Enola Gay – Orchestral Manoeuvres In The Dark


Enola Gay
You should have stayed at home yesterday
Ah-ha words can’t describe
The feeling and the way you lied

These games you play
They’re going to end in more than tears some day
Ah-ha Enola Gay
It shouldn’t ever have to end this way

It’s eight fifteen
And that’s the time that it’s always been
We got your message on the radio
Conditions normal and you’re coming home

Enola Gay
Is mother proud of little boy today
Ah-ha this kiss you give
It’s never ever going to fade away

Enola Gay
It shouldn’t ever have to end this way
Ah-ha Enola Gay
It shouldn’t fade in our dreams away

It’s eight fifteen
And that’s the time that it’s always been
We got your message on the radio
Conditions normal and you’re coming home

Enola Gay
Is mother proud of little boy today
Ah-ha this kiss you give
It’s never ever going to fade away

Written by Christopher Henry Difford, Glenn Martin Tilbrook • Copyright © Universal Music Publishing Group

STEPS TO REV IT UP – by Calvin Harris H.W., M.

Calvin profile

I am asked what will it take to rev up our spiritual community?  Well since you asked, I say darling that’s easy. Stop being complacent. By all means stop believing in that selfie photo of your Ego, that’s only a snap shot taken in time. Well if you must, yes look at it, see the result of what such out pictured beliefs have left you – giving too little, too late and living small, hoping that it will be enough to suffice and to just get by with.

Oh I hear a comment, as I am looking around… ah yes, you there… that clown in the back aisle of the unconscious, yes you, please speak up honey, we all want to hear… what was that you said… Thank you for your remarks all I can say to that is –  anyone who has ever known me, knows I am not a size queen, any size will work really, the key word here is work. I have only ever asked anyone to come higher, starting with myself.

Living large in Truth I believe to be the true ambition and the reality of our spiritual life. A foundation stone to our community. One that our ego’s have over time in the name of self-preservation come to fear and as a result the downsizing of our lives, and our community has been the result.

I think Marianne Williamson expressed it best in her 1992 book “A Return to Love …”, where she states:

It is our light not our darkness that most frightens us.

Our deepest fear is not that we are inadequate.

Our deepest fear is that we are powerful beyond measure.

It is our light not our darkness that most frightens us.

We ask ourselves, who am I to be brilliant, gorgeous, talented and fabulous?

Actually, who are you not to be?…

When we let ourselves become invested by self-satisfaction especially when accompanied by unawareness of actual deficiencies, the dangers of acceptance of a mediocre personal existence becomes a reality, we become unknowingly devious to our self and cause destruction to our spiritual community, being ineffectual in our powers to affect change for ourselves and community. 

As Translators and with the tool Releasing the Hidden Splendour, we can take hold of our courage to investigate such concepts as ambition, powerful, achievement, fabulous and successful, wearing the conscious mantel of Truth, to pierce though widely held misunderstandings.

Those so called spiritually aware people, who are complacent, that is without action, without emotion (having emotion means to e-mote = the ability to move), without that action your community receives nothing of substance, It becomes works without conscious action.

The enlightened cannot refuse their emotional responsibility, to put on their mantel of bigness, and their ability to wield great power and responsibility, or they forfeit their birthright.

You have a moral responsibility- that is the ability to respond wisely and intelligently with that which you have received in the service of yourself and community for the greater good.

I am reminded of words found in an email sent to me from Ben Gilberti by Bentinho Massaro who wrote:

‘We don’t deserve to own this planet going into fourth density if we are not ready to serve its greatest good ambitiously.

I encourage all truly awake, aligned and pure-hearted people out there to step it up and get in touch with their biggest, most powerful possible version of themselves, and then pour that whole-heartedly into fearless service to All. Only we can manifest heaven on Earth, and we owe it to ourselves and each other.’

So I say let’s REV IT UP – looking forward to seeing you at Assembly 2016 in Long Beach, Ca, September 2-5, 2016 at the Westin Hotel.

Love & Blessings

Calvin

Biography: Pericles (history.com)

Pericles

The so-called golden age of Athenian culture flourished under the leadership of Pericles (495-429 B.C.), a brilliant general, orator, patron of the arts and politician—”the first citizen” of democratic Athens, according to the historian Thucydides. Pericles transformed his city’s alliances into an empire and graced its Acropolis with the famous Parthenon. His policies and strategies also set the stage for the devastating Peloponnesian War, which would embroil all Greece in the decades following his death.

