MIKE FIORITO- UFO Symphonic: SOUND, FREQUENCY & THE PHENOMENA

0:13 Speaker 1: Welcome to Total Disclosure across all platforms, where we explore

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0:42 Speaker 1: bells so you stay up to date on everything that

0:45 Speaker 1: we have to offer. Today, we have a fantastic show

0:48 Speaker 1: with Mike Fiorito, an adjunct professor of English at City

0:53 Speaker 1: Tech or c U n Y. Mike is a freelance

0:56 Speaker 1: journalist as well as an author of several books. Several

1:01 Speaker 1: books including UFO Symphonic, which is on pre order now.

1:07 Speaker 1: Welcome mister Mike fury Dough. Well, Hello, Mike.

1:22 Speaker 2: Hey ty, thank you so much for having me. Yeah,

1:25 Speaker 2: I love that introduction. It's usually fun to listen to people,

1:30 Speaker 2: uh give the names the titles of my books, which

1:33 Speaker 2: are somewhat interesting. But you've jumped right to the UFO symphonic,

1:38 Speaker 2: which is perfect, but the other one's Freud's Habitdacharie habits

1:42 Speaker 2: Mescalito riding his white horse. You know, it's kind of

1:46 Speaker 2: falling from trees, sleeping with fishes. So people sometimes over that,

1:51 Speaker 2: which is fun to listen to.

1:53 Speaker 1: Well, I that's why I intentionally took those out. Yeah,

1:58 Speaker 1: I was like, there's no way onsten all these books,

2:01 Speaker 1: there's no there's no way. But the reason I stuck

2:05 Speaker 1: to it is because obviously that's the book that is,

2:09 Speaker 1: it's at the forefront right now, and there's actually a

2:12 Speaker 1: synchronicity here because and it's been something now if you

2:17 Speaker 1: could everyone can see here. I don't know if everyone

2:19 Speaker 1: can see it, but there's a little, a little picture

2:21 Speaker 1: up here. So I was just in Congress for the

2:24 Speaker 1: hearings of UFO hearings and I was talking to Danny Shean,

2:30 Speaker 1: Bob Salas I was, I mean Bob, I was there

2:34 Speaker 1: with him and Steve Bassett, and we all got to

2:38 Speaker 1: talking about the keys to the universe and how sound,

2:44 Speaker 1: light frequency, these are things that on a metaphysical level,

2:51 Speaker 1: I think are are the keys to the universe. And

2:55 Speaker 1: it went it got me on this journey about sound

2:58 Speaker 1: and then I had to guess to cancel on me

3:00 Speaker 1: this week. I ask Earle Anderson, hey, can you, you know,

3:05 Speaker 1: recommend someone, and he goes, you got just the guy

3:08 Speaker 1: for you and then introduces me to Mike Fiuriedo, who

3:12 Speaker 1: is literally putting out a book about UFO Symphonic. Is

3:15 Speaker 1: it journey into Sound or yeah?

3:19 Speaker 2: Yeah, and it's it's Journeys into Sound and there's a

3:22 Speaker 2: there's a reason for that, and I could kind of

3:25 Speaker 2: give you a little bit about that. First of all,

3:28 Speaker 2: I love Earle and we met kind of i'd say serendipitously.

3:34 Speaker 2: Really he read my first UFO specific book for all

3:39 Speaker 2: we know, and he he was just very supportive, very

3:44 Speaker 2: praising of the book. I mean, I usually feel bashful

3:47 Speaker 2: and when people say nice things, but of course we'd

3:50 Speaker 2: love to hear it. We sit on our butts and

3:52 Speaker 2: ride for a reason. And uh, I started to By

3:58 Speaker 2: the way, there's a pick of girl with Bob Sallas.

4:03 Speaker 2: Earl is wearing the Ufoonic book.

4:06 Speaker 1: Yeah, that was from there their lunch yesterday, which is

4:10 Speaker 1: also another synchronicity because I was just I was just

4:14 Speaker 1: with Bob, so that that right there by the way

4:17 Speaker 1: I was pointing at. So that was my That's that

4:20 Speaker 1: was on the chair in Congress when I walked into

4:24 Speaker 1: Congress into the hearing room. So that was on the

4:28 Speaker 1: chair and it has my name in the show name

4:31 Speaker 1: total disclosure because I had a press seat so I

4:33 Speaker 1: didn't have to actually wait in line, although I did.

