Snoopy was in terrible pain for the past few years. This week was her absolute worst, a nightmare of pain for her, with the left rear leg almost useless, her ability to make the stairs to the barn for biscuits was virtually gone by yesterday. She lay quietly in the back of the house throughout the night, and at 3 a.m., she was gone, passing gently into the Long Sleep.
Her last message was, "Thanks for all the biscuits! See you in L315a!!!"
Readings for Snoopy were performed within minutes of her passing, and she's very thankful to be out of pain.
I had gotten up, uncharacteristically early, 11 pm -- and worked on the smartphone orb, ZombieJamboree while she lay resting, preparing to pass. Once done the orb will carry a Snoopy character somewhere within it.
The orb is not yet complete...there are a few more levels to construct, but it is essentially looking as it will look when it gets massaged into the iPhone and G2 apps hopefully in a few days, in time for a christmas release.
Snoopy was wagging her tail at the end, and was well-tended in her last hours. She hopes for you that when your time comes, you will have as easy and gentle a passing as was hers.
Set in a very unclear time period high up in a secret mountaintop retreat somewhere on Planet Earth, Captain Video & His Video Rangers were live broadcasts of the adventures of this brave group of space police. Their uniforms were generally suit & tie with a football helmet, insignia glued on rather clumsily. The total budget per show ranged somewhere around $25- $100.
Captain Video's sidekick was a youngish fellow known only as The Video Ranger. Captain Video's boss was the Commissioner of Public Safety, whose jurisdiction involved the western sector of the Miky Way Galaxy.
Captain Video was DuMont Television's entry into video broadcasts, starting in 1949, only two years after the first public tv sets were offered on sale. Television sets numbered in the hundreds at this time.
Tobor -- robot backwards -- was a featured character on the show, and was definitely the first televised robot on public channels anywhere.
The show was broadcast live from the Dumont Studio in the Wanamaker Department Store building which was on the way home from school for me when we lived in Stuyvesant Town, so naturally I stopped in after school and sat in the kids' section behind the enormous early tv cameras.
Captain Video was as popular with all ages of viewers, as was I Spy, Get Smart, Wild Wild West and Man From U.N.C.L.E during the heyday of the spy shows in the 1960s.
The show was so popular with adults that it ran in Prime Time from 7:00 PM to 7:30PM on the Dumont Network, at what is now news time.
The size of the budget is only apparent when you note that the curtain separating the cockpit from the rest of the ship was at first only a shower curtain from the housewares department in the Wanamaker store; the football helmet space gear was from the sporting goods department, and many of the props were borrowed from Wanamaker's and then returned at the end of the show.
Captain Video's live adventures were limited during the first three years to about 20 minutes; Ranger Rogers would introduce Captain Video's "undercover agents" and then show a typical Republic serial featuring cowboys and such.
Dr. Pauli was Captain Video's Moriarty -- he was an insane and malevolent evil inventor whose inventions always resembled something you might find in a large retail department store such as Wanamaker's. Sometimes they'd take suggestions from us kids about what to use for Dr. Pauli's latest invention. I saw several hundred broadcasts and the prop director was always appreciative of suggestions from the Peanut Gallery (yes, I was present at live broadcasts of Howdy Doody, also, as well as Magic Cottage, Mr. I Magination, Kukla Fran & Ollie and more).
The primary spaceship that the producer settled on was a V-2 style ship called The Galaxy, since most of the writers on the show were also writers for my Dad's science fiction magazine, Galaxy, which was one of the Big 3 SF magazines of the 1950s.
Richard Coogan created the role of Captain Video, and did the broadcast for about a year and a half. When he left the show to try his hand at live theater on Broadway, his replacement was Al Hodge, who continued the role until the show's cancellation in 1955. Al was a good friend and he and his wife, who I believe was his second marriage, used to visit us for dinner with the kids, who I think were his wife's by another marriage. Another family friend, Don Hastings, played the Special Ranger throughout the show's relatively long life, six years, which was a record for pioneer tv shows along with the Milton Berle Show which aired during the same years.
