What are the things that come to mind when you hear the word hippie? For most people who have not taken a deeper look into the hippie lifestyle, it is long hair, torn clothes, drugs and basically a lazy person who does nothing much in life. However, I beg to differ.

To me the term hippie symbolizes a person who is peace-loving, fun, free, spiritual, and creative while living life on his or her own terms. It may seem like an easy life, but it takes a lot of courage to break away from the power hungry corporate life that we as a society have created. So let’s take a brief look into what it takes to be a hippie.



To travel is to explore the world and to explore the world is to explore yourself. Hippies love to travel not as tourists but in order to learn in-depth about various cultures and inculcate the best parts of them into their being. Hippies in the 60’s have travelled by buses, vans and even backpacked all the way from the U.S and Europe to Asian countries such as India, Nepal and Sri Lanka while working and earning along the way. In my books, that is definitely not easy.



Hippies try to be as organic and sustainable as possible. They believe that humanity should live and evolve along with the Earth rather than going against the natural course of nature. They are well aware of what they grow and eat. Today most of us buy food out of packages and have no idea what pesticides and chemicals are put into our food.




Hippies are groovy people who love their music and have created some of the most profound music of the century. They have managed to fuse various genres including rock & roll, jazz, blues and classical Indian music. The music of artists such as Jimi Hendrix, Janis Joplin, Santana, Cream, The Beatles, CSNY and The Grateful Dead live on and have influenced millions around the world. Music festivals such as Woodstock, The Monterey Pop Festival and The Newport Folk Music Festival have not been forgotten for over 40 years now.




Some of the most artistic, well directed and thought provoking movies of the century have been filmed by hippies during their era. Films such as Easy Rider, The Trip, Head, 200 Motels and Yellow Submarine have underlying meanings which reinforced the hippie ideology of freedom, love, peace and music.


Hippies were creative geniuses. Colours were radiant, bright and trippy. Psychedelic art was found not just in art galleries but also on the streets, cars, buses and even on their clothes. The reason hippies loved colors is because they represent life and life should be led in a fun and colourful way.


Back in the 60’s, a lot of hippies hardly wore any clothing because they believed in absolute freedom of body and mind and they were very comfortable in their own skin. However they did create a solid fashion statement with their tie and dye apparels, torn jeans, the Janis Joplin shades, bandanas and natural jewellery made out of crystals, beads and seashells. Check out some cool hippie clothing at https://www.facebook.com/hippiemerch.



Due to the wide use of sacred plants and entheogens, many hippies turned towards spirituality as they were trying to build a deeper connection to the Earth and all living beings around them. Many hippies turned towards the spiritual aspect of eastern practices such as Yoga, Meditation, Kundalini and Zen.




Hippies are socially motivated and strive to protect the earth and bring everyone together. They want the world to be absolutely free and when human and Earth rights are violated, peaceful protests against wars, the destruction of the environment and so on are organized. Hippies used music to bring people together. Bob Dylan’s ‘Blowing in the wind’, John Lennon’s ‘Imagine’, Buffalo Springfield’s ‘For what it’s worth’ and Neil Young’s ‘Ohio’ are a few protest songs that created mass awareness through music and without them, the world as we know it would not have been the same.



Hippies had a lingo of their own and often used a lot of superlatives to describe events. Words such as flower power, cool, far out, peace, chill-out, bogart, take it easy, keep on truckin’ and dig-that were used prominently by hippies in the 60’s and some of them have stuck on to this day. It’s fun to add a few hippie words to your everyday speech and watch people’s reactions.

It’s not easy to be a hippie, but there is a lot that we as a society can learn from the by-gone era. There is no doubt that change is required in our present society. However, the most important part of being a hippie, is to keep your spirits high and have a whole lot of fun because life was never made to be taken too seriously. So how hippie are you?










Author : Shayne Reynolds


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Sounds and Vibrational Frequencies have for long known to affect human consciousness and stimulate awareness often bringing one into a higher vibrational state totally in the present moment.

It's these unseen frequencies which alter our state of consciousness and carry us into an ocean of ecstasy and joy.

In the following video Eckhart shares his views on music ...






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Perhaps one of the most underestimated aspects of human existence is the power of our thoughts and intent. While some of us like to play victim to life’s experiences happening beyond our control, there are others who have awakened to the truth as to how we create our own reality, hence attract all that we experience in our lives, quite literally. Dr. Masaru Emoto is one such soul who shares with the world his groundbreaking discovery which clearly shows the affect of human consciousness on water molecules. We can understand this better if we can understand that all life forms , everything in the universe is inherently a vibration !


In his experiments, Dr. Emoto exposed music, words spoken, words typed, pictures and videos to Water. After it was crystallized the water showed some remarkable patterns. Positive words such as ‘Thank You’, ‘Love’, ‘Truth’, ‘Compassion’, and ‘Happiness’ gave the water molecule a beautiful crystalline structure contrary to the water molecules which were exposed to negative terminology and intent with words and phrases such as ‘hate’, ‘greed’, ‘you make me sick’ which made the structure all distorted and chaotic.

This is what Dr. Emoto has to say about his experiments with water … "It was 1994 when the idea to freeze water and observe it with a microscope came upon me. With this method, I was convinced that I should be able to see something like snow crystals."

After two months of trial and error, this idea bore fruit. The beautifully shining hexagonal crystals were created from the invisible world. My staff at the laboratory and I were absorbed in it and began to do many researches.

At first, we strenuously observed crystals of tap water, river water, and lake water. From the tap water we could not get any beautiful crystals. We could not get any beautiful ones from rivers and lakes near big cities, either. However, from the water from rivers and lakes where water is kept pristine from development, we could observe beautiful crystals with each one having its own uniqueness. Since our bodies are mostly water one can only imagine how our thoughts, words and intent affect our vibrational state. Some recent studies also suggest that water has memory of its own and can carry the memory of that substance even after it has been so diluted than none of the molecules of the molecules of the original substance remain. This is exactly what Homeopathy is based on.

 ‘Cymatics’, which is the scientific study of how vibrational frequencies affect physical matter also corroborates with Dr. Emoto’s discovery of water being affected by waves of intent and thought forms. The term Cymatics was coined by Dr. Hans Jenny which is derived from the Greek word 'kyma' meaning 'wave' or 'ta kymatica' meaning 'matters pertaining to waves'.

