• The Importance Of Being 'Cosmically Conscious'

    From Curtis Eagal@21:1/5 to RJKe...@yahoo.com on Fri Jul 30 15:58:44 2021
    On Sunday, June 6, 2021 at 4:54:31 AM UTC-7, RJKe...@yahoo.com wrote:
    On Saturday, June 5, 2021 at 3:09:10 PM UTC-4, eagali...@gmail.com wrote:
    The "cosmically conscious" phrase was a favorite of the Maharishi Mahesh Yogi, along with "such a joy," the latter being used in the post-India White Album Lennon song "Everybody's Got Something To Hide Except For Me And My Monkey," which led to
    McCartney's competing song using both phrases to go unused, until as a closing for the solo album Off The Ground. After they parted ways with the Maharishi, the guru said he could not be angry with the band, because they were angels; ousted drummer Pete
    Best declared from his Hamburg experiences the guys he knew were no angels. Still, leaving their Indian meditation retreat, a reporter asked them to comment on their seeming to have a 'spiritual quality,' which brought some humble replies of 'That's not
    for us to say...' - until George Harrison interjected, 'That's for YOU to say!'

    Producer George Martin said 'Someone chose their time for them': Best became ill for a concert in Britain when Ringo was available, after having made that substitution favorably many times in Hamburg - so the Four performing in England as a new one-
    time lineup coincided with the notable Aquarius Stellium planetary clustering of 4-5 February 1962, even though Ringo would not officially join until August. Martin admitted at their 1962 audition he was about to reject them, if not for Harrison's ice-
    breaker when asked if there was anything they'd like to change - 'Your tie, for a start' set off an entertaining exchange, although lukewarm on their music sufficiently overwhelmed by their wit and personal charm. Martin had Ringo Starr play tambourine
    with a replacement drummer at the kit for a remake of a song for their first single (then accidentally released the version with Ringo at the drums anyway); and Martin wanted them to accept a professionally-written song, forcing them to devise an
    arrangement that could overcome thematic lyrical issues. They responded by presenting an alternate composition, speeding up a slow tune devised with homages to Roy Orbison and Bing Crosby, and Martin immediately knew it would reach number one nationally.

    Before their marathon session for the debut album, The Beatles toured during an intense blizzard, in a van without a windshield, so they were suffering from colds; events culminated in a finale performance where John's full-out vocal rendition of
    Twist And Shout completed the fourteen-song quota – but unlike the Isley Brothers, John gave a raw yell in the middle section during the vocal ascent passage; the session ended with a futile second take, since Lennon had lost his voice, and would be
    unable to sing for several subsequent booked appearances. The second ascent section closing the song used a guitar part ending on a note sounding like an articulated hard 'E' – this is followed by drums suggesting '-terni-' then a finishing cymbal
    crash for '-TY!' As the album (released in March 1963) climbed the charts, a prostitution scandal brought down highly-placed British dignitaries. The cover image suggested lifting the gaze where perspective lines converge, leaning over the railing of an
    upper level of EMI headquarters; reading their poses, bent arms and a jutting elbow crudely spell out 'L-O-V' in block letters, with John Lennon cleverly visually presenting a lower-case 'e' to complete the word, brown jacket popped open for the pinkish
    shirt, with the lower section of his black tie blocked by his clasped hands. The covered tunes were part of their stage repertoire, with devotional hints: "Anna" was the name of Mary's own mother, and the rich vocal harmonies on the final lyric "him"
    bear an exaggerated resonance implying 'HYMN' instead – McCartney would say if you want to read things into their songs 'you might as well start singing hymns,' which seems more a content revelation than disparagement of either critical analysis or any
    faith-based musical genre. The imitated scatting of 'Bop shoo wop' and 'Sha lala's was augmented with their own more overtly meaningful 'Too-dah-loo.' Martin overdubbed a celeste, an instrument whose name means heavenly. The ending of A Taste Of Honey
    turns Messianic with the closing backing vocals, "He'll come back" – then the lead "For the honey" being repeated with sonorous harmony transmutes to 'For the howling –' thus the closing lyric ("And you") comes off instead as 'An-GEL!' So a new
    Apocalyptic idea was subliminally introduced by capitalizing on an aural potential. The lyrical theme of There's A Place (an original composition) explores Christ's remark that the kingdom of heaven is within ourselves, that one's own mind can be a place
    of solace; this psycho-metaphysical contemplation is in direct conflict with the insistent 'up-ness' of Twist And Shout, reminding that the Ascension of the Risen Christ to Heaven was physically observed. The harmonica riff of There's A Place emphasizes
    a first word-syllable in the opening, then in the coda the phrase gets a smoother variation; the melody included a vocal peroration that has one verse opening as if singing, 'I-I-N-R-I – think of you.'