Ed Norton on the Honeymooners is a character who is a big fan of Captain Video, and the show is mentioned on the Honeymooners in at least two episodes.
Station breaks were peppered with exhortations toward honor, decency and ethics, along with live commercials for various Captain Video products -- the most memorable was the pitch for the Captain Video Decoder Ring which had not only a decoder and a signal mirror, but a compass and a two way lens device that was...well, I'll let the Video Ranger tell it:
"...and hey, kids, look through this end and it's a magnifier! Look through the other end and it's a SMALLIFIER!"
I never forgot that, and we kids roared with appreciative laughter as he said that line!
Early on, there were no scripts -- everything was improvised from a general story outline, but by the year 1952 scripts were being written by my Dad's stable of Galaxy SF writers Damon Knight, James Blish, Jack Vance, Isaac Asimov, Cyril M. Kornbluth, Milt Lesser, Walter M. Miller, Jr., Robert Sheckley, M'Intosh, Evelyn E. Smith, Jerome Bixby, and one script by my Dad, Horace L. Gold, in collaboration with me, at the age of 13, my first script and collaboration with him, but not by any means the last.
Russell and Haberstroh added special effects for the show sometime in 1952 using models and 16mm film effect spots made at the Bunin Studio uptown, inserted as required by the script. Morey Bunin was famous for stop-frame animation but also did a lot of outside work. I worked for Hope and Morey Bunin on their production of Alice in Wonderland, and had the delight of also working on the set of Foodini at about that same time. Foodini was a hand-puppet who performed magic tricks.
It was about this time that I met Senor Wences, who taught me a few simple tricks of ventriloquism and how to write a ventriloquist act. He encouraged me to make my own vent doll and I did. I made a minor living at this later on in Los Angeles on Sunset Strip in the 1960s.
Only seven of the many hundreds of Captin Video shows are available today, along with 24 more in the UCLA film archives. They alone survived the destruction of the entire Dumont Film Archive in the mid-1970s, in which almost all early television shows were obliterated forever by MetroMedia, the company that inherited the film archives. I was working for MetroMedia at the time, and quit my job in the mailroom in protest to their stupid short- sighted action so reminiscent of the destruction of the Library of Alexandria but frankly, knowing those cold-hearted bottom-line bastards, I don't think they noticed a thing.
Think of the field of voyaging as a giant swiss cheese with millions upon millions of holes, some of which are straight, some twist and turn, and some turn inward upon themselves at strange and unexpected intervals. Now imagine being propelled through this massive interpenetrating web of wormholes by some gentle but compelling force -- that would be your normal mode of travel, pushed forward by a combination of hungers and fears, which we call your "Tendencies".
With the application of SoundWave forces such as the vibrational tones of mantras, prayer, chanting, Tamboura, Sitar and Zen Flute, your direction of travel can be powerfully controlled and directed to a definite and specific goal.
Each level of goal opens the pathway to a new and possibly higher endpoint and to further realms.
If each of the mis-turns and obstacles can be overcome through direct control of the Essential Self's voyage through the body of "cheese", a very powerful voyaging effect can be achieved.
Think of the Zen Flute as a very very powerful navigational tool, similar to a rudder on a ship, turning the vessel to port and starboard, full ahead and full stop, full astern and half speed.
The Zen Flute in conjunction with the SuperBeacon is the most powerful spiritual navigation device imaginable and obtainable in this universe. Used with care and caution with the proper safeguards in place such as the Black Tourmaline Demon Filters, it is an incomparable tool for spiritual voyaging.
Have you ever wanted to play guitar but didn't quite know how to get started? Now, at last, there is a way -- it's called the 3-Chord Method, and anyone can learn it in a single class. Guitar lessons generally cost around $100, but the 3-Chord Method is only $15 for a two-hour class, and you'll be able to play guitar the very first day!
EJ Gold's 3-Chord Method is presented personally by world-famous folksinger me-EJ Gold, I am a former student of Pete Seeger who has over 300 recordings to his credit.
