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The Performer

 


The Performer at work - Smokestack Lightning
John Cipollina in Concert, San Francisco

 

The aura of this musician, drawn during a live performance, shows contributing factors within and outside the performer himself. First, we study his unique energy field, referred to popularly as a triple-layer aura, that is the larger portion of his charismatic image. Traditionally, the human aura extends out from the solid physical form, approximately five feet in all directions – this sphere of influence may change as circumstances vary.

Then, there is the contributing sound wave, note after note combining, summoned via the musical instrument he plays. The large speakers on stage alter several energy waves in the aura field. They are embellished by his electro-magnetic insulation [between vertical waves and physical form] that combine the sound wave pattern with inner layer of his aura, in part via the natural function of the spleen chakra.

The accumulative effect of the technique constructs within the mind a full a spectrum range of invisible landscapes, built at the pace of perfectly measured, note by note precision. The audience experiences these combinations as a joint, co-created event. Mirror designs that form and merge this way add an air of mystery to any performance because there is a semi-translucent 'cloaking effect' to the overall countenance. The amps create superimposed patterns, also moving over the wavy lines. They resemble silver, as it appears through a microscope during the condensation process.

The electric echo activates the sensitive inner ear so the music monopolizes the attention of all in the room, recorded, individually and collectively, in the inner audio memory linked with subtle hearing. The combination of musical notes intensified by speakers usually creates interweaving wavy lines with the vertival movement so they appear to inhale and exhale, beat in and out like the human heart. A subtle allusion to the double-helix [horizontal angle] supplements the silver lining, so we think of 'sweating metal' as it appears through a microscope during the condensation process.

There are sounds that produce specific patterns of energy, beyond what you would see on a sound graph or measuring instrument. It is a good idea to research this cause and effect phenomenon, if you aspire to a career that requires oratory, general public speaking and of course, if you are a stage performer. Be clear about the impact your voice will have on your audience.



Early draft of The Performer reveals energy that seems to 'copy' the pattern
of tangerine quartz crystal. It is not uncommon to catch the precious metals
and gemstone structures in the heart center area.

see The Salamander

See The Transparency Wave and The Blue Violet Wave and The Silver Rose.

To research the effect of sound (the invisible) on physical material (the visible world) try this exercise; use simple things like oil, sand, or dirt. This experiment can be done easily at home. Start with something that is easy to observe, like sand from the beach, cleaned and spread in a thin layer across a cookie sheet. Put the cookie sheet in the centre of a circle of amplifiers. Level the sand loosely across the pan to a uniform depth of somewhere between 1/4 to 1/8 inch. Play a single note on tape, through a microphone or on an electrical instrument. You will see the sand form into a design each time the note is played and amplified to effect the sand in the centre of the circle. Every time you play the note you will find the sand assumes the same, identical shape so that you can recognize shapes corresponding to notes you play. Each note will produce its own design over and over again. With lighter materials like oil you can catch some lovely photos, some even suitable for framing. If you have Tibetan Bells, a crystal bowl, and tuning forks, expand your study to include various combined sounds in your audio repertoire.


Jackson Pollock - Shimmering Substance

Within the core of the field, the strength of a Mercury-Pluto template appears to dominate the foundation structure of the whole pattern. The circle, square, and rectangle are shapes usually attributed to Mercury. These designs and shapes appear throughout this aura field at several dimensional levels.

go The Line of Intuition for more about Mercury


An intellectual treasure-trove
See energy pattern that mirrors in subtle fields.
It runs through, underneath, and in back of the
artistic mantle in this radiant photograph.

Stones that may contribute to balance or firmer links within the field would be the carnelian, tangerine quartz crystal, lapis lazuli, diamond or ruby for Mercury, with lapis lazuli, mica, or Australian lava application for Pluto. The metal gold would be preferable, yet could be worn with silver if it is braided in the Celtic style. Diamonds should be avoided if they come in direct contact with the skin. See The Stone Gallery with zodiacal gemstones and metals.

The Performer has an internal attunement with essential energies coordinated with the Autumn calibration and the separating seed that begin the cycle of growth for the following year. He loves the season and so enjoys the harmonious benefit of stones connected with that season’s vibration, such as the blue Siberian topaz, sardonyx, agate, jade [especially white and green], orange sapphire, yellow sapphire, and amber. These stones are aligned to Autumn energy as well as both Mercury and Pluto, these the rulers of the template. I have found that Apache Tears are often aligned with the Autumn vibration as well.