Pericles was born into one of Athens’ leading families. His father Xanthippus was a hero of the Persian War and his mother belonged to the culturally powerful Alcmaeonidae family. He grew up in the company of artists and philosophers—his friends included Protagoras, Zeno and the pioneering Athenian philosopher Anaxagoras. Pericles’ earliest recorded act, the financial sponsorship of a play by Aeschylus in 472 B.C., foreshadowed the future leader’s wealth, artistic taste and political savvy. The play expressed support for Athens’ embattled populist leader Themistocles over Pericles’ future archrival, the aristocrat Cimon.

Between 463 and 461 Pericles worked to prosecute and eventually ostracize Cimon for allegedly betraying Athens and emerged as the leader of Athens’ democratic party. In 454 he led a successful military campaign in Corinth and sponsored the establishment of Athenian colonies in Thrace and on the Black Sea coast. In 443 he was elected strategos (one of Athens’ leading generals), a position he held, with one short interruption, for the rest of his life.

The golden age of Athenian culture is usually dated from 449 to 431 B.C., the years of relative peace between the Persian and Peloponnesian wars. After the second Persian invasion of Greece in 479, Athens and its allies throughout the Aegean formed the Delian League, a military alliance focused on the Persian threat. Following a failed Athenian attack on the Persians in Egypt in 454, Athens’ leaders pushed to transfer the League’s treasury from Delos to Athens. Three years later, a coinage decree imposed Athenian weights and measures throughout the league. By the time Pericles was elected strategos, the league was well on its way to becoming an Athenian empire.

During the 440s and 430s Pericles tapped the league’s treasury to fund vast cultural projects in Athens, most notably a series of structures on the city’s hilltop Acropolis: the temple of Athena Nike, the Erechtheum and the towering Parthenon. Built to the highest standards of aesthetics, engineering and mathematics, these white marble structures were decorated with intricate statues and friezes carved by the era’s greatest sculptors.

Pericles’ social innovations were equally important to the era. He worked to democratize the fine arts by subsidizing theater admission for poorer citizens and enabled civic participation by offering pay for jury duty and other civil service. Pericles maintained close friendships with the leading intellects of his time. The playwright Sophocles and the sculptor Phidias were among his friends. Pericles’ consort Aspasia, one of the best-known women of ancient Greece, taught rhetoric to the young philosopherSocrates. Pericles himself was a master orator. His speeches and elegies (as recorded and possibly interpreted by Thucydides) celebrate the greatness of a democratic Athens at its peak.

As Athens grew in power under Pericles, Sparta felt more and more threatened and began to demand concessions from the Athenians. Pericles refused, and in 431 B.C. conflict between Athens and Sparta’s ally Corinth pushed the Spartan king Archidamus II to invade Attica near Athens. Pericles adopted a strategy that played to the Athenians’ advantage as a naval force by evacuating the Attic countryside to deny the superior Spartan armies anyone to fight. With all his people collected within the walls of Athens, Pericles was free to make opportunistic seaborne attacks on Sparta’s allies. This financially costly strategy worked well during the war’s early years, but a plague hit the concentrated Athenian population, taking many lives and stirring discontent. Pericles was briefly deposed in 430, but after the Athenians’ efforts to negotiate with Sparta failed, he was quickly reinstated.

In 429 Pericles’ two legitimate sons died of the plague. A few months later, Pericles himself succumbed. His death was, according to Thucydides, disastrous for Athens. His strategies were quickly abandoned and the leaders who followed lacked Pericles’ foresight and forbearance, instead “committing even the conduct of state affairs to the whims of the multitude.” The glory of ancient Greece was far from over—Plato was born a year after Pericles’ death—but the golden age slid away.

Book recommendation: “Autobiography of a Yogi”

AutobiographyYogi

Autobiography of a Yogi is an autobiography of Paramahansa Yogananda (January 5, 1893–March 7, 1952) first published in 1946. Yogananda was born Mukunda Lal Ghosh in Gorakhpur, India, into a Bengali family.

Autobiography of a Yogi introduces the reader to the life of Paramahansa Yogananda and his encounters with spiritual figures of both the East and West. The book begins with his childhood family life, to finding his guru, to becoming a monk and establishing his teachings of Kriya Yoga meditation. The book continues in 1920 when Yogananda accepts an invitation to speak in a religious congress in Boston, Massachusetts, USA. He then travels across America lecturing and establishing his teachings in Los Angeles, California. In 1935 he returns to India for a yearlong visit. When he returns to America, he continues to establish his teachings, including writing this book.

The book is an introduction to the methods of attaining God-realization and to the spiritual thought of the East, which had only been available to a few in 1946. The author claims that the writing of the book was prophesied long ago by the nineteenth-century master Lahiri Mahasaya.

