Since WE are identified at a very early as to our talents and where they might work best for the Illuminati, if we are musically inclined, programming to tones, etc. begins at a very early age.
We are immersed in whatever field it is they are grooming us for so that by the time we are ready to fulfill their agenda for them, we can, in the eyes of some, appear to be genius in our field.
As in Freemasonry, they will raise you up the ladder until the desired outcome. Until you have reached your peak and have been accepted by the public. They will always have something to blackmail you for if you ever decide to speak out against them or leave the cult. Overdose of drugs, small plane crashes, etc.
As far as the music industry, if you are constantly exposed to sounds, tones, music, etc., at a very early age, and you were blessed with these talents, it becomes a part of your subconscious and a triggering mechanism that can "alter your state of consciousness" and enhance the "creative juices."
If you live within the "satanic cult," a dark world of despair, there is much that you can write about within reason that does not expose them completely. This, too, is another way for them to exploit talent.
Afterall, lyrics are written from experiences and, many "rock" musicians write lyrics that speak of tunnels and the other side.
I remind you though, however, that it is not a natural occurence. It is achieved through mind altering drugs, hypnosis, altered states of consciousness.
One should note, that the "programming" I and many others were directly exposed to having been incarcerated in the "satanic mind control cult," particularly as it relates to "BETA," which is sexual programming was realized in us much earlier than in the masses due to our direct enslavement.
As we know, it begins with exposure to the masses, especially targeted at our youth, with sexual imagery on television and in songs. This doesn't exclude "programming" that is geared toward violent tendencies in music and cinema.
The end result is the demoralization of the human race. No inhibitions. The process began during the 60's with the sexual revolution, the BEATLES, in particular and the Woman's movement.
There were many "screen memories" planted about accidents in order to account for the amnesia that they were inducing through drugs, hypnosis, torture, etc., because I was always inquiring as to why I could not remember certain things.
I'm not sure if these various screen memories abouts accidents were to cover up the fact that I myself may have actually been cut up from head to toe by someone, broken bones and near death, with a breathing tube and in a coma or not. Or, if they were to cover-up the near death experiences that they perpetrate upon their victims at China Lake Naval Base.
It was said that I was traumatized by the cutting up of my own child. It created amnesia and the catatonic state that I was in. I may never recover all of my memory is what was said. However, I believe this is the state I was left in when I returned home if I was institutionalized and it was most likely not for the "false memory" of having cut up my own baby.
It most likely was due to medical conditions created in me so that I could be institutionalized and brought to silence.
There was mention on his site about him having had a motorcycle accident. When I inquired as to specifics, I was ignored.
This brought up the "screen memory" that we were trying to escape the cult, we were "blinded by the light" of an oncoming car," actually two meanings here, because they use really bright lights to disorient their victims and cause visual disturbance for the future, as well; and also when you are being run down in a field naked by low flying choppers, when cornered, they shine their bright lights in your eyes. You can run but you can't hide.
So, we crashed on the side of the road and were left for dead. Passerbys found us. I was hospitalized. Broken bones from head to toe and in a coma. Coma, of course, the reason for my amnesia.
Back to the choppers. They did this with choppers when I was a child as well. They would fly over our neighborhood and their lights would be directed into our home. My mother would always say, "Oh, they must be looking for someone."
As a child, there were also times when we would have to close our windows, stay inside when planes would come through spraying insecticide for mosquito control.
I always found this odd. I'm not sure if this is how it was done or not. But, I have always been suspicious about this.
I think I spent my summers at the farm and the cover story was "vacation summer bible school."
I also spent summer months in Naples with several other children from our neighborhood. The adults there, Sis and Walt, were friends with my girlfriend's parents.
We were on our own most of the time and I don't believe we stayed there.
We stayed in a trailer on a VAST area of land. Acres and acres.
There were always "warnings" about how if I didn't keep my mouth shut, I was going to be the one responsible for getting our family killed.
This was not to be!
So, there were threats about cutting out my tongue. Which were so real that I would hold my tongue with my fingers to see if this happened, could I still speak.