Information about Autumn design at the Weasley Tent - scroll down

A note about Autumn people: they love the exotic and unusual designs within Nature’s kingdom. The Ancient Ankh at this man’s crown suggests interest in ancient culture and philosophy. The higher octave serpents refer to Mercury and Pluto, both the heavenly bodies and accompanying ancient mythology. Traditions and rituals of the Pythoness at Delphi, The Cobra at the brow of Enlightened Rulers and Immortals, and even Medusa could be developed via these symbols of both East and West. The interwoven Red and White Dragons of Britain would be a reference to a deeper level of understanding of energies within the ancient land.

Throughout energy fields we usually find several recurring ideas, just as we find them in dreams. Caduceus, the magical wand of Mercury, and the force of Kundalini moving through the back and a variety of power points, bring in the early Judeo-Christian flavor that once represented Jehovah as a winged serpent. Serapis, the only God Alexander The Great would acknowledge at his death, would be worth researching in this regard. Implied indirectly through these same symbols we would find the matriarchal and Goddess philosophy. The Crux Ansata (cross with a circle, oval, or loop above it) popularly known as the Ankh, Cross of Life, was carried by ancient Gods and Goddesses. It was the symbol of regenerative powers and immortality beyond the burial chamber. The opened sandal strap is probably the true origin of the ancient cross, and a reference to the verb, "to go", one of the last commands of Christ to his disciples. Actually Isis is traditionally identified by her own hieroglyph, The Throne (symbol of Egypt). The opened sandal strap is really the origin of the Ankh.

So think of the last command of Christ to His followers, to go forth and teach all nations. In the Gitas, Krishna (Christ of India) instructs Arjuna (the perfect warrior) "to act" (but remain detached from the action). And of course, Autumn is the season "of change", swirling leaves, the action time each year when we all prepare for the long Winter ahead.

Also suggested, perhaps connected to other symbols at the crown, are the protective and destructive serpents as described in the Egyptian Book of The Dead. They are probably the first version of the Christian legend of two angels who will fight for every human soul when death descends. The Holy Guardian Angel, assigned lifelong protector, faces the fallen Angel that claims possession of the soul.

 

 

There are, of course, serpents from India, ida and pingala, weaving around the central part of Caduceus and all Mercurial Healing power wands. In physical anatomy, both their movements should be up the spine. Their functions include channeling masculine and feminine energy upward, through the heart center. Both ida and pingala are reversed in the physical anatomy of men and women, so use care when you concentrate on symbolism that illustrates their energy focus. for balance of your acid-alkaline system

Use the ruby for the purpose of clearance and stabilization, and to elevate the state of awareness suggested by your healthy ida and pingala. They should balance each other and other systems that guarantee harmony in the overall system. Eastern philosophy thinks of equilibrium as balanced Yin and Yang energy, so any exercise that will help to secure a smoothly balanced energy flow will help you maintain good health and fortune.

The ruby color at the crown suggests flaming energy, the male energy of the Creator Star. To the unconscious, the ruby is said to suggest perfection. Peter the Great always had a handful of rubies in his pocket. In India it is said whoever offered rubies to Krishna would be reincarnated as Emperor. Rubies were said to change color when evil approached the wearer. It is said that the ruby worn by Katherine of Aragon changed color when the question of her divorce was first considered. Red itself is associated with the highest spiritual characteristics and with the more extreme passions and vices of men. In the Greek Church it was favored for lent, and in the Roman Church, red has prevailed at the festivals of martyred saints. Tints of red have gentle meanings also symbolizing love, truth, health, beauty, bashfulness and Cupid.