It has been in print for seventy years and translated into at least forty-three languages by Self-Realization Fellowship. It has been highly acclaimed as a spiritual classic including being designated by Philip Zaleski, while he was under the auspices of HarperCollins Publishers, as one of the “100 Most Important Spiritual Books of the 20th Century.” It is included in the book 50 Spiritual Classics: Timeless Wisdom from 50 Great Books of Inner Discovery, Enlightenment and Purpose by Tom Butler-Bowdon. According to Project Gutenberg, the first edition is in public domain and at least five publishers are reprinting it and four post it free for online reading.

Read the book free online:  https://www.ananda.org/autobiography/

dreamhawk.com/inner-life/secret-of-time-and-satan/

devil-a

 

Secret of Time and Satan

By Edward Carpenter

Is there one in all the world who does not desire to be divinely beautiful?
To have the most perfect body-unerring skill, strength-limpid clearness of mind, as of the sunlight over the hills-
To radiate love wherever he goes-to move in and out, accepted?
The secret lies close to you, so close.
You are that person-it lies close to you, so close- deep down within-
But in Time it shall come forth and be revealed.
Not by accumulating riches, but by giving away what you have,
Shall you become beautiful;
You must undo the wrappings, not case yourself in fresh ones;
Not by multiplying clothes shall you make your body sound and healthy, but rather by discarding them;
Not by multiplying knowledge shall you beautify your mind;
It is not the food that you eat that has to vivify you, but you that have to vivify the food.
Always emergence, and the parting of veils for the hidden to appear;
The child emerges from its mother’s body, and out of that body again in time another child.
When the body which thou now hast falls away, another body shall be already prepared beneath,
And beneath that again another.
Always that which appears last in time is first, and the cause of all-and not that which appears first.
2
Freedom has to be won afresh every morning.
Every morning thou must put forth thy strength afresh upon the world, to create out of chaos the garden in which thou walkest.
(Behold! I love thee-I wait for thee in thine own garden, lingering till eventide among the bushes;
I tune the lute for thee; I prepare my body for thee, bathing unseen in the limpid waters.)
3
Wondrous is Man-the human body: to understand and possess this, to create it every day afresh, is to possess all things.
The tongue and all that proceeds from it; spoken and written words, languages, commands, controls, the electric telegraph girdling the earth;
The eyes ordaining, directing; the feet and all that they indicate-the path they travel for years and years;
The passions of the body, the belly and the cry for food, the heaving breasts of love, the phallus, the fleshy thighs,
The erect proud head and neck, the sturdy back, and knees well-knit or wavering;
All the interminable attitudes and what they indicate;
Every relation of one man to another, every cringing, bullying, lustful, obscene, pure, honorable, chaste, just and merciful;
The fingers differently shaped according as they handle money for gain or for gift;
All the different ramifications and institutions of society which proceed from such one difference in the crook of a finger;
All that proceed from an arrogant or a slavish contour of the neck;
All the evil that goes forth from any part of a man’s body which is not possessed by himself; all the devils let loose-from a twist of the tongue or a leer of the eye, or the unmanly act of any member-and swirling into society; all the good which gathers round a man who is clean and strong-the threads drawing from afar to the tips of his fingers, the interpretations in his eyes, all the love which passes through his limbs into heaven:
What it is to command and be Master of this wondrous body with all its passions and powers, to truly possess it-
that it is to command and possess all things, that it is to create.
4
The art of creation, like every other art, has to be learnt:
Slowly slowly, through many years, thou buildest up thy body,
And the power that thou now hast (such as it is) to build up this present body, thou hast acquired in the past in other bodies;
So in the future shalt thou use again the power that thou now acquirest.
But the power to build up the body includes all powers.
Do not be dismayed because thou art yet a child of chance, and at the mercy greatly both of Nature and fate;
Because if thou wert not subject to chance, then wouldst thou be Master of thyself; but since thou art not yet Master of thine own passions and powers, in that degree must thou needs be at the mercy of some other power.
And if thou choosest to call that power ”Chance,’ well and good.
It is the angel with whom thou hast to wrestle.
5
Beware how thou seekest this for thyself and that for thyself.
I do not say Seek not; but Beware how thou seekest.
For a soldier who is going a campaign does not seek what fresh furniture he can carry on his back, but rather what he can leave behind;
Knowing well that every additional thing which he cannot freely use and handle is an impediment to him.
So if thou seekest fame or ease or pleasure or aught for thyself, the image of that thing which thou seekest will come and cling to thee-and thou wilt have to carry it about;
And the images and powers which thou hast thus evoked will gather round and form for thee a new body – clamoring for sustenance and satisfaction;
And if thou art not able to discard this image now, thou wilt not be able to discard that body then: but wilt have to carry it about.
Beware then lest it become thy grave and thy prison -instead of thy winged abode, and palace of joy.
For (over and over again) there is nothing that is evil except because a man has not mastery over it; and there is no good thing that is not evil if it have mastery over a man;
And there is no passion or power, or pleasure or pain, or created thing whatsoever, which is not ultimately for man and for his use-or which he need be afraid of, or ashamed at.
The ascetics and the self-indulgent divide things into good and evil-as it were to throw away the evil;
But things cannot be divided into good and evil; but all are good so soon as they are brought into subjection.
And seest thou not that except for Death thou couldst never overcome Death-
For since by being a slave to things of sense thou hast clothed thyself with a body which thou art not master of, thou wert condemned to a living tomb were that body not to be destroyed.
But now through pain and suffering out of this tomb shalt thou come; and through the experience thou hast acquired shalt build thyself a new and better body;
And so on many times, till thou spreadest wings and hast all  powers diabolic and angelic concentred  in thy flesh.
6
And so at last I saw Satan appear before me- magnificent, fully formed.
Feet first, with shining limbs, he glanced down from above among the bushes,
And stood there erect, dark-skinned, with nostrils dilated with passion;
(In the burning intolerable sunlight he stood, and I in the shade of the bushes);
Fierce and scathing the effluence of his eyes, and scornful of dreams and dreamers (he touched a rock hard by and it split with a sound like thunder);
Fierce the magnetic influence of his dusky flesh; his great foot, well-formed, was planted firm in the sand-with spreading toes;
‘Come out’ he said with a taunt, ‘Art thou afraid to meet me?’
And I answered  not, but  sprang upon  him  and smote him;
And he smote me a thousand times, and brashed and scorched and slew me as with hands of flame;
And I was glad, for my body lay there dead; and I sprang upon him again with another body;
And he turned upon me, and smote me a thousand times and slew that body;
And I was glad and sprang upon him again with another body-
And with another and another and again another;
And the bodies which I took on yielded before him and were like cinctures of flame upon me, but I flung them aside;
And the pains which I endured in one body were powers which I wielded in the next; and I grew in strength, till at last I stood before him complete, with a body like his own and equal in might-exultant in pride and joy.
Then he ceased, and said, “I love thee.”
And lo! his form changed, and he leaned backwards and drew me upon him,
And bore me up into the air, and floated me over the topmost trees and the ocean, and round the curve of the earth under the moon-
Till we stood again in Paradise.