There was talk about having a mock funeral because one day I would wind up kidnapped, cut up in pieces, fed to the sharks, body parts undiscovered and they wanted a proper burial, so this the reason for a mock funeral.
All of me was there.
I don't know if I've mentioned this before, but a discrediting factor is that the doctors refer to themselves as creatures from another planets, aliens and when this is repeated as they want it to be, the child and/or adult is discredited. They say this, "we are all creatures from another planet." Now, go tell that to your friends.
I do have some scars on my wrists that I never noticed until about five years ago when memories began to surface. And other markings that resemble faces. A very large marking that seems to look like some kind of characature on my right leg.
I have a clear memory of my sister reaching under the bed and cutting herself on razor blades. I also have a clear memory of it being said, that the cut wasn't deep enough. Someone was instructing someone on how to cut deep enough to puncture the artery so that I would bleed to death.
The cover story was that my other sister was a cleptomaniac, put money under the bed that she took from the kitchen table and razor blades, as well. My older sister reached under for something and cut herself. Money and razor blades!!!
I also have a memory of someone coming into the house and wearing a stocking on his face. This may be a "screen memory" for what I refer to as the "razor blade" incident.
I truly believe I was being told to cut my wrist and I wouldn't. I remember saying that I wasn't going to kill myself. They would have to do it and the BLOOD WOULD BE ON THEIR HANDS.
The process of sounding a flute or a flue-type organ pipe employs an airstream directed at an edge. However, the process differs so much from the process of directing an airstream on an isolated edge that it is modeled in different ways and different language is used to describe it. Rossing's Science of Sound uses the term "air reed" to describe the situation in which the oscillating air stream is the means for excitation of the pipe sound. In using the "air reed" terminology, it is pointed out that the oscillation is controlled not by pressure, but by the air flow. The edge structure represents an "open end" for the pipe, and thus is a pressure node. The open end is an antinode for air motion (air displacement antinode) and this maximized air flow associated with the standing waves of the pipe can drive the oscillation of the airstream. By contrast, the mouthpiece end of a clarinet with its reed constitutes an acoustical "closed end", a pressure antinode which provides pressure feedback to help stabilize and control the reed oscillation.
The description of the excitation process as a "flow-controlled valve" or "flow-controlled oscillator" dates back to Helmholtz in his investigation of cavity resonance. The tone you produce by blowing over a coke bottle involves air oscillation in and out of the mouth of the bottle which can be described as "flow controlled". When the air is flowing out of the bottle, it directs the airstream outward, and when the airflow associated with the resonant vibration is inward, it directs the airstream inward to provide energy to sustain the oscillation. Helmholtz described the flute excitation in the same sort of way, with the air motion from a standing wave forcing the players airstream out of and into the flute periodically.
Benade comments on the shortcomings of Helmholtz's model, explaining that the player's airstream lags considerably behind these air motion changes from the pipes standing waves. He cites the work of Coltman and Fletcher as clarifying some of the details of the "flow-controlled valve" action at the flute's embouchure hole. Their work highlighted the importance of the transit time from the players lips to the side of the embouchure hole and its relationship to the periods of oscillation of the sound components (harmonics) present in the tone.
Hall discusses the nature of edges and the excitation of organ pipes. The role of the eddies or swirls in the air at the edge is explored and some illustration is given of feedback mechanisms which presumably contribute to the oscillation of the airstream and help with the sounding of the pipe at its resonant frequencies.
The difference between the "edgetone" as envisioned in the sounding of a flute, recorder, organ pipe, etc. and the tones produced by directing air over an edge which is not coupled to an air column has been a subject of considerable discussion and investigation. Benade comments "Until recently there has been a tendency ... to confuse the sounds produced by blowing a narrow air jet against a sharp edge when the edge forms part of a flute or an organ pipe (air reed behavior) with those produced when the system is run in isolation (edge-tone behavior). In the latter case a type of repetitive eddying called vortex shedding takes place on alternate sides of the air jet, and a sound is produced if a sharp edge is used to separate the two sets of vortices. Vortex phenomena have only a secondary influence on flute-type sound production; moreover, at ordinary musical blowing pressures the edge-tone frequencies are so high as to be nearly inaudible".