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These techniques referred to in this video are designed to STRIP OFF hypnosis. One can experience a semblance of hypnotic effect as it is RUN OUT
The only way out is through. This technique makes one MORE AWARE of there surroundings not less and is therefore the OPPOSITE of hypnosis.
This "report" is only for sensation and controversy.OK, Flunk! You said, 'Pussy'; although to be fair, you did start with the other P-word that you guys are taught to employ. "SIT DOWN IN THAT CHAIR! THANK YOU."
Did you do it? If so, you've been HYP-MO-sciZED, BABA O'REILY. Hey, what's the name of that Space Alien ya'll worship again?
You're not gonna escalate this into an Official Scientologist Watch-list Doka...Are you? Because I need some good Home Video shot of me outside (for insurance purposes). I hope you're not just a Sci-Wannabe!RT "bit (dot) ly (forward slash) JT1oA" "THE HYPNOTIZED NEVER LIE--DO YA? --PETE TOWNSEND
or go up to description
AND FOLLOW @mrjyn OR @nichopoulouzoSome of your reply didn't make a damn bit of sense and the other part of it was very transparently a pathetic attempt to nullify and invalidate.
By your reply I can tell you know very little of what you are talking about with regard to this subject.
Less than one hour and I already have one thumbs down! Awesome!
I stand behind my earlier statemtent, but then again, I know what I'm talking about because I have done these drills. Have you? Probably not.
Flunk for being an idiot.FLUNK! I DID NOT 'THUMBS DOWN' YOU. IN FACT, THROUGH SIMPLE TECHNIQUES OF TALKING to another person, I've been enjoying our conversation. DON'T FTA. OK?i dedicated the video to you. are you a newbie, your channel description has that meat-eating newbie feel to it...no offense. oh, and i blogged our dialogue as part of my new Scientology Sunday Series. visualguidanceltd at blogspot
dude, what's she say at 2:12 -- 'something' 40?Tone 40. Defined as intention without counter intention. A positive postulate which is more simply something you envision to occur without considerations of "it might not occur" or "it won't occur" as defined by me.
I don't consider myself a newbie, thank you. Why would you say this if you even partially reviewed my channel description?
Im not offended. Perhaps you did not thumbs down, but someone did and it didn't take them long. I find that amusing.
Define FTA.throughsoul,did you even watch the whole video? If so you don't understand what is explained here.But how could you if you are a victim of said MIND CONTROL techniques?That's why you are not ABLE to understand.Wake up! Everything around you is an attempt at mind control. This is DIFFERENT because ...
Well, I'm not sure you even ABLE to observe any differences. You live at a level of IDENTITIES.
These are NOT mind control techniques but this video attempts to make it seem that way.
And I don't hold a one-sided viewpoint on Scientology but I evaluate everything individually. These techniques IMPROVE a person's ability to observe and awareness.
If it improves awareness it isn't hypnotism.I disagree. Scientology uses several mind control techniques combined.If you'd study some of the scientific research you would know.There is a number of new studies and books that have been published in the last few years, combining knowledge of psychology ,neuro-and social sciences.Please educate yourself.I do try to "stay educated" but with all the "new studies" that have just come out its hard to keep up. Plus, I don't always hold that they know what they are talking about. That said, I appreciate your reply.
I am talking about these specific techniques in this video. I am very familiar with them and it was put forth that they were designed to hypnotize and they were not nor do they have that effect.
Hypnotism is something very specific and is very different that what is shown here.Why has Dianetics never been submited to peer review? If double blind clinical studies proved that auditing could deliver on ever 1% of the promises made in book one then it would be instantly adopted by every hospital and would be covered under health insurance. Scientology would stand to make billion and would actually start "clearing the planet" in a meanful way. The only reason peer review hasn't been attempted is because miscavige knows the tech would fail any such test."And I don't hold a one-sided viewpoint on Scientology but I evaluate everything individually"
What was your evalutation of the death of Lisa McPherson. Lisa was clear and yet some how went insain and then an "introspective run down" killed her. How could the tech fail like that?This IS a form of hypnosis. It might not make you run around believing you are a chicken, but it will make you run around thinking you're not a slave of a corrupt cult, but an ubermensch.good oneYea, good one. IF you don't know what your talking about. Good one if you PURPOSE is to discredit with disregard to the facts. And, good one, if you live at a tone level of hostility.Those crazy fuckers.To hold and fix one's attention on one point is a key element in all forms of meditation. Is this really so different from a zen buddhist who is forced to sit in the exact same posture staring into a wall, often for many hours at a time? Should one consider this a form of mindcontrol or brainwashing as well?The mechanism of brainwashing which I gave you, with supercold mechanisms and so forth, is very well known, was used very extensively in the Maw Confederation of the Sixty-third Galaxy. They had a total psychiatric control of all of their officers and executives, and when they got tired of them they used this specific method of brainwashing.General reply: most of you are difficult to reason with b/c you think you know it all and you have a hostile emotional slant towards Scientology that impairs your judgement.
