In the essence of sanity, security and hope I feel I should record things that are simply people working for the higher power. I am a religious person with some obscure views and my vantage point does not necessarily fall in to any particular religious order. When I work for the higher power and deal with many things including ghosts, crystals, gargoyles, curses and the like. I think every man and woman should in the end work for the spirit. It helps us be the still around sort of people that become more and more blessed for the actions they have taken in their past. It is common knowledge that the actions of yesterday will effect the actions of today. Whether the actions are in ill will or of the most righteous concern they will bring blessings or curses to the person who has acted them out. With this in mind, I have a quick story.
Hector Berlioz is doing this on purpose. This is a simple refrain that was used by a man to help a young child perform a symphony that she wrote using the power of her young imagination and the lack of separation between her dreams and waking life. A young child who did not realize the separation of her waking life and her dreams wrote this symphony. When she ran towards Hector Berlioz and gave him a loving hug she threw the papers of her mind towards him. These papers were not tangible but had been written on in a non-traditional composing language. It was a large stack of thoughts that were planned out for a while and she asked Hector to help her perform this symphony to the world. With a quick meditation he was able to piece together the different pages and psychically call on other friends to join in the young girls symphony.
Hector is an old sorcerer who is quite simply still around in situations. The young girl signed the psychic documents as a person that Hector knew in the past. In the way the young girl, henceforth referred to as “Spooky,” gave the psychic documents to him without noticing a separation between the two parts of ones mind, Hector was brought to a quick and tidy epiphany in his own life. The thought that one should not have any separation between his psychic world and the physical third dimension was a lesson that could only be learned from a small child. After this quick meditation and the clarity that was thrust upon Hector by the unknowing and unconfused young girl she entered the stage that was set up inside the minds of the six musicians she called to perform this piece.
Spooky is four years old. She has been brought up in a show business sort of family and has many adult friends that are still simply around and still in show business. These people have shared belief systems that include various incarnations before the current and most recent one. The script was rather shocking by nature and included instruments that were not exactly real. We began to play according to her wishes during deep meditative states. The stage was hardwood, much like the living room she stomps around in during her every day life. She asked her three year old brother to work the lights but was angered when he did not do them right. She then asked Hector to do this as well as play the notes she had assigned to him. Spooky played something like a sitar throughout the performance that was shown to anyone who wanted to join us in the dream that night. Hector Berlioz did this on purpose.
The six other musicians were old friends, but not all friends at this moment. A few of them knew her and played music together in person but two of the members of this psychic jam-band were not friends of either Spooky or her friend Hector. The music was jazzy and she let the players improvise to her songs. She was persistent in telling the adults that she was the one who was in charge. The topic of the symphony was the last requests of the people who are no longer still around in this particular situation.
The severity of their words should not be mentioned here, as this is a recording of these events and not about what still around yet tortured sorts want to do with a young child. She simply transposed the psychic letter from these men in to musical notation. The notation was not standard notation that one would read from a book in the waking life, but was ideas somehow transposed on to imaginary paper by a young girl. The adult musicians took a while to understand some of the complexities of her writing.
Again, Hector Berlioz is doing this on purpose. The music was played to anyone who wanted to come to a psychic show and it was clarified that a four-year-old girl wrote it on a number of occasions. We were allowed to jam freely a few minutes into the third song. This was fun and she began to play along with the rest of us. When she decided it was time Spooky, much like a professional, began to play the original song again. After the return to the original riff she had lyrics that she wrote about her brother. They included that he was her best friend and that sometimes her dad would be “a meany.” At this point, Hector Berlioz began to defend her father, as they had been close friends for many years. Spooky was upset, because this was not in that script and nearly stormed out of the psychic show.
The musicians played along and reverted to her lyrics and sang it in chorus. This seemed to appease young Spooky, although she began to pick her nose and such. This was repeated a number of times, by Hector’s imaginary DJ booth. “Spooky picks her nose and laughs up at our house!” The recording was turned into a fun jam and Spooky began to dance.