In his research with the tonoscope, Jenny noticed that when the vowels of the ancient languages of Hebrew and Sanskrit were pronounced, the sand took the shape of the written symbols for these vowels, while our modern languages, on the other hand, did not generate the same result! How is this possible? Did the ancient Hebrews and Indians know this? Is there something to the concept of "sacred language," which both of these are sometimes called? What qualities do these "sacred languages," among which Tibetan, Egyptian and Chinese are often numbered, possess? Do they have the power to influence and transform physical reality, to create things through their inherent power, or, to take a concrete example, through the recitation or singing of sacred texts, to heal a person who has gone "out of tune"?

After we’ve known this, the question arises as to what can we do to put this knowledge into practice. Well, its quite simple really. Be aware of your own feelings and work towards enhancing your own vibrational state to a higher frequency of love and compassion for all. To get to this state of being one needs to transcend the limiting beliefs of the old paradigm and make way for the realization of our innate spiritual oneness with all there is.

Clearly, our homes are not restricted to the concrete jungles we pay a fortune to get into and we must awaken to our individual contribution in keeping our home, Planet Earth clean and beautiful as its supposed to be. Its about time we go beyond these nonexistent illusory boundaries of village, state or country and live a life in harmony with nature, not treating everything as a resource with a price tag attached to it.

In a wonderland that is Goa, we have the opportunity to stay close to natural surroundings with clean rivers and lakes which we must strive to keep clean. Our individual efforts and our sense of awareness makes a world of a difference in our lives and those around us. Everything changes when we start emitting our own frequency rather than absorbing the frequencies around us, when we start imprinting our intent on the universe rather than receiving an intent from existence.

It’s about time we start beaming positivity and good vibes wherever we are … start becoming the change we wish to see in the world ! As solid as it may appear to our five senses, our realities are quite literally manifestations of our thoughts.



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This short documentary feature is part of a promotional DVD about "The Indigo Festival" held in Israel !

Featuring: Younger Brother, Madboojah Project, Shpongle, Man With No name, Extrawelt, Tikal, Haltya, Mad Professor, URINIMU, James Monro, Mascaline, U-Recken, Huda G, Perfect Stranger, Laroz Sound System and many more.



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In Electronic Awakening, director Andrew Johner lifts the veil on an underground spiritual movement that has developed within electronic music cultures worldwide. This close encounter with the mysticism of rave questions the origin of religion, and offers insight into future of man's spirituality. It investigates this culture's significance to the prophecies of 2012, how this bizarre and sacral relationship to electronic music has evolved the group overtime, and where it all seems to be leading them...

Electronic Awakening features interviews and footage from...

Daniel Pinchbeck Alex Grey Terence McKenna Ken Kesey Erik Davis Starhawk Michael Gosney Dr. Robin Sylvan Goa Gil Mark Heley Dr. Chiara Baldini Dr. Graham St John Dr. Anthony D’Andrea Garth of Wicked DEFSF Techno Alliance Moontribe Pioneers Sobey Wing LuxVibes and many more...

with Graphics from Doctor Spook and Paradise 2012

Music by Crystal Method, Vibrasphere, Androcell, Random Rab, Jason Knight, Govinda & TBD !


Here's a brilliant article by the film maker Andrew Johner ...

Where's the Party in 2012?

Perspective on the Electronic Music Culture's relationship to the 2012 meme

For years a great cross-section of the human population has been curious about the date December 21st, 2012. Much of this curiosity has been recently satisfied through a multitude of books, films, and scholarly theory. However, another question remains in a curious mist of uncertainty.

Where's the party going to be the night of the grand Halabaloo?

In the summer of 2006 I began working on a documentary film as part of a project to finish my degree in anthropology. The subject of my research was the spirituality of electronic dance music culture. Having never been to an electronic music event, let alone listened to much electronic music, I traveled out to the West Coast of the United States for the first time with a handful of tickets to parties and festivals I had never heard of to document the mystical undercurrent of the scene.

A whole myriad of prophetic, esoteric conceptions and beliefs awaited.

Downstream from counter-culture, new age, and general psychedelic phantasmagoria, an ocean of free-form spiritual narratives created a web of neo-mystical realities, a whole multitude of micro-religious frameworks that all in some way weaved into the metaphysics of dance-floor transcendentalism.

As I trekked from party to party, whether they were intentionally spiritual gatherings deep in the mountains, or outlandish hedonic revivals in concrete jungles of urban society, I began to hear rumors circulate about a party on December 21, 2012. The idea of wild super-massive rave at an ancient ruin the day of our envisioned doomsday, as well as beginning, seemed to link to a general tone of prophetic belief that made up a major part of the esoteric trace within the rave community.

There was an obvious influx of mysterious ideologies circulating around the Mayan Calendar which permeated the scene. I immediately questioned the presence of so much Mayan mythology within the community, and also the adoption of the 13th Moon Dream Spell calendar. The Calendar, created from time codes hidden within the original Mayan Calendar, had stimulated a movement for peace through the adoption of a ‘new time' in New Age, and other spiritually bent fringe groups all over the world. The Dream Spell Calendar had also become prominent in the rave scene. Party flyers were dated with Mayan glyphs, Mayan art and other Mayan symbology was displayed around dance floor décor, clothing, and artwork, and other externalized traces of an internal belief structure manifesting within the scene.

Within the mathematical cosmogony of the DreamSpell, pervades the principle that our species is about to transcend ordinary third-dimensional existence, into a forth-dimensional, or in some translations, a fifth-dimensional reality.

It was a bizarre idea to encounter, and it was even more bizarre to have an ecstatic dancing experience progenerate this notion.

The adoption of the Dream Spell Calendar, also posts a neo-apocalyptic narrative circumventing the end-date of the Mayan Calendar in 2012, while at the same time hosting a mathematical philosophy of a major shift in human cognition through the transformation from which a higher-dimensional existence would ensue during our alignment to the center of the Galaxy on December 21, 2012.


“When all this information came in, it just seemed to fit what we were already doing, evening though it had no real connection, the idea worked.”

–DJ Solus September 2006


I am at a festival called Lightning in a Bottle, an electronic music festival outside Santa Barbara. I am sitting with a group of people inside a tent between a propane lantern that blazes with a low electric hiss. The pumping thunder of mega-watt speakers' pound through the nylon tent walls. Just outside, a sea of people dance in a giant clearing amidst laser beams and flashing neon lights. The roar of their celebration amidst pulsating electronic rhythms echoes the futurism of a ‘techno-tribe' emerging.