    As they quickly became a national institution, the cover for their second album in black turtlenecks was shot against a maroon curtain at a hotel during a tour – the unsmiling version was selected, released in a monochrome that depicted half-faces
    suspended in a dark void; three aligned above Ringo suggested the unity of faith among the Apostles regarding the Resurrection, except for Thomas who doubted because he was absent from personally witnessing – but they all share the half-darkness that
    symbolizes the ability of Christ to materialize or disappear at will, being halfway in another dimension. So the role-playing appears combined with a collective desire to be Christ-like, ensuring the basic premise would be drastically altered and
    difficult to recognize. Even with the limitations of twin-track mono, The Beatles employed a massive amount of vocal double-tracking (Lennon once saying they nearly double-tracked themselves off their own record), giving the aural impression of a
    spectral, or ghostly, quality; the inclusion of "Mister Postman" needs only a single consonant shift to become 'Mister Ghost-Man.' The angel-devil dichotomy is invoked, 'homecoming's are anticipated, there is a yearning for holding. The seeming monetary
    obsession in the closing track takes on a different aura if "Money" becomes instead a call for 'Honey,' which the Risen Jesus ate along with fish. A subtle spiritual threat also seems intended, consistent with basic Christian dogma: the 'Ooh-hoo' Little
    Richard-style yelp Paul McCartney gives before the final repetition of the title All My Loving changes the entire concept (and not like Lennon's quip of All My Luggage) – sounding like 'Hea-ven –' the title reforms to follow with, 'Or An Oven,' so
    the concluding message becomes, 'Heaven – Or An Oven, I will send to you.'

    In the recently-aired "Colbert Questionnert" segment taped with Ringo Starr, the drummer revealed he thought Heaven would be great, but described it as a vacation resort to be eventually departed for further challenges on Earth – so belief in
    reincarnation, as well as Paradise not being the real goal, but a divine commission, consistent with advanced interpretation of theological scripture. When confronted by Colbert with the blatant simplicity of the lyrics from I Want To Hold Your Hand,
    Starr would not agree: "WHICH Hand did he want to be holding?" This was clearly an admission of submerged intention. The song had been designed to break into the American market, where even EMI subsidiary Capitol Records had refused to distribute their
    records; called 'mock-gospel,' it also included a triple repetition copied from a French recording that would captivate Bob Dylan; John's rhythm guitar had its sound compressed to resemble an organ.

    Both JFK and Vietnamese President Diem were assassinated on 22 November 1963, also the day their second album was released – Nostradamus' quatrain VI.37 has been recognized for JFK, except for the mystifying first line, where 'ancient work' is said
    to be simultaneously accomplished. Other quatrains compared the deaths of JFK with his brother RFK (including protest-strikes circa 1968), and of JFK with his own son (after attending a ball game). The Beatles' phenomenon seems the subject of I.14, the
    enumeration matching their fourteen-song quota: it describes a working-class musical group thought of as nonsensically madcap and destined for some jail time, whose work would ultimately be received as divinely-channeled – that is something they could
    not do themselves, and would require multiple stages. When asked about hobbies in Holland, the band laughed as they replied "fishing" (the Christian symbol) and "cycling" (presenting in disjointed fashion).