Jung, Freud, Perls and others give different allocations, attributes and interpretations to the serpent in dream symbolism, beyond and within the bi-polar world. The ancient North Star in the constellation of the Dragon probably influenced the lost arts of embalming, alchemy, and engineering keys so noteworthy in the Land of the Pyramids. The ancient knowledge is not lost to the study of archetypes related to mythology and older religions, rather it is buried in the unconscious and can take symbolic shape in our dreams. Some believe the serpent represents the unconscious itself, but he/she may also signal a transition [molting] or life changes on the horizon. Kundalini power opens energy centers and is usually represented as a serpent in Eastern religion, art, and medicine. Potential energy can symbolize possible actions because summoned energy must be put to a use, so the colors, textures, and sounds vary depending on the unfolding center that is involved in the field of astral expression. Color symbolism associated with each of the seven rays in the external spectrum varies from one authority to another. Gold, silver, and the traditional metals seem to remain constant throughout time, however, as do the deeper meanings of power stones such as jade, the pearl, lapis lazuli, the emerald and the ruby. This male appears adept at unlocking keys to ancient formulae concerning all of these.

From: Lectures On The Human Aura


In a 1989 interview, John Cipollina spoke about his early impressions of Link Wray, "I was a beatnik..... I was more into jazz....grooving, sharing, umm....that kind of stuff, and like but Link Wray, man. Link Wray affected me so much that first of all, alot of my style, alot of my chords and stuff I got by copying, you know? I saw him on TV man. I'd never played guitar, and he had his guitar that looked so offensive, it was phallic...Rumble, man.....Rumble just blew me away. That's what turned me on to playing guitar. He's the father of the power chord. I still remember it as one of my strongest memories, man. It just burned itself in my mind. I heard Rumble....it was '58. When I heard that, what I heard was, dirty, man."

-John Cipollina
Link Wray star chart progressions to 1958 and Rumble

In 2003 Happy Trails was rated at #189 in the Rolling Stone Top 500 albums survey, where it was described as the definitive live recording of the mid-Sixties San Francisco psychedelic-ballroom experience. Archetypal Quicksilver Messenger Service songs include the elongated, continually re-titled suite based on Bo Diddley's Who Do You Love?.


ANCIENT DRAGONS

LEGENDS, MYTHS, AND SYMBOLS

The salamanders are as varied in their grouping and arrangement as either the undines or the gnomes. Paracelsus says: "Salamanders have been seen in the shapes of fiery balls, or tongues of fire, running over the fields or peering in houses." (Philosophia Occulta, translated by Franz Hartmann.)

Mediaeval investigators of the Nature spirits were of the opinion that the most common form of salamander was lizard-like in shape, a foot or more in length, and visible, as a glowing Urodela, twisting and crawling in the midst of the fire. Another group was described as huge flaming giants in flowing robes, protected with sheets of fiery armor. Certain mediaeval authorities, among them the Abbe de Villars, held that Zarathustra (Zoroaster) was the son of Vesta, (Believed to have been the wife of Noah) and the great salamander Oromasis. Hence, from that time onward, undying fires have been maintained upon the Persian altars in honor of Zarathustra’s flaming father.

It was customary for the philosophers to conceal the element of earth under the symbol of a dragon, and many of the heroes of antiquity were told to go forth and slay the dragon. Hence, they drove their sword (the monad) into the body of the dragon (the tetrad). This resulted in the formation of the pentad, a symbol of the victory of the spiritual nature over the material nature. The four elements are symbolized in the early Biblical writings as the four rivers that poured out of the Garden of Eden. The elements themselves are under the control of the composite Cherubim of Ezekiel.

The story of Jonah is really a legend of initiation into the Mysteries, and the “great fish” represents the darkness of ignorance which engulfs man when he is thrown over the side of the ship (is born) into the sea (life). The custom of building ships in the form of fishes or birds, common in ancient times, could give rise to the story, and mayhap Jonah was merely picked up by another vessel and carried into port, the pattern of the ship causing it to be called a “great fish": (“Veritatis simplex oratio est!”) More probably the “whale” of Jonah is based upon the pagan mythological creature, hippocampus, part horse and part dolphin, for the early Christian statues and carvings show the composite creature and not a true whale.

It is reasonable to suppose that the mysterious sea serpents which, according to the Mayan and Toltec legends, brought the gods to Mexico were Viking or Chaldean ships, built in the shape of composite sea monsters or dragons. H. P. Blavatsky advances the theory that the word cetus, the great whale, is derived from keto, a name for the fish god, Dagon, and that Jonah was actually confined in a cell of Dagon after he had been captured by Phoenician sailors and carried to one of their cities. There is no doubt a great mystery in the gigantic form of cetus, which is still preserved as a constellation.