From interview to interview, my own perceptual interpretation of transcendent ritual through festive cultural rupture rang a shared mental picture as to what the experience meant for people.

The owner of the tent leans over the lantern, shadows disappear from his face and he looks directly into my eyes and begins to speak with a tone of affirming gravity,

“This is my family. The world that we build out here is the real world for us. People say that 2012 is the end of the world, but we all know that it is the end of their world and the beginning of ours”

Through my ethnography of the electronic music culture, I had been observing a movement towards a primordial return, integrating a ritual technology as a mode of transformation. It was my belief that the kinetic engagement of the dance itself was the main source of esoteric undercurrents which permeated the scene. Of course psychedelics play a huge role, but the experience had on the dance floor created by intense movement and electronic dance music was the real cultural source for a shared vision of future transcendence into an alternate dimension of reality altogether.

The integration of the phenomena and phantasm that encompasses the self-guided dogma incorporated in the 2012 initiative weaves so neatly into the transcendental impression these sonic environments encapsulate. When looking closely at the initiative of the 2012 meme, a new world-view of collective spiritual transcendence is indication of the honest expression of the cultures internal desire to alter their perception.

In the face of a quickly changing environment which instinctually demands a transformation of the ways in which humanity both perceives and carries out his existence, the idea of global destruction and creation has long fed into the mythologies of human groups as apart of this internal expression for dramatic change.

Never before in the history of humanity have we seen a single millenarian idea so widespread. Yet, a prophecy of global transformation would require a global culture to bare its vision, and the electronic dance community appears to be one of the many appropriate carters of the revelation.

Another interesting facet of the integration of this new ‘mythos' with the electronic dance community, is the move to outdoor environments, and the integration of intentional ritual and ceremony to their night-long ecstasies. This juxtaposition gives the party experience an authentic communal, as well as tribal sensation, one that implies meaning and value to the experience. With this experience comes a temporary transformation of the perception of the individual undergoing the experience. Cognitive processes are gently and sometimes savagely altered.

As the techno-shamanic psychedelic environment integrates into a social-cultural framework, identities change on individual and collective levels as the music itself takes the mind of the individual into an experience of alternate planes of thought, the myriad of techno-tribal cultural identities swarm in around the dance itself, and reality is but for the instant of a weekend ‘shifted.'

The integration of psychedelics into these events allows one to further integrate their imagination into the experience of the environment that surrounds them, in a cyclical feedback relationship between the experience and the experience. Systems of belief and thought are replaced, both temporarily and permanently. The environment yields to an alternate dimension of being, and the experience, though brought on through an arsenal of synthetic arrangements, momentary replaces traditional perceptual frameworks. Memory of the experience remains and over time evolves cognition.

We live in what we believe to be is real. Every time someone experiences reality in the mystical playing field generated at these parties, the more the experience integrates back into the ‘familiar.' The concept of consciousness shifting, takes on a very subjective nature as dance ritual reinforces the pragmatism of the experience.

As conversation of a shift in the collective reality of the dance community ensues, the number 2012 pops up in more and more conversations. The party becomes a vehicle for the collective transformation of an entire human group as their collective memories build up a shared perception of a new experience.

It's an old trick in human behavior that corresponds with the inner workings of our minds. For thousands of years, cultures and their traditions all over the world have used music and dance as part of the ritual and ceremony for the integration, and stability of their tribal structures. Key to this article, it not only promotes community, is promotes the subjectification of their mythologies and their prophecies.

What man is actually interpreting through the development of a mythos is not an interpretation of a particular vision or story but the energetic experience of the dance itself. What one experiences in an ecstatic state of trance is the experience of their internal desires. Since our internal desires are primordial, they are instinctually connected with nature and the environment around us.

Thus, as our environment changes, and we see threat to our current cognitive processes and cultural value systems; the alteration of our belief structures through a hyper-onslaught of groundbreaking scientific information, the desubjectification of religious systems, a globalization of the sacred, the meltdown of the industrial world, and environmental threats, transformation of mind and spirit permeates the internal psyche within these spaces of liminality.

The tribal experience of dancing beyond the realms of the ego produce a strong feeling of connection with community through music, and the rupture of traditional cultural systems that seem to no longer be working. This creates a Petri dish for the development of new cultural frameworks and the reordering of the groups cognitive processes to better adhere to the changing environment. Dance is an instinctual human behavior to demoralize and reframe perception as a means of evolution of mind and body.

Myth is product of ritual, it is the interpretation of these eternal desires for change. Myth is the narrative of a primeval reality, translating deep spiritual desires, moral craving, social and the practical requirements for social transformation. Myth expresses, enhances, and codifies belief.

In turn, myth creates reality.

Consciousness requires narrative. Individual consciousness and the collective human consciousness requires the framework of a story in order to direct its initiatives for change. When one's current reality is threatened with drastic alteration it naturally begins to weave narratives of explanation that will offer hope and resolution to guide its actions through the transformation.

The millenarianism that is character of the dance community displays this very quality of the development of a transcendental mythology as a means of reframing its own cognitive processes to alter mind, body, and spirit to better suit our own personal interface with the environment.

Dance-based millenarian movements have happened throughout history, in cultures all over the world. When the Lakota Natives were threatened with oppression and reservation life, they immediately reacted with the development of a pan-Indian religion known as the Ghost Dance. It was characterized by the emergence of a prophecy that a particular ritualized dance would bring a peaceful end to the Anglo expansion, the return of the Buffalo, the salvation of the community, leaving the earth filled with food, love, and faith. This narrative was typified by clean living, honesty, and cross-cultural cooperation as a means of salvation and resolution alongside the dance itself.

For the dance community to adopt the undercurrent of a similar narrative proves a structural framework to the development of mythos as a form of cultural revitalization. Though the salvation of humanity and the world lies within our individual change in lifestyle as a means of adhering to the shifting environment, the characterization of death and rebirth into a new world fits the prophetic initiative as well: Salvation through dancing.

Though the dance community has added the awareness that the process of bringing about such change, will not come through a mystical transformation but through the cultural rupture brought on by the act of ritualized dancing itself. The intentionality of the culture reads into the natural magic of sound, and its influence on neurological states. Experienced within a large group it creates a bond of the collective psyche and the subconscious initiative of the group permeates through the experience.