    Continuing through more highlights, the piano solo Martin played on Not A Second Time seems recycled into the guitar solo of A Hard Day's Night: the piano part starts as if to say, 'He suddenly appeared in the room'; Harrison played the guitar part
    slowly and an octave lower than desired at half-speed, so the fast portion would be easier (the same technique would be used on some later tracks), with the solo enunciating, 'HE – appeared in the room…' And the twelve-string Rickenbacker guitar
    acquired after their US trip had a distinctive clear sound. The filmstrip images on the cover where Harrison has a central shot that is of the back of his head suggests the missing Thomas from the gathering of Ten Apostles and others, where the Risen
    Christ first manifested to them. In If I Fell lyrics like 'that she' could convert to 'bad sheep'; the final guitar part suggests, 'I need a chosen FEW,' after the earlier passing notes strummed 'CHO-sen few' in a more tentative manner – there is the
    comprehension scripture offers no reward for being among 'the many called' who lack esoteric knowledge, and we can ponder how strenuous it was for them to reach so many with something they expected would be enjoyed, yet not immediately understood. Their
    film debut casted Paul's fictitious grandfather as a villain spoken of in diabolical terms – his bid to disrupt the show has him mocking the Ascension by rising up from underneath the stage during a song that has moved on (progressed backwards) from
    that condition, so his malicious intrusion seems off-topic. The script had them frequently using the term 'swine' for the culturally inferior, obviously based on the scriptural warning against casting pearls of wisdom before unappreciative swine –
    acknowledgement of this passage came visually during the solo era, since Traveling Wilburys Volume 1 (released 18 October 1988) had an inner sleeve collage of transportation modes that unexpectedly converts to a scalloped shell with a pearl; then the
    McCartney album Flowers In The Dirt (5 June 1989) had a cover showing strewn flowers that imply a pig's face in profile, including the boar's tooth. The 1964 album proceeds into the time when Mary Magdalene found the angels at the otherwise empty Tomb (
    and Jesus appears, not allowing Himself to be touched before ascending to the Father), dovetailing with a television special for Shakespeare's 400th birthday, wherein a scene at an empty tomb was enacted.

    Fans have been saying Jimmy Nichol had a catchphrase of "It's getting better" that was used for the Pepper song Getting Better, but that's not the impression I got having heard the interviews where Nichol's only requested input was to provide an
    update on Ringo's health, since he was substituting as drummer in his absence – the inevitable response was "He's getting better." When Ringo rejoined the group, during an interview where he was asked to recount his tonsillitis story, Starr commented
    he 'took bad,' which set Lennon off about 'misleading the teenage world,' so Ringo had to decisively state it was just a figure of speech. McCartney has expressed the opinion The Beatles have endured since there was nothing 'extra' in their presentation,
    minimal diversions along a concentrated focus. We can observe the same elements are in Paul's solo work, however the Beatle experience itself sometimes seems to be the subject viewed in retrospect, while the previous group could only look internally for
    its nostalgic flashes (such as in the Hello Goodbye video). An example can be heard in Love In Song, where the instrumental break seems to lament,

    'What a PROBLEM! -
    Substituting FOR
    The remaining THREE'

    Another notable instrumental passage, from Let 'Em In, is where a slow horn part follows a faster sequence, the slow sounding like,

    '...How LONG
    To END
    With Jeru-salem?'

    The track Band On The Run opens with guitar licks alternated with an oscillating effect, repeating before the vocals commence,

    'The water in -
    The Jordan'

    So when the line about the 'rain exploding' arrives, the subconscious mind is already in the Baptism fantasy, retreading ground already covered with Sgt Pepper. While McCartney has said he likes to keep his more profound thoughts to himself, he also
    wrote he would leave his message in his song. The religious topic emerges in unusual ways, such as in Arrow Through Me, while we expect Paul to be protracting his singing of "Zero," midway through his voice seems to restart with "Nee-e-e-ee-ro," the
    beast prototype Roman emperor who famously persecuted Christians. One track that seems to demand a closer look back at his former band's work is Old Siam Sir, where the powerful guitar riff seems to energetically repeat,

    'REAP What's Sown
    By The LEGEND!'

    A related thought should be Jesus predicting one phenomenon would sow, while another entity would later reap; a parallel thought was entering into the labor of others whose work could not be duplicated – a truthful person would be honest about what
    was heard, and also amazingly deduce what the future holds. Anyone who says Nostradamus never predicted anything about the modern US should consider I.57, which gives a series of facts that applied perfectly to circumstances surrounding the assassination
    of John Lennon in New York City on 8 December 1980: to begin with, '57 was the year John first took the stage as a performer; the quatrain speaks of harmony being irrevocably broken, and describes how the victim tried to talk after being shot but only
    blood came out ('the bloody mouth will swim in blood'); the final line mentions his face being anointed with 'Milk And Honey,' the title of his posthumously released album; and the first line has the world trembling, which seems to predict the three
    powerful earthquakes occurring in the South Pacific from twenty minutes after the obituary announcement to about three hours later (John and Paul had been compared to Rodgers and Hammerstein, composers of the musical "South Pacific," during their first
    US trip).

    When George Harrison had his violent ordeal in late 1999, the prophecies led me to make a cautionary post a few days beforehand.