Plus many of you really are not educated on WHAT hypnotism IS and WHAT these drills really are about. You haven't DONE them, and are asserting facts based off another's opinion.
Hypnotism is one thing and "mind control" is something else.
These DRILLS do neither. They improve AUDITING SKILL. This line is terminatedHow can you suport an organization that pratices "fair game" against it's critics and splits up families through enforced disconnection?
If you go to 3w(dot)exseaorg(dot)com you can find phone numbers that will get you in touch with people who can help you leave the cult.
Be sure to tell your auditor that you had contact with an SP who mentioned "Xenu the galatic overlord mentioned in OT3"
August 13, 2009
Hypno-Scientology Techniques Revealed - JOIN IN ON THE DEBATE -YouTube
Remember Woodstock? Les Paul was there (video, images)
Remember Woodstock? Les Paul was there (video, images)Remember Woodstock? Les Paul was there
Pete Townshend photo source: Gibson.comWith the 40th anniversary of Woodstock just around the corner, combined with the recent death of guitar god Les Paul, it's the perfect time to reminisce about both legends and how they connected.
It was the summer of 69' when Woodstock united music lovers with mostly unknown bands and rock and roll history was made. If you were to ask most people that attended the event, they would tell you that it wasn't the love fest everyone is trying to say it was. It rained-a lot. The ground became a massive mud pit and it was impossible to stay out of it. Bathrooms were located on the outskirts of the festival and trying to get through half a million of your newest best friends was difficult, to say the least. Many people left before Jimi Hendricks ever got on stage to play his legendary rendition of “The Star Spangled Banner.” But the ones that stuck it out, listened to history in the making.
Carlos Santana photo source: mylespaul.com
Carlos Santana stepped on stage as the fifth performer on the second day (August 16, 1969) and blew away the audience with his set. He played “Persuasion”, “Savor”, “Soul Sacrifice” and “Fried Neckbones” all with a Les Paul guitar.
Two acts later, on that same day, Canned Heat rocked the crowd with a ten set performance that included the now famous “Woodstock Boogie.” All played on Les Paul guitars.
Playing tenth on the same day, Creedence Clearwater Revival, established themselves and set a new standard for southern rock. Included in their set of eleven songs: “Born on the Bayou”, “Bad Moon Rising”, “Proud Mary”, “I Put a Spell on You” and “Suzy Q.” History was made that day on Les Paul guitars.
Lucky number thirteen that day, The Who, didn't disappoint the muddy crowd. With the longest set of the festival, they played a whopping twenty-four songs that night. All played by Pete Townshend's bloody fingers on a Les Paul.
On day three, as the fifth performer, Johnny Winter, played a nine song set, with his brother Edgar sitting in on two of the songs. They, too, used Les Paul guitars on what became known as one of their best performances together.
Les Paul helped lead the way for musicians to perform at their best and Woodstock was the platform many legends stood on at the beginning of their journey. We will forever remember them both for that contribution.
Twitter / Search - Claire Elisabeth Fields Cruise
Twitter / Search - Claire Elisabeth Fields CruiseReal-time results for Claire Elisabeth Fields Cruise
mrjyn Claire Elisabeth Fields Cruise: Anatomy of a Viral Video (Intoducing *All New YouTube Analytics) http://ff.im/-6xHCn
Guitar Legend And Innovator Les Paul Dies : NPR
Guitar Legend And Innovator Les Paul Dies : NPRGuitar Legend And Innovator Les Paul Dies
The Life Of Guitar Legend Les Paul
Les Paul, the guitarist and inventor who changed the course of music with the electric guitar and multitrack recording and had a string of hits, many with wife Mary Ford, died Thursday. He was 94.
According to Gibson Guitar, Paul died of complications from pneumonia at White Plains Hospital in New York. His family and friends were by his side.
He was in the hospital in February 2006 when he learned he won two Grammys for an album he released after his 90th birthday, Les Paul & Friends: American Made, World Played.
"I feel like a condemned building with a new flagpole on it," he joked.