Consciousness instinctively fabricates new translations of experience, the development of new ideas of origin, and prophetic direction.

Humanity naturally begins to weave new stories for itself as the environment surrounding the collective subject changes.

An interesting coincidence, in 1987 a event known as the Harmonic Convergence, was held by New Age groups all over the world to usher in an era of awakening into love and unity through divine transformation that would be fully awakened on December 21st of 2012. That same year of 1987 has historically been identified as the birth of the rave scene. It was the year that the ecstatic experience of a ritualized dance became popularized in urban youth all over the world, the beginning of a culture which defined its own initiative as a revolution of peace, love, unity, and respect, through the ecstatic unification of sound, mind and body as a collective group.

For years the numeric value two thousand twelve has been whispered on the edges of dance floors all over the world. It is most apparent in the psychedelic trance community as an underlying mythos that defines the revolutionary synergistic electro-fusion of mind body and spirit.. The 2012 narrative is a form of interpretation most commonly now used to define the experience and the worldview that permeates the reawakening of a primordial experience.

Again I am in-between parties, staying in a cabin in Mount Shasta conducting and interview with the Shan-man, owner of The Village Oracle in Weed, California. We are sitting out in the sun, the icy tip of Mt. Shasta beaming in the background.

We are talking about the integration of the 2012 mythology into the cultural framework of the electronic dance community, and the role that the parties actually are playing in the process of global awakening into a new mode of thinking. He describes the party as a welcome mat, “They are like a doorway in,” he describes, a doorway that leads into a mystical world of archaic, magical phantasmagoria that the experience of transition into indicates not only transformation of the self, but the world to follow.

He states later in the interview, “We know that we are all heading towards one huge gathering.”

What I see as one of the most interesting features of the 2012 initiative in terms of the electronic dance community is the idea of a synchronized global gathering on the date the calendar ends, December 21, 2012. On that date the earth lines up with the sun, which lines up with the Pleiadian Star system and the elliptic of the galaxy; a celestial alignment that the earth has never before experienced.

The Dance community already celebrates a model of this end-date ritual, called Earth Dance. This is another synchronized party linking 360 dance-floors all over the world as an intentional ceremony for peace. Though this ritual is conducted annually, the preparation for an even larger synchronized dance ritual to celebrate a celestial event as rare as our alignment to the center of the galaxy offers an interesting notion that humanity should very quickly becoming aware of. This will be the most massive, pan-human ritual ushering transformation in the history of human kind.

With the constant development of the mythos surrounding the 2012 meme, what will such preparation, and practice of such a ceremony alter of the consciousness of those participating in the ritual?

The alignment of dance rituals to celestial events is traditionally the source of a mythologies link to the stars. Which means, that our collective human narrative is fashioned and reshaped by the movement of the stars. Meaning that our collective human story is a translation of this energetic experience of the cosmos. How will the energetic experience of the alignment be translated?

The creation of new myth perhaps, a new story of human kind. So to answer the introductory question, as to the location of the partyI have heard several rumors.

Some rumors have entitled it "The Party at the End of Time". The collective pattern of gossip seems to congeal to 7 principal locations.

There is word that these locations may very well be planetary chakra points. To my knowledge, these points are Titicaca Lake between Bolivia and Peru, Mount Shasta in California, Uluro Kattjuta, the big red rock in the middle of Australia, The Tor in Glastonbury, The Great Pyramid in Egypt, and Mouth Kailash in Tibet, and Kuh-e-malek Siah a not so tall mountain located in the Tri-point area of Iran, Afghanistan and Pakistan. These are the main points to my knowledge, however I have also heard of the Haleakala Crater, the El Tule, Table Mountain, Bali, Mount Fuji, and the Sergiev Posad in Moscow to be locations also.

Wherever the party is, and no matter what happens on December 21st 2012, the most important and beautiful part is that people from all walks of life, from all different cultures and countries will be United in a dance, a celebratory ritual to usher in the Galactic New Year, and a new dawn for mankind. Because when it comes to mankind's own part in the great theater of the 2012 alignment, if anything on our part is going to bring about any real and dramatic change, a massive global rave sounds like a damn fine go at it.

If anyone has any other information to share of the massive Party at the End of Time, I would very much like to include it in my documentary for all the world to see.

Please forward all information to: [email protected]


References :

• Electronic Awakening
• Mushroom Online

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"Shanti Jatra Full Moon Festival 2011" (3 Days 2 Nights : Nepal - October 11,12,13 - 2011) is back with a brand new avatar. The Shanti Jatra Organic Festival Nepal: October 2011, is all set to be a vibrant and upbeat celebration of music, food, and creativity.

Wonderful things manifest when you are in tune with the ebb and flow of life. Organics is the understanding of this finely tuned structure be it an expression of the arts, food, wine, spirituality, business or environment.

South East Asia's premier alternative electronic music festival is back!

Two years after the untimely demise of one of the founding members which led to the festival being cancelled, the crew took some time off to regroup and thought over to recreate the magic of this wonderful gathering.

The result, an interesting and fresh concept based on organic life style emerged along with supporting Visit Nepal Tourism Year 2011.

Along with the 2 stages, Main (Dance) and Chill, there will be another stage called New Age Arena where there will be Group Shamanic healers from worldwide, Workshops on Organic life style, meditation and group yoga sessions.

Organic food stalls , organic bar and display of organic food grown in Nepal will be the other key areas of this gathering.

As always we will provide an eclectic and diverse lineup for the main stage and chill wherein all the genres and sub genres converge into one. Our motto will and always will be the same, that We are one!

Our aim is to create the colourful setting with the same amazing and friendly vibes, which captivated many imaginations thoughts in our previous editions, in a new and exciting way under the breathtaking landscape of Nepal.

Come join us once again to recreate those magical moments. We welcome you back!


Lineup For Shanti Jatra Organic Festival 2011 ....