4:37 Speaker 1: I got there at four am, just like everybody else.

4:41 Speaker 1: But it's just it's all been synchronicity and synchronicity and synchronicity.

4:46 Speaker 1: But I hung it up because that that's a big marker.

4:49 Speaker 1: I don't know if you watch the hearings, but I

4:52 Speaker 1: mean it wasn't disclosure by any means, but you know,

4:58 Speaker 1: it furthers the discussion. And I got to bring Bob

5:02 Speaker 1: Salice in to meet Nancy Mace. You know, I I

5:06 Speaker 1: got that meeting and it was a it was a

5:08 Speaker 1: big deal so that you know, the ties to nuclear

5:12 Speaker 1: and uh you know, and yeah, it's really wild. But

5:18 Speaker 1: today we're here to talk about what you've been working on.

5:23 Speaker 1: I am super intrigued to hear more about what this

5:28 Speaker 1: book is about and why you chose this this avenue

5:32 Speaker 1: to to go down.

5:34 Speaker 2: Sure, well, well thank you for that. I do I

5:37 Speaker 2: quote Bob salas in in uh in Ufo Symphonic, because

5:42 Speaker 2: one of the things that Bob says is that we're

5:45 Speaker 2: dealing with something uh exactly how I quoted that is inexplicable,

5:51 Speaker 2: that is has to do with consciousness and to some

5:57 Speaker 2: extent perhaps unknowable. I thought that was for found, you know,

6:00 Speaker 2: given who he is and what he experienced. But he

6:04 Speaker 2: is And that's kind of where I'm coming from that

6:07 Speaker 2: I don't have I don't make any final claims. I'm

6:11 Speaker 2: asking questions really in both of my books. I mean,

6:14 Speaker 2: think of for all we know the title, for all

6:16 Speaker 2: we know, there's a lot to learn. So I'm a

6:20 Speaker 2: music journalist. I'm also a musician. But people, you know,

6:24 Speaker 2: when I say I'm a musician, I also say people

6:25 Speaker 2: pay me to stop playing.

6:28 Speaker 1: Just joking, But is it it's curious as to how

6:34 Speaker 1: many it's It's funny how the UFO community attracts artists

6:40 Speaker 1: of all kinds, right, it's it's it's a lot of musicians.

6:44 Speaker 1: But that also you know a lot of other artistic people.

6:49 Speaker 1: But the music, the music is a huge one. I

6:54 Speaker 1: notice a lot of musicians.

6:57 Speaker 2: Well, I'll tell you something. I'll get to ufo symphonic.

6:59 Speaker 2: But I want to make since you brought that up,

7:03 Speaker 2: I was so I read the book. If you've read

7:05 Speaker 2: Jeff Kreipel's The Flip, I've read pretty much everything by Jeff.

7:08 Speaker 2: Jeff wrote the he wrote a blurb for all we know,

7:13 Speaker 2: and I sent I read the Flip. I sent it

7:17 Speaker 2: to I had been writing about Peter Rowan. I wrote

7:21 Speaker 2: a book about Peter Rowan, who's a musician. He's kind

7:24 Speaker 2: of one of the pillars of bluegrass music.

7:27 Speaker 1: Yes, absolutely, you know when Peter.

7:29 Speaker 2: Receives music from the muses. You know, he receives music

7:33 Speaker 2: from dreams, he receives music from all kinds of modalities.

7:40 Speaker 2: And when I sent the book to Peter. Now, if

7:44 Speaker 2: you've read The Flip, it's it's it's kind of academic.

7:47 Speaker 2: It's it's being written to academics. Who are, you know,

7:52 Speaker 2: staunch materialists and who were not who are just they

7:56 Speaker 2: shut down the conversation of the anomalous. If there's something anomalists,

8:01 Speaker 2: we don't want to talk about it, we don't have

8:02 Speaker 2: an explanation for it. Let's put it aside. And so

8:06 Speaker 2: what the Flip is about is is how you and

8:09 Speaker 2: I would say Jeff kind of flipped me. Is how

8:12 Speaker 2: now I had already been open to these ideas, but

8:15 Speaker 2: he gave us a framework to talk about this in

8:18 Speaker 2: a sober way. That doesn't, you know, not to insult anyone.