The accepted theory that the serpent is evil cannot be substantiated. It has long been viewed as the emblem of immortality. It is the symbol of reincarnation, or metempsychosis, because it annually sheds its skin, reappearing, as it were, in a new body. There is an ancient superstition to the effect that snakes never die except by violence and that, if uninjured, they would live forever. It was also believed that snakes swallowed themselves, and this resulted in their being considered emblematic of the Supreme Creator, who periodically reabsorbed His universe back into Himself.

The seven-headed snake represents the Supreme deity manifesting through His Elohim, or Seven Spirits, by whose aid He established His universe. The coils of the snake have been used by the pagans to symbolize the motion and also the orbits of the celestial bodies, and it is probable that the symbol of the serpent twisted around the egg -- which was common to many of the ancient Mystery schools -- represented both the apparent motion of the sun around the earth, and the bands of astral light, or the great magical agent, which move about the planet incessantly.

Serapis was called Theon Heptagrammaton, or the god with the name of seven letters. The name Serapis (like Abraxas and Mithras) contains seven letters. In their hymns to Serapis the priests chanted the seven vowels. Occasionally Serapis is depicted with horns or a coronet of seven rays. These evidently represented the seven divine intelligences manifesting through the solar light. The Encyclopaedia Britannica notes that the earliest authentic mention of Serapis in connection with the death of Alexander. Such was the prestige of Serapis that he alone of the gods was consulted in behalf of the dying king.

The Gnostic Mysteries were acquainted with the arcane meaning of Serapis, and through the medium of Gnosticism this god became inextricably associated with early Christianity. ...The little-suspected importance of Serapis as a prototype of Christ can be best appreciated after a consideration of the following extract from C.W. King’s Gnostics and Their Remains: "There can be no doubt that the head of Serapis, marked as the face is by a grave and pensive majesty, supplied the first idea for the conventional portraits of the Saviour. The Jewish prejudices of the first converts were so powerful that we may be sure no attempt was made to depict His countenance until some generations after all that had beheld it on earth had passed away."

go The Phoenix Films

* According to Robert Graves, Jehovah was worshipped as a winged serpent in ancient times.

go to Seraph with several film references, including The Matrix and Knowing


If you are interested in aura field energy, request a current list of West Coast Magazine issues that carry articles about the aura and readings of the aura field. Order video tapes and class guides. Thank you for your suggestions and interest.

Email comments: kove@thediviningnation.com


San Francisco Haight-Ashbury
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Announcing the release of RECOIL: John Cipollina

In his style and sound, John Cipollina represented... the archetypal 1960s musician. His unique guitar tone, one-of-a-kind sound delivery system, classic longhaired rock 'n roll look, and charmingly humble personality made this former Quicksilver Messenger Service guitar player an inimitable figure in the musical landscape of the 2nd half of the twentieth century.

Recoil: John Cipollina is a 3 DVD box set that provides an almost six hour journey through the rock 'n roll life and music of John Cipollina. Along with the 1991-produced one-hour re-mastered "Electric Guitarslinger", this captivating rockumentary features interviews with Jerry Garcia, Bill Graham, Barry Melton, David Freiberg, Nick Gravenites, Gary Duncan, Nicky Hopkins, Greg Douglass, Merl Saunders, Dan Healy, Terry Dolan, Martin Fierro, Rocky Sullivan, Joel Selvin, Charlie Deal, Michael and Mario Cipollina and more. Also included are interviews with John Cipollina from 1984 and 1989.

John Cipollina Tribute

Musicians
* John Cipollina - guitar, vocals
* Barry Melton - guitar, vocals
* Peter Albin - bass, vocals
* Spencer Dryden - drums * Merl Saunders - keyboards, vocals

John's electric guitar playing was the musical essence of electricity itself, as though he was playing the current directly and the guitar was the valve that allowed him to do that.

Quicksilver Messenger Service released their eponymous debut album in 1968. It was followed by Happy Trails, released in early 1969 and largely recorded live at the Fillmore East and the Fillmore West. According to David Freiberg, at least one of the live tracks was augmented with studio overdubs and the tracks Calvary and Lady of the Cancer Moon were recorded in the studio just before Gary Duncan left Quicksilver Messenger Service.

Who Do You Love? (1973 B&W) - Quicksilver Messenger Service
Who do you Love? (Bo Diddley) video of live performance by Quicksilver Messenger Service at Winterland in 1973.

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