The more real we want everything to be, the less real it becomes. 

So we need to create some personal "fiction" to balance things, to be able to see what we want against what we don't want.  We need
perspective.  We need to daydream; to pursue pink elephants and fire-breathing dragons across the midnight sky.  We need to write our
own stanza to the Great Song and with a sure voice, fling the words across the universe... then listen for the echo.  If the spell is good
there will be an echo, the proof that the desired change was accomplished.

That was fun.  And I didn't even get to the part about discovering the "missing chapters" in earth man's history.  I'll talk to my publisher
about writing another sequel! 

Namaste,
Erin WilloWitch and Sha'Tara


Understanding Power - the Singer, the Song, the Music -III
(thoughts from The Other Side)

The first premise in understanding power is the mind must be set free. Obvious, except for those minds who believe they are already free.  You cannot free the slave who is convinced of his own freedom.

From the first premise, we develop a method to arrive at mind freedom. That's simple enough: we train the mind to think outside the box; to contemplate impossible or ridiculous concepts and attempt to make sense
of them.   I call it the "Rubik cube" of the mind. (By the way, the Rubik cube was invented by Erno Rubik, a contemporary Hungarian architect.  The "cube" has only one right combination, but some 43 trillion possible wrong ones!)

As the mind frees itself from the constraints of "imperial conditioning" it takes these exercises seriously.  It realizes that it's all an
exercise whose purpose is to develop the power of independent reasoning.

As the mind is recovering from lives upon lives of conditioning it takes its rightful place of leader in the human person.  It rules the heart, the feelings and of course, the emotions.  It becomes the rightful "ego" of the personality and overthrows the old implanted ego called the soul. Now you have (or are) a self-empowered being.  From this point on,
anyone you meet will never be more than an equal, whatever position they assume, title they claim or posturing they go through. 

That's what threatens those who now rule over us and what frightens those who have looked at this open-ended possibility and shrunk from the responsibility it entails.  Better to endure the misguided rulership of others than have to face making personal decisions, taking personal action, in all situations that arise from the vagaries of life - so thinks the slave mentality.

Now that we have the potential for power we can study the various methods once used to demonstrate power until we become proficient enough to develop new ones.  Thinking outside the box brings us both possibilities.

I have mentioned the possibility, the likelihood, that sound has the power to shape things.  In "Dune" (by Frank Herbert), Duke Leto Atreides speaking to his son Paul says, "Without change something in us dies and
seldom awakens.  The sleeper must awaken."  In seeking this awakening, Paul,  a fugitive in the deep desert of Arrakis, discovers the power of sound.  "Every thought has a sound and every sound is the form of a thing" he explains to his Fremen warriors. 

All sounds perform a task in creation.  They either soothe, heal, create or destroy.  All sounds express some condition in time and space.  They can be harmonic or dissonant. 

J.R.R. Tolkien's "The Silmarillion" is the story of the beginnings of his mythology.  It tells how Eru or  Iluvatar, the One, calls upon the
Ainur, the first ones, to sing each their individual song for Him. Iluvatar then adds His own music to the songs and the worlds (creation) are shaped from those songs. 

Amongst the Ainur or Valar is one called Melkor.  He is a brilliant master but self-centered.  He listens to the songs of his brethren and for every harmony he supplies a counter (dissonant) version.  Eventually
Iluvatar takes all of the music, all of the songs, and weaves them together in creation.  So Melkor's dissonant thoughts also become
reality, a reality that he later claims as his own and which entraps him into hopeless self-destructive evil. 

So the theme is that our thoughts create sounds and each sound is the form of a thing.  But what sort of thing?  Is it a variation on an
existing concept or will it be something entirely new? 

Every story I've ever read tells me that to go for something new is very costly.  How much am I willing to pay for the "right" to put something new within the web of creation?  What kind of wisdom will I need to
ensure that what I seek to install is utterly benevolent?  What criteria do I use, or need, beyond my own experience and awareness?

What Song will I sing?

May the stars sing for you tonight,
                    Sha'Tara