As an inventor, Paul helped bring about the rise of rock 'n' roll and multitrack recording, which enables artists to record different instruments at different times, sing harmony with themselves, and then carefully balance the "tracks" in the finished recording.
With Ford, his wife from 1949 to 1962, he earned 36 gold records and 11 No. 1 pop hits, including "Vaya Con Dios," "How High the Moon," "Nola" and "Lover." Many of their songs used overdubbing techniques that Paul the inventor had helped develop.
"I could take my Mary and make her three, six, nine, 12, as many voices as I wished," he recalled. "This is quite an asset." The overdubbing technique was highly influential on later recording artists such as The Carpenters.
The use of electric guitar gained popularity in the mid- to late 1940s, and then exploded with the advent of rock in the 1950s.
"Suddenly, it was recognized that power was a very important part of music," Paul once said. "To have the dynamics, to have the way of expressing yourself beyond the normal limits of an unamplified instrument, was incredible. Today a guy wouldn't think of singing a song on a stage without a microphone and a sound system."
A tinkerer and musician since childhood, he experimented with guitar amplification for years before coming up in 1941 with what he called "The Log," a 4-by-4 piece of wood strung with steel strings.
"I went into a nightclub and played it. Of course, everybody had me labeled as a nut." He later put the wooden wings onto the body to give it a traditional guitar shape.
In 1952, Gibson Guitars began production of the Les Paul guitar. Pete Townsend of The Who, Steve Howe of Yes, jazz great Al DiMeola and Led Zeppelin's Jimmy Page all made the Gibson Les Paul their trademark six-string.
Over the years, the Les Paul series has become one of the most widely used guitars in the music industry. In 2005, Christie's auction house sold a 1955 Gibson Les Paul for $45,600.
Sonic Youth: A Six-Minute Ode To Britney : NPR
Sonic Youth: A Six-Minute Ode To Britney : NPRSonic Youth: A Six-Minute Ode To Britney
Enlarge courtesy of the artistSonic Youth's "Malibu Gas Station" is almost certainly the greatest rock opus ever written about Britney Spears.
Sonic Youth's "Malibu Gas Station" is almost certainly the greatest rock opus ever written about Britney Spears.
- Song: "Malibu Gas Station"
- Artist: Sonic Youth
- CD: The Eternal
- Genre: Rock
August 13, 2009 - Sonic Youth's "Malibu Gas Station" is almost certainly the greatest six-minute opus ever written about Britney Spears. That's assuming, of course, that the song is
about Spears, an idea supported by lines that seem to refer to her
childhood performing career and recent erratic behavior. There's also
the guffaw-worthy song title — a Malibu resident, Spears has been
famously photographed walking barefoot from a gas-station bathroom — as
well as Sonic Youth's own description of the song as "an ode to the
flash moment of the camera as you knowingly step from your SUV sans
panties."Singer-guitarist Thurston Moore says that The Eternal,
the noise-rock demi-gods' 16th album, focuses on "avant-garde rock 'n'
roll." Like most songs on the album, the somewhat avant-sounding
"Malibu Gas Station" doesn't exactly come up and give you a kiss, but
it can certainly get under the skin. Kim Gordon dispenses a simple but
memorable minor-key melody, and if Spears is the subject, it wouldn't
be the first time Gordon has gotten inside the head of a troubled
female pop star: 1990's creepy "Tunic (Song for Karen)" was partly
written from the perspective of anorexia casualty Karen Carpenter.
Here, lyrics like "The breasts are bangin' / Abdominal master" sound
Britney-esque, though in Gordon's wicked purr, they're more eerie than
funny.Elsewhere, this is Sonic Youth at its most sleekly
propulsive. The main groove is all minimalist forward-motion, with
drummer Steve Shelley, who's increasingly been a force at recent SY
live shows, playing an austere tom-tom beat. The wandering guitar lead
around the three-minute mark makes for a somewhat conventional — and,
therefore, not very Sonic Youth-y — solo. Much more satisfying is the
grumbling noise jam near the song's end, as well as the spate of fluid,
sexy guitar spills mixed throughout. Both of those elements are,
happily, very Sonic Youth-y.
Les Paul, Guitar Innovator, Dies at 94
Les Paul, Guitar Innovator, Dies at 94 
Jennifer Taylor for The New York Times
Les Paul Dies
By Jon ParelesRichard Drew/Associated Press Les Paul in 2004.
Les Paul, the virtuoso guitarist and inventor whose solid-body electric guitar and recording studio innovations changed the course of 20th-century popular music, died Thursday in White Plains. He was 94.