LIVE:

ELECTRYPNOSE (2to6 Records, Switzerland)
ENICHKIN PROJECT (Avatar Records, Russia)
HYPER FREQUENCIES (Mechanik Records, France)
PARA HALU (Psylife Music, Hungary)
IMAGINARY SIGHT (Glowing Flame Records,Macedonia)
MALICE IN WONDERLAND (2to6 Records, Austria)
White Wizard (Delhi)
BRAINDROP (Omveda/Occulta Records, India)
VAEYA (Glitchy Tonic/Occulta Records, India)


DJ:

WICKED SOUND SYSTEM (Agartha Records, India)
MASH/Pulse (Omveda Records, India)
COSMIC TANDAV (Omveda/Rudraksh Records, Dubai)

DjKranti Nepal ( Revolution Records, Nepal)
Djane Payal ( Revolution Records, Nepal)
DjVibe Ktm


Chill:

ELECTRYPNOSE (Suntrip Records, Switzerland)
ENICHKIN (Avatar Records, Russia)
YIDAM (Liquid Frequency, India)


More acts to be added..

IMPORTANT : We are aware of the fact that a lot of people had purchased the tickets for the previous edtion and were not issued refunds.

PLEASE NOTE THAT ALL THOSE WHO PURCHASED THE TICKETS FOR SJ 2009 , will keep the same for this edition and entry will be FREE!

In case you do not wish to participate, please do get in touch with us immediately and we shall refund the amount through the family of Rodney Mathias, who is taking care of the refunds.


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"The Doors" movie is Oliver Stone's homage to the 60's rock outfit "The Doors" which also doubles as a biography of the group's lead vocalist, the "Electric Poet" Jim Morrison. The movie follows Morrison from his days as a film student in Los Angeles to his death in Paris in 1971, at the age of 27.

The movie features a tour-de-force performance by Val Kilmer, who not only looks like Jim Morrison's long-lost twin brother, but also sounds so much like him that he did much of his own singing. It has been written that even the surviving Doors' band members had trouble distinguishing Kilmer's vocals from Morrison's originals.


The film opens during the recording of Morrison's An American Prayer and quickly moves to a childhood memory of his family driving along a desert highway. Young Jim sees an elderly native American dying by the roadside. The film picks up with Morrison's arrival in California and his assimilation into the Venice Beach culture, followed by his film school days studying at UCLA; his introduction to his girlfriend Pamela Courson, his first encounters with Ray Manzarek, and the origin of The Doors: Ray Manzarek, Robby Krieger, and John Densmore.




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Here is a brilliant compilation featuring short video clips from some of the most prominent documentary films of our times.

Featuring classic documentaries such as "New Swirled Order", "Zeitgeist" and various other videos and clips documenting UFOs, Crop Circles, ETs ...




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"Imagine: John Lennon" is a 1988 documentary film about the English musician John Lennon.

With its wealth of stock Lennon footage and self-narration, "Imagine: John Lennon" has proved to be a well-received film. Bridging his two musical phases together as a member of The Beatles and as a solo artist, Imagine: John Lennon is a career-spanning collection of Lennon's many musical highlights. In addition, there are a couple of heretofore unreleased recordings: an acoustic demo of "Real Love" taped in 1979 (an alternate recording of which would be finished by The Beatles for 1996' s Anthology 2) and a rehearsal take of "Imagine" in mid-1971 before the final take was captured.


A documentary about former Beatle John Lennon, narrated by Lennon himself, with extensive material from Yoko Ono's personal collection.


The rest of the video can be watched on youtube or you could check in the related videos section in the embedded player once the video is done.
This feature film biography of the legendary rock musician includes previously unseen footage from Lennon's private archives, as well as interviews with his first wife Cynthia, second wife Yoko Ono and sons Julian and Sean. Narrated in Lennon's own voice, IMAGINE was taken from the 240 hours of personal film and video from the star's private collection.


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"Strawberry Fields - Keeping The Spirit Of John Lennon Alive" is a documentary about the legendary 'Beatle' and his mission to bring back Peace n Harmony on Planet Earth ! In his first in-depth interview in over thirty years Phil Spector tells stories about "his brother" John Lennon, their love for each other and the wonderful music they produced.

Almost one million fans from every corner of Earth visit Strawberry Fields and the Imagine mosaic every year. Our film documents their outpouring of love for John Lennon with dozens of fan interviews filmed over the last seven years.


A photographic narration documenting the many milestones in the life of John Lennon from birth through assassination.

Let us honor our greatest singer-songwriter and the most influential political artist of the 20th century with an International holiday every October 9th, http://JohnLennonDay.com !




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Google pays tribute to the legendary, John Lennon on his 70th birthday by incorporating a short animated video of John Lennon's "Dreamer" which starts playing as you press the play button (Stylized E in the Google Logo) !





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"When You're Strange" is a 90 minute documentary film on "The Doors" ... One of the first ever made about them ! The crowd-pleasing movie has been featured at the Sundance, Berlin, Deauville and San Sebastian Film Festivals and most recently played to sold-out shows at the Santa Barbara Film Festival.

Produced by Wolf Films/Strange Pictures, in association with Rhino Entertainment, and released by Abramorama.


“They say if you remember the ‘60s you weren’t there,” said producer Dick Wolf. “I can state definitively that one of the things I do remember is buying THE DOORS first album the day it came out and then listening to it about ten or twelve times in a row. Both sides. Every song. I’ve been a fan ever since. This movie is the story of the band but it is also an insight into a moment in time that will never be repeated.”

WHEN YOU’RE STRANGE uncovers historic and previously unseen footage of the illustrious rock quartet and provides new insight into the revolutionary impact of its music and legacy. Directed by award-winning writer/director Tom DiCillo and narrated by Johnny Depp, the film is a riveting account of the band’s history.

Said Depp, “Watching the hypnotic, hitherto unreleased footage of Jim, John, Ray and Robby, I felt like I experienced it all through their eyes. As a rock n’ roll documentary, or any kind of documentary for that matter, it simply doesn’t get any better than this. What an honor to have been involved. I am as proud of this as anything I have ever done.”

The film reveals an intimate perspective on the creative chemistry between drummer John Densmore, guitarist Robby Krieger, keyboardist Ray Manzarek and singer Jim Morrison — four brilliant artists who made The Doors one of America’s most iconic and influential rock bands. Using footage shot between the band’s 1965 formation and Morrison’s 1971 death, WHEN YOU’RE STRANGE follows the band from the corridors of UCLA’s film school, where Manzarek and Morrison met, to the stages of sold-out arenas.