    27 December 1999, regarding the second half of II.98:

    << I believe the strong storming across Europe which has claimed at least 48 lives in France, Switzerland, and Germany has presented an initial fulfillment, with "thundering" while the Moon actually was in Leo;
    holiday travelers found transportation problems by road, air and rail. France received the worst, the storm arriving from the Atlantic Ocean at dawn Sunday 26 December: there at least 26 were killed by falling trees and other debris. Gusts exceeding 100 miles per hour ripped apart roofs and toppled cranes. Paris had not seen such an event in at least fifty years; Prime Minister declared a phenomenon on this scale occurs only
    once or twice a century. Eleven were killed in Switzerland, mostly by falling trees - two fell from a gondola when a tree struck the ski lift cable. Eleven more died in Germany, some in car accidents. In Austria gusts were measured at 136 miles per hour, with 2,000 evacuated from a theater near Vienna. >>

    Further, also on 27 December 1999 --

    << ... the 30 December Chiron-Pluto conjunction is precisely the sort of rare and ominous aspect that should accompany activation of this most horrible prophecy...

    The conjunction makes an odd marriage, since Chiron could somehow become transfigured conceptually into Charon, the old gray boatman of the
    Rivers Styx and Acheron who ferried the dead to Pluto's gloomy Lower World. Chiron is the centaur who was accidentally struck by Hercules' poisoned arrow. Charon is the son of Erebus and Night: the fare for his trip to Hades was a coin called an obolus - if the dead were not buried with one under their tongue, they were destined to wander the shores of River Styx for a century, when the fee would be waived. The connection
    by confusion is probably the finale to which the astrological warning sequence has been leading. >>

    The Chiron-Pluto conjunction I had been concerned with happened about four hours after the onset of the attack in the morning of 30 December 1999. Quatrain II.98 foresees Harrison as a victim nearly sacrificed, whose face becomes splattered with his
    own blood (his lung was punctured), then further predicts he would put himself in harm's way for his spouse. After drawing the knife-attacker off of George with a fireplace poker, Olivia was chased and strangled while injured George quickly composed
    himself, realizing he had to still fight him for the sake of his wife. The intruder had gained entry by breaking a window using the wing of a statue of archangel Michael made by Olivia. The windstorm affecting Europe was Cyclone Lothar, occurring when
    the Moon was in Leo: but a footnote had been made in my Nostradamus book by Edgar Leoni to consider it instead as Jupiter in Leo, dubiously equating the planet Jupiter with thunder – as it turned out, my futile participation seemed noted by the line
    saying 'augury by presage.'

    There was also quatrain I.96, which predicts religious thinking would be revolutionized through a fantasy, which is how Harrison described The Beatles, the projection of a positive fantasy to counteract the negativity of the physical world. If
    prophecy is involved, probabilities should be continually considered, asking oneself how likely it is that all these disparate factors should coalesce at a certain time in a certain way. As such, it is usually beyond the scope of an interpreter to
    conclusively determine that a prophecy failed, only to acknowledge when it has been fulfilled. And with a prophetic book like Revelation so much mythology has developed around its highly esoteric passages that it should be understood only properly
    observing the actual corresponding phenomena can ever lead to a legitimate declaration of fulfillment. Christ speaks to Saint John in his vision with a voice resembling the sound of a trumpet; learning a New Song on some esoteric level allows a portion
    of humanity to spiritually advance. Examining the books of Henoch, apparently translated from a language predating Hebrew, it was recalled how four archangels each introduced themselves with a song: Michael had a song of blessing; Gabriel sang of divine
    names; Raphael's song involved the crucified; and Phanuel sang a warning against the demons. Fans could probably come up with solo tunes matching those summaries. Revelation created a warped perception of the role of archangels, by focusing on their
    death tangent capability, which is subtly explained to be a method for the living to repent their own materialism, and not about being subjected to physical murder. If both the Antichrist beast and the archangels as divine ambassadors capriciously
    produce mass casualties, there would be no clear moral difference between them. The answers can only become solutions when someone asks the correct questions; known events can be used as time-markers that reinforce the significance of synchronous
    overlooked happenings. Henoch has the angels wearing brilliantly colored military uniforms, and singing songs that tantalize the mind with sweetly incessant voices, long before Pepper's rock-symphonic fusion and Carnaby Street fashion. John Lennon was
    disappointed with a lot of the sounds he created that astounded the world – producer George Martin had to devise a compromise from such a request as 'a thousand monks chanting' for instance; Lennon once said The Beatles was a means of demonstrating 'a
    glimpse of what's possible' in this world, perhaps influenced by the next.