Of course you must bring your own guitar to class. Steel-string or nylon string acoustic guitars only, please, no electrics.
Classes are on Sunday afternoons, 2PM to 4PM sharp, at BRANE-POWER MEDITATION CENTER, 127 Neal Street, Grass Valley, CA. If you'd like to attend, you MUST phone ahead, at 530-271-2239 to be invited to the class. No walk-ins will be admitted; strictly invitation-only!!! www.brane-power.com
The use of the Zen Flute to produce Pusher SoundWaves is similar to the methods used in Fluid Dynamics to direct flow and to introduce energy into a complex local field.
With the Demon Filters in place on your SuperBeacon, you are protected from the dominant effects of malevolent beings as you open up and become vulnerable during this phase of voyaging. With some training, you'll be able to defend easily against these lower but very powerful and potent nonphenomenal entities.
The Zen Flute is used exactly as a valving system in a closed-field environment, except that the field is not actually boundaried but is artificially restrained by something on the order of a magnetic bottle effect, containing the energies within a known set of coordinates.
How does it work? Imagine the SoundWaves coming out of the Zen Flute to be the hands of guides in a river, pushing your kayak through the rapids,helping you to avoid rolling over or wrapping around a rock or tree-branch.Think of the SoundWaves as "helpers" along the way as the rushing water slams you through a swiftly changing set of obstacles and dangerous collisions and drowning pools.
Now imagine yourself adrift on an endless ocean with no navigational guidance, no stars to steer by, no sun and moon to offer directional hints, no magnetic North to provide compass settings, and no wind to give you sailing power.
This is where the Zen Flute's Spirit Power comes to the rescue. Its SoundWaves gently flow and buffet your small craft to its destination, even though unseen and uncharted by you. The SoundWaves push you through the ocean of voidness, guiding your every movement and protecting you from pitfalls, traps, obstacles and deadly dangers.
At your destination, the Zen Flute wraps you in a SoundWave Protective Barrier and keeps you safe as you explore new worlds and alternate realities, contacting your Parallel World Selves and integrating them within your Essential Self Energy Field.
You can actually feel the effect of the Zen Flute's powerful SoundWave forces. Listen to TeaHouse of Tranquility while connected to the grippers of your SuperBeacon, and you will feel yourself being pushed and buffeted about. This effect is magnified by the SuperBeacon, and when applied in higher Levels, produces a remarkable voyage into Higher Dimensions.
To understand more about exactly how this works, put a garden hose into a bucket and see the effect as you move the hose end about inside the bucket. Changing the water pressure will alter the effect.
Another example of this effect can be produced in the bathtub. Place a bar of floating soap or a tub toy in the bathwater, and gently splash it with water pushed by your hand. You will note that waves develop and propel the floating item in some direction away from the hand. Then push some water from another slightly different direction. The floating item will consequently alter its course slightly or greatly.
This is very comparable to how the SoundWaves produced by the Zen Flute move the Essential Self through energy fields and across Membranes and dimensional barriers, except that the Zen Flute SoundWaves are much more controllable and more highly directional than hand-produced water waves, and that their effects are not surface-only nor are they limited to three dimensional vertices. Their effect is entirely non-trigonometric.
The amount of force is not dependent upon the force of the wind through the flute. It is controlled by a combinant variation of flow, quaver, pitch, complex waveforms and purity, achievable only with certain grades of flute such as the Modified Grenadilla and Tulipwood Zen Flutes.
The Modification Process is itself interesting and will be examined in at least one chapter of my forthcoming book on the Zen Flute.
The power of the Zen Flute to influence Spiritual Movement is another area that will be amply examined in the Zen Flute book.
Be sure to make the experiment I have outlined. Hook yourself up to a SuperBeacon or a Beacon and let yourself get driven by the force of the Zen Flute's SoundWaves for just a few minutes and you will see exactly what it can do and what its potential for interdimensional voyaging will be for you.
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