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"Fear and Loathing in Las Vegas" is a 1998 comedy film adaptation of Hunter S. Thompson's 1971 novel Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream. The film, directed by Terry Gilliam, stars Johnny Depp as Raoul Duke and Benicio del Toro as Dr. Gonzo.

The film opens with a montage of protests regarding the Civil Rights Movement and Vietnam War, before cutting to Raoul Duke (Depp) and Dr. Gonzo (Del Toro) speeding down the desert of Nevada. Duke, under the influence of mescaline, complains of hallucinating a swarm of giant bats, before going through the pair's inventory of psychoactive drugs. Shortly afterward, the duo stop to pick up a young hitchhiker (Tobey Maguire), and explain what they are doing. Duke has been assigned by an unnamed magazine to travel to Las Vegas and cover the Mint 400 motorcycle race. However, they have also decided to take advantage of this trip by purchasing countless drugs, and rent a brand new Chevy Impala convertible. The young man soon becomes terrified of the drug-filled antics of the duo, and flees on foot. Trying to reach Vegas before the hitchhiker can go to the police, Gonzo gives Duke a tab of "Sunshine Acid", then informs him that there is little chance of making it before the drug kicks in.





Tracklist :

1. "Combination of the Two" by Big Brother and the Holding Company
2. "One Toke Over the Line" by Brewer & Shipley
3. "She's a Lady" by Tom Jones
4. "For Your Love" by The Yardbirds
5. "White Rabbit" by Jefferson Airplane
6. "A Drug Score - Part 1 (Acid Spill)" by Tomoyasu Hotei & Ray Cooper
7. "Get Together" by The Youngbloods
8. "Mama Told Me Not to Come" by Three Dog Night
9. "Stuck Inside of Mobile with the Memphis Blues Again" by Bob Dylan
10. "Time Is Tight" by Booker T. & the MG's
11. "Magic Moments" by Perry Como
12. "A Drug Score - Part 2 (Adrenochrome, the Devil's Dance)" by Tomoyasu Hotei & Ray Cooper
13. "Tammy" by Debbie Reynolds
14. "A Drug Score - Part 3 (Flashbacks)" by Tomoyasu Hotei & Ray Cooper
15. "Expecting to Fly" by Buffalo Springfield
16. "Viva Las Vegas" by Dead Kennedys






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The Ladakh Confluence is a festival of music, art, green living and culture showcasing an effective way towards growth without compromising our values for nature and sustainability ....

The Ladakh Confluence 2010 will take place in the scenic expanse of the trans-Himalayas this July. Mark your calendars, prep your backpack and gear up for four days of music, art, nature and culture in the highest mountains.

The second edition of the Confluence comes back bigger, stronger and greener between July 15-18. Musicians, artists and travelers from around the world will unite in the breathtaking mountain kingdom for an incredible cultural experience. We’re looking forward to having you there.

Over the next few weeks we’ll share with you details of all the acts we have in store, details of how you to get here and of course, ways in which you can get involved.

Stay tuned ! Join us on Facebook and Twitter for regular updates.

Woohoo!
The Confluence Family











Reference : The Ladakh Confluence Festival


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Cymatics is the study of the effects of sound vibrations on physical matter and the many geometric patterns that emerge from varying the frequency of vibration ... Crop Circles too are believed to be created by some kind of an unseen electromagnetic force with microwave like properties, however not damaging the crop in the layering process which truly is clear proof of non-physical intelligences behind the phenomena ... Here is an excerpt from the book "Secrets in the Fields" by leading Crop Circle researcher Freddy Silva discussing how Sound might be creating these awesome Crop Circle Formations.

Is Sound Creating Crop Circles ?

During the twilight days of December 1998, small articles tucked away in the nether regions of the British press quietly announced 'Unknown Force Was Behind Corn Circles, Claims Hoaxer'. This dramatic U-turn by the surviving member of the infamous Doug & Dave duo who since 1991 have misled the world with tales of their crop flattening prowess with planks of wood illustrates that the hand of man materialized in crop circle lore long after the real phenomenon manifested.

Latterday hoaxers claim that they applied boot to wheat in 1978, yet crop circles have appeared throughout the world since the early 1900s, with dozens of eyewitnesses even reporting crop circles forming in a matter of seconds as far back as 1890; several descriptive accounts were even documented in 1678 by Robert Plot, then curator of the Ashmolean. If hoaxers are responsible, then, they appear to have mastered the art of time travel, in which case it is they who should be under scientific scrutiny.

To date some 10,000 crop circles have been catalogued worldwide, and their anomalous features continue to be not possible to replicate: plants bent an inch above soil and gently laid down in geometrically-precise patterns with no physical signs of damage, light burn marks at the base of stems, altered cellular structure and soil chemistry, discrepancies in background radiation, alteration of the local electromagnetic field, depletion of the local watershed, and dowsable, long-lasting energy patterns, not to mention measured effects on the human biological field. So much, then, for two guys and a piece of wood. But thanks to a virtual embargo on research coverage throughout the media, a popular myth has developed that all crop circles have been nothing more than a prank with a plank.

By definition, hoaxes are forgeries, and forgeries require originals from which to copy. So what is this 'unknown force' that creates genuine crop circles? One answer may lie with sound.

Echoed in all the world's faiths and traditions, Universal matter was created by sound: 'In the beginning was the Word, and the Word was with God', St. John reminds us. Hopi and Navajo traditions even assert that in ancient times shamans would utter words onto sand and create patterns, a concept not dissimilar to the Hindu mandalas which are said to be expressions of the vibration of God. Consequently, the Eastern faiths- Islam in particular- chose sacred geometry to express the image of God, a technique later used in those hymns to sacred geometry, Gothic cathedrals.

Modern science now shows that these geometric rhythms lie at the centre of atomic structures. When Andrew Gladzewski carried out research into atomic patterns, plants, crystals and harmonics in music he concluded that atoms are harmonic resonators, proving that physical reality is actually governed by geometric arrays based on sound frequencies. Even that primeval Hindu sound, the OM, from which is derived our modern term 'hum', when sung into a tonoscope produces the very geometric shapes attributed with 'sacredness'. Perhaps the most important of these shapes is the hexagon, upon which the Egyptian matrix named the Flower of Life is based. This series of outwardly-rotating divisions of the circle accommodate the branches of the building blocks of life, the amino acids. This Flower of Life has subsequently manifested as a crop circle.