    My book series analyzing the song catalog on this level has intersected with the prophecies, the seer seems to be endorsing it as the exposure of the potential awareness of their deeper meanings: however, since this has not obtained traction with the
    general public, disclosing the dates and factual correlations would be like opening an unfamiliar new topic. An example would be Book 3 characterized by 'initial success and ghostliness' for the spectral second album phase and first US trip, paired with '
    Cordoba and the Dalmatians,' referring to the Cordoba Initiative (called 'ground-zero mosque') construction being opposed by a firefighter (associated with the Dalmatian dog breed) survivor of the 9-11 attacks, whose case was dismissed around the July
    2011 publication date. Another would be Book 4 published in March 2012, where a spotlight on a wall was reproduced in visual homage, but I.23 has it as the Sun rising at dawn, acknowledging the third month of March, and bringing in my pen-name
    association in the final line - 'Aigle' is French for Eagle, there are seemingly parallel mentions of a particular eagle in scripture. [The covid pandemic story ('then suffocated in bed without assistance'), protests over abusive policing (conflict over '
    people dead through malfeasance'), and the Capitol riot have all been accurately predicted during the current era, even timing the latter incident at the end of a lunar cycle.] The news media reported how Free As A Bird had reversed conversation from
    John Lennon in its closing: they accurately gave the original forwards remark as, 'Turned out nice again…' – yet they omitted continuing to the next part which finished, 'Like in scripture.' McCartney was quoted as saying about The Beatles, "We tell
    the truth, but only an eighth of it."
    The Maharishi used the phrase "cosmic consciousness." But what did he mean?

    From Maharishi's perspective of meditation, probably a clarity of mind that results from quieting distracting thoughts; the phrase suggests awareness of higher planes, which could be attained through meditation. John Lennon in a recorded interview said
    that he sensed a higher power while undergoing various paths including meditation and diet; the line from "Strawberry Fields Forever," 'No one I think is in my tree' was an admission to feeling like the hippest person in the room.

    Klaus Voormann's photo and ink collage for the Revolver LP cover could be an artistic visualization of being cosmically conscious, the real eyes beaming from the line-drawn monumental faces as foundational elements of a fantasy landscape, likely relating
    to the Christian parables about the eye being like a lamp, sharing its light to fill the body. They cleverly enacted the sinister corollary with the back cover photo taken in the studio at a piano, where a single orb light overcomes a dark filter on the
    camera lens, as they all wear dark spectacles - 'If the eye is full of darkness, so will the body be.'

    A vision of all human history acted out by animals was dreamt before the Flood (by Henoch), and at one point some blind sheep begin to open their eyes, while those blind ones that did not were described as hopelessly obstinate (and were eventually
    punished). The term 'cosmic' means beyond the common world, perhaps implying channeling omniscience. It could be as simple as native people intuitively understanding the relationship between a mountain and a river, somehow knowing that encroaching
    development would result in flooding, etc. The alternative is to be 'cosmically oblivious,' since the higher realm exists regardless of whether people ignorantly dismiss it.

    Lennon also told the story of a witch who declined to label herself as 'black' or 'white' - he affirmed there is a power that can be tapped into, towards whatever is desired, like using electricity for various purposes. Attaining consciousness of a
    transcending Cosmos would be a major impetus towards conducting enlightened endeavors.


    As George Harrison explained circa 1967 in Hunter Davies' book,

    << "The only thing which is important in life is Karma, that means roughly actions. Every action has a reaction that is equal and opposite. Everything that's done has a reaction, like dropping this cushion down; see, there's a dent in it.
    "Your Samsara is the recurrence of all your lives and deaths... You go on being reincarnated till you reach the absolute truth...
    "The reason we're here, why we're all here, is to achieve perfection, to become Christlike...
    "I know that religion and God are the only things which exist... I know that when you believe, it's real and nice. Not believing, it's all confusion and emptiness...
    "I'm beginning to know that all I know is that I know nothing." >>

    So with the Karma, the principles from Newtonian physics have a parallel, applied to deliberate actions - that is cosmic consciousness as an esoteric way of perceiving extra-rational cause-and-effect with coincidences and synchronicities, following a
    specific belief system.

    The other phrase favored by the guru about 'such joy' that both John and Paul used reflects what George was saying about belief being gratifying in itself, if derived from contemplating some sublime truth.

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