Hector’s instrument was rather quickly taken away and given to her friend, who she plugged into. This member of the band was now playing both the bass and the guitar. Hector took a second microphone that was raised out of the floor of the stage and began to once again explain to the audience that we have a four year old composer playing in ones brain. After getting to audience to clap along with the beat of the psychic symphony Spooky exclaimed that these people must dance. Hector was then given his psychic bass back and was asked to play a spinning trance riff. This was written as a “Pew Pew Pew” part of the work.
They spun the lights and the stage between them and played this music for about ten minutes. There were more words written by young Spooky that showed that she understood what she was doing when she asked these long time friends to join her. We played in the “Pew Pew Pew” song for quite a while. This was the first time Hector noticed an audience reaction.
“You are picking on the wrong Jewish couple,” another song began. Hector was unsure if she knew what this meant. The song was rather funky and Spooky danced away the best she could. The show continued and the lights were spinning as was requested in the written orders by this four-year-old girl. Her father was then summoned from his dream to play drums for this part of the show. The show was then on for about an hour and they played and danced through the night.
Nearing the end of the show, Spooky introduced the players as people they were no longer. This nearly brought a tear to the eyes of the musicians. The young girl once again had written, “Hector Berlioz is doing this on purpose.” She then gave the players more written music to play that came with the reaction, “Wow, that was unplanned.” The show continued and they once again played in the trance sort of “Pew Pew Pew” way that was requested by the young girl. The players played the rest of her symphony and the show came to an abrupt ending. She asked Hector to play some of his songs to continue to put on this show. They continued to perform these songs for about another half hour before we explained to young Spooky that we must begin to wean ourselves away from the show. The old friend from England explained to young Spooky that our time was up and we must let other people play. The four-year-old girl did not like this. We put down our imaginary instruments and asked dear Spooky to take her bow. Hector pulled the microphone towards him and told those listening that “Miss La La is picking her nose and laughing at farts over at our house.” She then grabbed the microphone and stated bluntly, “And we did this on purpose!” This gave the others on stage a good laugh.
Spooky did not want to come off the psychic stage. The other musicians called the young girl to the psychic backstage and began to wean her away from the show. They told her to take one more bow and to leave on that high note. Later she pulled the players back on to her psychic stage to perform once again. To the adult musicians in meditation this became a “Three Day Miss Spooky Young Enough To Be Picking Her Nose On Stage Festival.” The elders laughed and commented on how they should move her from psychic show business into actual show business.
Spooky responded with the note, “This is actual show business."
It is strange that sometimes one needs the clarity of a young child to break through internal conflict that is confusing to an adult. The simply revelation that one “just does it” is something that we all need in our life. A confusion that is found in overactive adult insecurities can often be cut simply by the thoughts of a young child. It was like this to Hector Berlioz. He was torn between the psychic life and the physical world, between his dreams and his reality. Hector was taught something very simply by this young girl. There is no separation between the psychic parts of ones mind and the world that is placed in front of us. Our hands our attached to us in our dreams and in our waking life. In a way, they are the only parts of our body we can see. Hector Berlioz was doing this on purpose, though. It was a thought out, purposeful action the whole time.
Even if one comes screaming out of the sky to be the actual freemason in question, it is an on purpose action. This was what the young girl who wrote a symphony taught him.
In a more recent visit to Spooky's residence, I was playing music with her father and a flutist when Spooky was given a maraca to jam along with us. She proceeded to dance around until she began to hit the fireplace with the shaker to make noise. When the instrument was taken from our four-year-old friend she began to scream and ran to her room. Later, while I interviewed the crying young girl I explained that she needed to be a little bit older to play music. She responded with the fact that she was a big kid now. I told her that when her hands were a little bigger she would know how, I was sure. She screamed that she already knew how to play music, that she did not have to learn it and explained the noise that she wanted to make by smashing the maraca into the fireplace. I explained that that was more like a noise that a stringed instrument would make. She then asked to play my violin.