The cause was complications of pneumonia, Gibson Guitar announced.
Mr. Paul was a remarkable musician as well as a tireless tinkerer. He played guitar with leading prewar jazz and pop musicians from Louis Armstrong to Bing Crosby. In the 1930s he began experimenting with guitar amplification, and by 1941 he had built what was probably the first solid-body electric guitar, although there are other claimants. With his electric guitar and the vocals of his wife, Mary Ford, he used overdubbing, multitrack recording and new electronic effects to create a string of hits in the 1950s.
Mr. Paul’s style encompassed the twang of country music, the harmonic richness of jazz and, later, the bite of rock ’n’ roll. For all his technological impact, though, he remained a down-home performer whose main goal, he often said, was to make people happy.
The cause was complications of pneumonia, the Gibson Guitar Corporation and his family announced. .
Mr. Paul was a remarkable musician as well as a tireless tinkerer. He played guitar alongside leading prewar jazz and pop musicians from Louis Armstrong to Bing Crosby. In the 1930s he began experimenting with guitar amplification, and by 1941 he had built what was probably the first solid-body electric guitar, although there are other claimants. With his guitar and the vocals of his wife, Mary Ford, he used overdubbing, multitrack recording and new electronic effects to create a string of hits in the 1950s.
Mr. Paul’s style encompassed the twang of country music, the harmonic richness of jazz and, later, the bite of rock ’n’ roll. For all his technological impact, though, he remained a down-home performer whose main goal, he often said, was to make people happy.
Mr. Paul, whose original name was Lester William Polsfuss, was born on June 9, 1915, in Waukesha, Wis. His childhood piano teacher wrote to his mother, “Your boy, Lester, will never learn music.” But he picked up harmonica, guitar and banjo by the time he was a teenager and started playing with country bands in the Midwest. In Chicago he performed for radio broadcasts on WLS and led the house band at WJJD; he billed himself as the Wizard of Waukesha, Hot Rod Red and Rhubarb Red.
His interest in gadgets came early. At the age of 10 he devised a harmonica holder from a coat hanger. Soon afterward he made his first amplified guitar by opening the back of a Sears acoustic model and inserting, behind the strings, the pickup from a dismantled Victrola. With the record player on, the acoustic guitar became an electric one. Later, he built his own pickup from ham radio earphone parts and assembled a recording machine using a Cadillac flywheel and the belt from a dentist’s drill.
From country music Mr. Paul moved into jazz, influenced by players like Django Reinhardt and Eddie Lang, who were using amplified hollow-body guitars to play hornlike single-note solo lines. He formed the Les Paul Trio in 1936 and moved to New York, where he was heard regularly on Fred Waring’s radio show from 1938 to 1941.
In 1940 or 1941 — the exact date is unknown — , Mr. Paul made his guitar breakthrough. Seeking to create electronically sustained notes on the guitar, he attached strings and two pickups to a wooden board with a guitar neck. “The log,” as he called it, if not the first solid-body electric guitar, became the most influential one.
“You could go out and eat and come back and the note would still be sounding,” Mr. Paul once said.
The odd-looking instrument drew derision when he first played it in public, so he hid the works inside a conventional-looking guitar. But the log was a conceptual turning point. With no acoustic resonance of its own, it was designed to generate an electronic signal that could be amplified and processed — the beginning of a sonic transformation of the world’s music.
Mr. Paul was drafted in 1942 and worked in California for the Armed Forces Radio Service, accompanying Rudy Vallee, Kate Smith and others. When he was discharged in 1943, he was hired as a staff musician for NBC radio in Los Angeles. His trio toured with the Andrews Sisters and backed Nat King Cole and Bing Crosby, with whom he recorded the hit “It’s Been a Long, Long Time” in 1945. Crosby encouraged Mr. Paul to build his own recording studio, and so he did, in his garage in Los Angeles.
There he experimented with recording techniques, using them to create not realistic replicas of a performance but electronically enhanced fabrications. Toying with his mother’s old Victrola had shown him that changing the speed of a recording could alter both pitch and timbre. He could record at half-speed and replay the results at normal speed, creating the illusion of superhuman agility. He altered instrumental textures through microphone positioning and reverberation. Technology and studio effects, he realized, were instruments themselves.
He also noticed that by playing along with previous recordings, he could become a one-man ensemble. As early as his 1948 hit “Lover,” he made elaborate, multilayered recordings, using two acetate disc machines, which demanded that each layer of music be captured in a single take. From discs he moved to magnetic tape, and in the late 1950s he built the first eight-track multitrack recorder. Each track could be recorded and altered separately, without affecting the others. The machine ushered in the modern recording era.