As the expression of number in space, geometry is inextricably linked to music since the laws of the former govern the mathematical intervals that make up the notes in the western music scale- the diatonic ratios- hence why the ancient Egyptians referred to geometry as frozen music.

In the February 1992 edition of Science News, Prof. Gerald Hawkins used the principles of Euclidean geometry to prove that four theorems can be derived from the relationships of elements in crop circles. More significantly, he discovered a fifth theorem from which he could derive the other four. Despite an open challenge, over half a million subscribers have been unable to create such a theorem, which Euclid himself only hinted at twenty-three centuries earlier in his thirteen treatises on mathematics. So it came as a slight surprise when its equilateral version materialized as 160,000 sq. ft. of flattened barley at Litchfield, Hampshire.

Since Hawkins' Euclidean theorems also produce diatonic ratios, a link exists between crop circles and musical notes, themselves the by-product of the harmonic laws of sound frequency. Soon, crop circles bearing unmistakable associations with sound then began to appear. One contained a curious ratchet feature from which is constructed a musical diagram also dating to the Egyptians, the Lambdoma. Also known as the Pythagorean Table, it defines the exact relationships between musical harmonics and mathematical ratios.

In 1996 another crop circle demonstrated the combination of two important figures: the 3-4-5 triangle and the Golden Mean, producing the geometric diagram necessary to produce musical ratios. But it was a convincing formation at Goodwood Clatford- which had its plants bent six inches from the top- that gave the proverbial nod to sound, for here was a representation of a cymatic pattern etched in 5000 sq ft of barley.

Cymatics is the study of vibrational wave patterns. One of its earliest pupils was Margaret Watts-Hughes who, in 1891, captured precise geometric patterns on film as she sang sustained notes into a device containing lycopodium powder. But it would be another seventy six years before Swiss scientist Hans Jenny published the first of his painstaking studies on the transmission of sound through physical mediums, this time in the shape of monitored electronic frequencies.

He observed how sound vibration created geometric shapes- a low frequency produced a simple circle encompassed by rings, whereas a higher frequency increased the number of concentric rings around a central circle. As the frequencies rose so, too, did the complexity of shapes, to the point where tetrahedrons, mandalas and other sacred forms could be discerned. Like Margaret before him, Jenny enabled humanity to observe 'frozen music'.

Jenny also provided a physical connection to the creation of crop circles since many of the vibrational patterns found in his photos mimic their designs. Some are blatant imitations, such as the circle surrounded by concentric rings typical of early 80s patterns, the tetrahedron at Barbury Castle in 1991, the spider's web mandala at Avebury from 1994, even the highly structured star fractals of 1997. Other photos demonstrate the construction geometry encoded within the crop circles' skeleton.

Visually, then, there is little room to deny the connection. But what evidence is there of sound in crop circles at a physical level?

Many accounts exist of a trilling sound heard by people prior to witnessing crop circles forming. The reports describe a sudden stillness in the air, the morning birdsong superseded by a trilling sound and the banging together of wheat heads despite an absence of wind. A whole section of crop then lays down in spiral fashion, the whole episode lasting less than fifteen seconds. Circles researcher Colin Andrews came across the trilling noise himself when, in mild frustration during his search to find a single answer to the phenomenon, he beseeched the heavens, "God, if only you could tell me how these things are created". The reply he received was eventually captured on magnetic tape. Subsequent analysis at Sussex University and NASA's Jet Propulsion Lab concluded the noise was mechanical in nature and beating at a frequency of 5.0-5.2 kHz.

Whilst recording an interview inside a crop circle the same sound was heard by a BBC cameraman shortly before it rendered a £30,000 TV camera obsolete. Interestingly, when the sound made another appearance during group research inside another formation it exhibited qualities of non-linear movement, and behaved in tandem with specific requests, sometimes on a psychic level. Since it also has the ability to transmit on radio frequencies and interfere with electronic equipment, birds and insects can be ruled out; and although skeptics are quick to accuse that the recorded sound is, in fact, the grasshopper warbler, stroboscopic analysis of both voice prints revealed vast differences between this bird and the bizarre noise. Besides, these birds frequent marshes, not vast, open fields of cereal crop.

Interestingly, the Aborigines relate to this trilling sound. During their ceremonies to contact- in their words- the sky spirits, a 'bora' consisting of a specially-shaped piece of wood is attached to the end of a long string and whirled, creating a noise practically identical to the crop circle hum. One has to wonder where the inspiration for this device came from, who these sky spirits were, and what on earth made the timeless Aborigines associate this noise with them. That was until it was discovered that not only have crop circles appeared in Australia, many throughout the 1960s, but their manifestation figures in Aboriginal lore, just as their geometries appear in rock paintings.

In 1998 sounds of a more melodic kind were heard and recorded inside a formation by three witnesses (or is it earwitnesses?); the design was founded on sevenfold geometry, a representation of the intervals in the diatonic music scale. Several months later I came across a diagram called the Web of Athena, in which all the points of the heptagon are connected. Despite the jumble of lines the diagram consists of just three line lengths, and by juxtaposing these onto a stringed instrument, the exact same notes were recreated.

But perhaps the greatest connection linking sound to the manifestation of crop circles lies in their greatest anomaly: the permanent bending of the plants' stems. In Canada during the 1960s, laboratory experiments measured the effects of music on plants by subjecting them to different tones. Exposure to heavy metal music made the plants tilt in the opposite direction, whereas classical music lulled the plants toward the speakers.

But in the case of Hindu devotional music- and the songs of Ravi Shankar, in particular- the stems bent in excess of 60º to the horizontal, perhaps the closest any human has ever come anywhere to achieving that right angle common to genuine crop circles.

Further experiments at Annamalai University applying Indian devotional song generated additional effects: the number of stomata in the experimental plants was 66% higher, the epidermal walls were thicker, and the palisade cells were longer and broader than control specimens, sometimes by as much as 50%. Similar biophysical changes are known to occur in plants collected from crop circles. Tests performed since 1989 by American physicist Dr. W. Levengood consistently show how the energy creating crop circles is able to affect seed embryo and plant growth, elongate the plant's nodes, even alter the pattern of the chromosomes themselves.