41 Seconds


What do you do when your girlfriend tells you, your best friend kisses better than you? A young man decides to settle the matter once and for all.

41 Sekunden is a 2006 German film. Wikipedia
Initial release: November 2006
Directors: Rodney Sewell, Tobias Martin
Screenplay: Rodney Sewell
Story by: Rodney Sewell
Cast: Alexander Kaffl, Amir Arul
Music composed by: Bernhard Vaughan Rusted, Hans-Martin Hünemörder

Eureka: a prose poem by Edgar Allan Poe (1848)

EdgarAllanPoe

Eureka (1848) is a lengthy non-fiction work by American author Edgar Allan Poe (1809–1849) which he subtitled “A Prose Poem“, though it has also been subtitled as “An Essay on the Material and Spiritual Universe”. Adapted from a lecture he had presented, Eureka describes Poe’s intuitive conception of the nature of the universe with no antecedent scientific work done to reach his conclusions. He also discusses man’s relationship with God, whom he compares to an author. It is dedicated to the German naturalist and explorer Alexander von Humboldt (1769–1859). Though it is generally considered a literary work, some of Poe’s ideas anticipate 20th century scientific discoveries and theories. Indeed a critical analysis of the scientific content of Eureka reveals a non-causal correspondence with modern cosmology due to the assumption of an evolving Universe, but excludes the anachronistic anticipation of relativistic concepts such as black holes.

Eureka was received poorly in Poe’s day and generally described as absurd, even by friends. Modern critics continue to debate the significance of Eureka and some doubt its seriousness, in part because of Poe’s many incorrect assumptions and his comedic descriptions of well-known historical minds. It is presented as a poem, and many compare it with his fiction work, especially science fiction stories such as “The Facts in the Case of M. Valdemar“. His attempts at discovering the truth also follow his own tradition of “ratiocination“, a term used in his detective fiction tales. Poe’s suggestion that the soul continues to thrive even after death also parallels with works in which characters reappear from beyond the grave such as “Ligeia“. The essay is oddly transcendental, considering Poe’s disdain for that movement. He considered it his greatest work and claimed it was more important than the discovery of gravity.