In 1947 Mr. Paul teamed up with Colleen Summers, who had been singing with Gene Autry’s band. He changed her name to Mary Ford, a name found in a telephone book.
They were touring in 1948 when Mr. Paul’s car skidded off an icy bridge. Among his many injuries, his right elbow was shattered; once set, it would be immovable for life. Mr. Paul had it set at an angle, slightly less than 90 degrees, so that he could continue to play guitar.
Mr. Paul, whose first marriage, to Virginia, had ended in divorce, married Ms. Ford in 1949. They had a television show, “Les Paul and Mary Ford at Home,” which was broadcast from their living room until 1958. They began recording together, mixing multiple layers of Ms. Ford’s vocals with Mr. Paul’s guitars and effects, and the dizzying results became hits in the early 1950s. Among their more than three dozen hits, “Mockingbird Hill,” “How High the Moon” and “The World Is Waiting for the Sunrise” in 1951 and “Vaya Con Dios” in 1953 were million-sellers.
Some of their music was recorded with microphones hanging in various rooms of the house, including one over the kitchen sink, so that Ms. Ford could record vocals while washing dishes. Mr. Paul also recorded instrumentals on his own, including the hits “Whispering,” “Tiger Rag” and “Meet Mister Callaghan” in 1951 and 1952.
The Gibson company hired Mr. Paul to design a Les Paul model guitar in the early 1950s, and variations of the first 1952 model have sold steadily ever since, accounting at one point for half of the privately held company’s total sales. Built with Mr. Paul’s patented pickups, his design is prized for its clarity and sustained tone. It has been used by musicians like Led Zeppelin’s Jimmy Page and Slash of Guns N’ Roses. The Les Paul Standard version is unchanged since 1958, the company says. In the mid-1950s, Mr. Paul and Ms. Ford moved to a house in Mahwah, N.J., where Mr. Paul eventually installed both film and recording studios and amassed a collection of hundreds of guitars.
The couple’s string of hits ended in 1961, and they were divorced in 1964. Ms. Ford died in 1977. Mr. Paul is survived by three sons, Lester (Rus) G. Paul, Gene W. Paul and Robert (Bobby) R. Paul; a daughter, Colleen Wess; his companion, Arlene Palmer; five grandchildren; and five great-grandchildren.In 1964, Mr. Paul underwent surgery for a broken eardrum, and he began suffering from arthritis in 1965. Through the 1960s he concentrated on designing guitars for Gibson. He invented and patented various pickups and transducers, as well as devices like the Les Paulverizer, an echo-repeat device, which he introduced in 1974. In the late 1970s he made two albums with the dean of country guitarists, Chet Atkins.
In 1981 Mr. Paul underwent a quintuple-bypass heart operation. After recuperating, he returned to performing, though the progress of his arthritis forced him to relearn the guitar. In 1983 he started to play weekly performances at Fat Tuesday’s, an intimate Manhattan jazz club. “I was always happiest playing in a club,” he said in a 1987 interview. “So I decided to find a nice little club in New York that I would be happy to play in.”
After Fat Tuesday’s closed in 1995, he moved his Monday-night residency to Iridium. He performed there until early June; guest stars have been appearing with his trio since then and will continue to do so indefinitely, a spokesman for the club said.
At his shows he used one of his own customized guitars, which included a microphone on a gooseneck pointing toward his mouth so that he could talk through the guitar. In his sets he would mix reminiscences, wisecracks and comments with versions of jazz standards. Guests — famous and unknown — showed up to pay homage or test themselves against him. Despite paralysis in some fingers on both hands, he retained some of his remarkable speed and fluency. Mr. Paul also performed regularly at jazz festivals through the 1980s.
He recorded a final album, “American Made, World Played” (Capitol), to celebrate his 90th birthday in 2005. It featured guest appearances by Eric Clapton, Keith Richards, Jeff Beck, Sting, Joe Perry of Aerosmith and Billy Gibbons of ZZ Top. The album brought him two Grammy Awards: for best pop instrumental performance and best rock instrumental performance. He had already won recognition from the Grammy trustees for technical achievements and another performance Grammy in 1976, for the album “Chester and Lester,” made with Chet Atkins.
In recent years, he said he was working on another major invention but would not reveal what it was.
“Honestly, I never strove to be an Edison,” he said in a 1991 interview in The New York Times. “The only reason I invented these things was because I didn’t have them and neither did anyone else. I had no choice, really.”
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