Yet the effect extends beyond plants. Agricultural researcher George Smith found that exposing corn to sound frequencies produced a higher heat content in soil, as well as a slight burnt appearance in the plants. The effect is consistent with the slight 'baking' regularly observed in crop circles, where the affected area appears noticeably drier than the rest of the field despite overnight rain; the same applies to the 'slight burning' at the base of crop circle stalks. Oddly enough, Smith speculated at the time that sound energy also increased molecular activity in plants, three decades before it was found in crop circle samples by Levengood.

Since a sudden and abnormal burst of growth is also known to occur in crop circle plants it was postulated that microwave was the culprit behind the creation of crop circles. However, microwave has the ability to render biological systems sterile, and a certain dose will even kill organisms. Yet the crop circles plants are alive and well. After four years of experiments on regular wheat at the University of Ottawa, Mary Measures and Pearl Weinberger found accelerated growth in laboratory samples, and postulated that the sound frequency they applied had produced a resonant effect in the plants' cells, thereby affecting their metabolism. The frequency Measures and Weinberger applied was identical the crop circle trilling noise.

Sound as one energy source capable of creating crop circles now becomes very feasible. But what type of sound coaxes plants to bend and lie down, applying firm and gentle pressure and, given the intricacy and complexity of latterday patterns, with a fine degree of control?

Interestingly, ultrasound is capable of interacting with physical elements to such an incredible degree. It can be aimed, focused and reflected almost like a light beam, and specific frequencies can be focused to cause certain kinds of molecules to vibrate while others nearby are left unmoved. The higher the frequency of ultrasound, the greater its ability to be directed. This requires frequencies in the high MHz range, such as those detected in crop circles by Paul Vigay. His empirical data shows how the level of background readings drop abruptly when he crosses the threshold of a formation. Close to the centre, readings hover in the vacinity of 260-320 MHz.

However, just as crop circles have made a quantum leap in mathematical complexity over the past two years, so readings have recently jumped to 540 MHz. Incredibly, this coincides with Jenny's experiments which show that a relationship exists between the rising complexity of cymatic geometries in proportion to the rise of dispensed frequency. In other words, the level of frequency, whether in a laboratory or a field, correlates with the increase in design intricacy.

Such extremely high frequencies are known to affect the state of awareness and consciousness in humans. Interestingly, people visiting crop formations often notice this, where even simple left brain functions such as counting are affected. When tuned in the MHz range ultrasound also prevents damage to sensitive tissues, so its healing properties are used in treating muscular ailments, and cases of people reporting healings when inside crop circles are becoming commonplace. One long-time sufferer of Parkinson's Disease reported being cured overnight.

Below 20 Hz sound becomes infrasonic, and such frequencies are directly involved with biological processes. It is well known that long exposure to infrasound can cause unpleasant conditions such as fatigue and nausea, and such symptoms are reported by visitors to crop circles. When combined with high-pressure, the acoustic power created by infrasound is in the order of kilowatts. In the case of plants, this pressure boils the water held inside the stems in a nanosecond. As water heats it expands, and a close look at crop circle plants reveals tiny holes in their nodes where this superheated water has escaped. With a hollow cavity near the base, and the stems made subtle like molten glass by the heat, the now top-heavy plants collapse into their new horizontal position.

Since this 'vapour cavitation' also creates local temperature increases of hundreds of thousands of degrees for a fraction of a second it is not now difficult to see why millions of gallons of groundwater disappear within the area of a crop circle, or why the plants have a cooked, malty odour. Combine this with Levengood's discovery of microscopic blow-holes in the plants' cell wall pits (indicating the rapid boiling of water inside the plant), and everything starts to fall into place.

This infrasonic/ultrasonic process also creates a hissing sound, and if you are fortunate enough to visit a crop circle within a few hours of its appearance you will find yourself surrounded by this. Since infrasound is also capable of atomizing water molecules and creating a fine mist, it should be mentioned that in 1996 a farmer out harvesting his field at Etchilhampton saw what he describes as 'a series of columns of mist rising like cannonshot from the field next door'. Mist looks very out-of-place in a wheat field, in mid-afternoon on a dry, summer's day. Yet shortly after the incident a series of thirteen circles connected by a three quarter-mile long avenue and a Sanskrit-type glyph appeared in the very same field.

Finally, vapour cavitation is accompanied by a sudden spark of light called sonoluminescence, caused by the production of electrical discharges as the water/vapour is ionized. And the lower the operating frequency, the greater the effect. In a laboratory, 18 Hz has been used as the lowest safety threshold below which the pressure formed by infrasound is known to produce disruption to chromosomes. Every summer, crop circle plants of every variety are sent blind to Dr. Levengood, and some inevitably show unmistakable disruption to their chromosomes. Yet give him samples deliberately produced by field forgers and he'll find something really unusual-perfectly normal plants.

The musical scale, constructed on the harmonics of sacred geometry, and now found within the framework of crop circles, represents the mathematical structure of the soul of the world because it embodies the essence of the Universe. So it's no coincidence that a large percentage of crop circles can be identified with- and by- ancient cultures, who to this day honour their histories through song and music, their healing rituals performed with sound or rhythm. This relationship is further extended in Buddhist mandalas, whose elaborate geometries are used to alter states of consciousness. Perhaps it is not by coincidence that crop circle designs mirror these intricate patterns, just as they bear an uncanny familiarity to Jenny's materializations of sound.

If sound vibrations are both encoded into and generated by crop circles, is it not possible that they, too, can arouse the individual at a spiritual level? After all, it's through music that whole human experiences are celebrated and carried from generation to generation. It is very probable that it is for this reason that the very shape of the human ear- more specifically the cochlea- is a spiral constructed according to the harmonic laws of tone, just as the same spiral forms the primary basis from which thousands of crop circles have sprung.


Music is a carrier for social change. The effects of Handel's music is believed to have reversed the state of morality in Victorian England, just as the anarchic overtones of Punk corralled disillusioned youth into fighting an establishment that held no tolerance for those who stepped outside the system. The effects in people's states of awareness through contact with crop circles is similarly documented. In 1990 a pictogram at Alton Barnes sported the trident of Shiva the Transformer. Ironically, it was through exposure to this crop circle that millions around the world were transformed, just as images of crop circles today continue to enlighten the awareness of those who come into contact with them.

If sound is one of the formative principles behind crop circles, it is not surprising that they are leaving psychological impressions on those whose antenna is extended and receptive to their tune.

© Freddy Silva 1997


Source :

• Crop Circle Secrets
• Cymatics Source ~ Crop Circles

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