Overview

To the few who love me and whom I love – to those who feel rather than to those who think – to the dreamers and those who put faith in dreams as in the only realities – I offer this Book of Truths, not in its character of Truth-Teller, but for the Beauty that abounds in its Truth; constituting it true. To these I present the composition as an Art-Product alone: let us say as a Romance; or, if I be not urging too lofty a claim, as a Poem.
— Preface to Eureka, by Edgar Allan Poe

Eureka is Poe’s last major work and his longest non-fiction work at nearly 40,000 words in length. The work has its origins in a lecture Poe presented on February 3, 1848, titled “On The Cosmography of the Universe” at the Society Library in New York. He had expected an audience of hundreds; only 60 attended and were confused by the topic. Poe had hoped the profits from the lecture would cover expenses for the production of his new journal The Stylus.

Eureka is Poe’s attempt at explaining the universe, using his general proposition “Because Nothing was, therefore All Things are”. In it, Poe discusses man’s relationship to God and the universe or, as he offers at the beginning: “I design to speak of the Physical, Metaphysical and Mathematical – of the Material and Spiritual Universe: of its Essence, its Origin, its Creation, its Present Condition and its Destiny”. In keeping with this design, Poe concludes “that space and duration are one” and that matter and spirit are made of the same essence. Poe suggests that people have a natural tendency to believe in themselves as infinite with nothing greater than their soul—such thoughts stem from man’s residual feelings from when each shared an original identity with God.  Ultimately individual consciousnesses will collapse back into a similar single mass, a “final ingathering” where the “myriads of individual Intelligences become blended”. Likewise, Poe saw the universe itself as infinitely expanding and collapsing like a divine heartbeat which constantly rejuvenates itself, also implying a sort of deathlessness. In fact, because the soul is a part of this constant throbbing, after dying, all people, in essence, become God.

Analysis

Eureka presents themes and sentiments similar to some of those in Poe’s fiction work, including attempts at breaking beyond the obstacle of death and specifically characters who return from death in stories like “The Fall of the House of Usher” and “Ligeia“. Similar to his theories on a good short story, Poe believes the universe is a self-contained, closed system. In coming to his conclusions, Poe uses ratiocination as a literary device, through his character C. Auguste Dupin, as if Poe himself were a detective solving the mystery of the universe. Eureka, then, is the culmination of Poe’s interest in capturing truth through language, an extension of his interest in cryptography.

Eureka seems to continue the science fiction traditions he used in works like “MS. Found in a Bottle” and “The Facts in the Case of M. Valdemar“.  He further emphasizes the connection between his theory and fiction by saying that the universe itself is a written work: “The Universe is a plot of God”, Poe says, and “the plots of God are perfect”.  Even so, Poe admits the difficulty in explaining these theories comes in part from the limitations of language, often apologizing for or explaining his use of “common” or “vulgar” terms.

Poe’s decision to refer to the piece as a “prose poem” goes against some of his own “rules” of poetry which he laid out in “The Philosophy of Composition” and “The Poetic Principle“. In particular, Poe called the ideal poem short, at most 100 lines, and utilizing the “most poetical topic in the world”: the death of a beautiful woman. Poe himself suggested that the work be judged only as a work of art, not of science, possibly dismissing the seriousness of Eureka. Though he is using mathematical and scientific terms, he may really be talking about aesthetics and suggesting there is a close connection between science and art. This is an ironic sentiment when compared to his message in the poem “To Science” where he shows a distaste for modern science encroaching on spirituality and the artist’s imagination. Poe also discusses several astronomy-related topics in Eureka, including the speed of the stars, the diameters of planets and distance between them, the weight of Earth, and the orbit of the newly discovered “Leverrier’s planet” (later named Neptune).

The work ventures into transcendentalism, relying strongly on intuition, a movement and practice he had despised. Though he criticized the transcendental movement for what he referred to as incoherent mysticism, Eureka is more mystical than most transcendental works. Eureka has also been compared to the theories of Mary Baker Eddy, founder of Christian Science and Joseph Smith, founder of the Latter Day Saint movement.

The essay is written in a progressive manner that anticipates its audience. For example, Poe uses more metaphors further into the work in the belief that the reader becomes more interested. Poe’s voice crescendos throughout, starting as the modest seeker of truth, moving on to the satirist of logic, and finally ending as the master scholar.

Allusions

The comical presentation of these well-known historical theorists, including the puns on their names, suggests Poe intended Eureka to be a burlesque. Alternatively, his criticism of these men indicate Poe’s need to challenge their conclusions before making his own.

(via Wikipedia.org)

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