8:22 Speaker 2: It doesn't make us sound cuckoo to other people. We

8:25 Speaker 2: have a reasonable framework that actually is very rational. Just

8:32 Speaker 2: because you don't have understanding of something doesn't mean you

8:35 Speaker 2: should ignore it. But here's my point. I send that

8:39 Speaker 2: book to Peter. He read the book and he said,

8:43 Speaker 2: who is he writing this for? And I scratched my hand.

8:46 Speaker 2: I said, you know, right, of course, you're already there.

8:52 Speaker 2: So when you say musicians, you know, poets, artists, anyone creative,

8:57 Speaker 2: and a physicist can be and is if anyone could

9:01 Speaker 2: be creative. But there's that listening to the muse and

9:08 Speaker 2: knowing that, you know, there's your rational mind that kind

9:11 Speaker 2: of explains things and is very powerful and has helped

9:15 Speaker 2: us to create technologies and amazing things that are very practical.

9:21 Speaker 2: But there's that other thing that happens. There's the thing

9:23 Speaker 2: called inspiration. There's a thing that opens a window to

9:27 Speaker 2: where ideas come in. I think Paul McCartney said he

9:33 Speaker 2: wrote eleanor Rigby or yesterday. It just came to him

9:37 Speaker 2: in a dream. It was yesterday. He wrote it in

9:40 Speaker 2: a dream. It just full intact melody, maybe not the words,

9:45 Speaker 2: but he woke up and had to write it down

9:47 Speaker 2: just so he could, you know, concreteize it. I believe

9:52 Speaker 2: the idea of the double helix came to Crick in

9:56 Speaker 2: a dream. And it's so interesting thing that in our

10:01 Speaker 2: you know, rational, everyday materialist world, we just relegate those

10:05 Speaker 2: things to fantasy. Oh that's just fantasy, that's just far

10:09 Speaker 2: out crazy stuff.

10:10 Speaker 1: But everything came from fantasy, if you want to call

10:14 Speaker 1: it that, because you know, before any of this was created,

10:18 Speaker 1: it was all in our in someone's head, right, The

10:22 Speaker 1: material world came out of imagination. And when you really

10:27 Speaker 1: that's the big trick, right, is everything we see around

10:30 Speaker 1: us this was all originally an idea. Didn't exist beforehand.

10:35 Speaker 1: The world, yes, the materials were there, all of it

10:39 Speaker 1: was there, but someone had to think it first, right,

10:44 Speaker 1: and then construct it make it become reality. So I

10:49 Speaker 1: find the muse, like you just said, is there's so

10:54 Speaker 1: much evidence suggests that the collective conscious is is absolutely

11:01 Speaker 1: something that's there.

11:03 Speaker 2: Yeah, I mean there are people to you know, even

11:05 Speaker 2: go a step further that believe that matter is epiphenomenal,

11:10 Speaker 2: that consciousness is the foundation. It's not that brain and

11:15 Speaker 2: material world are the foundation, but consciousness is the foundation.

11:19 Speaker 2: And then the material world is kind of built upon.

11:21 Speaker 1: That, compounded on top of it.

11:25 Speaker 2: Yeah, and and you know, perhaps you know they are

11:28 Speaker 2: they're they're really one and the same, really one and

11:32 Speaker 2: the same. But that the consciousness proceeds. That's a kind

11:36 Speaker 2: of mind blowing idea.

11:38 Speaker 1: Right, and that would mean so now stop me if

11:42 Speaker 1: I'm going off track. But now consciousness, of course, I

11:47 Speaker 1: think we we associate we associate this this idea of

11:53 Speaker 1: consciousness as as something that uh, it's it's something that

12:01 Speaker 1: physicists rarely want to get it go into the idea

12:06 Speaker 1: of it. But I mean it itself is the reason

12:10 Speaker 1: that we're able to have these conversations. And it's very

12:13 Speaker 1: unique in the sense that you know, I feel as

12:16 Speaker 1: if you know, you can break So so if we

12:20 Speaker 1: look at a radio, right, it's receiving a broadcast, it's

12:24 Speaker 1: receiving a signal. You can break the radio, right, you

12:29 Speaker 1: can break the the the receiver, but the signal is

12:33 Speaker 1: still coming through. So is consciousness that signal because we

12:38 Speaker 1: we we know it's probably not the radio. The radio

12:42 Speaker 1: is constructed, right, So what I'm saying is consciousness seems,

12:49 Speaker 1: like you said, to be the the layer that everything

12:53 Speaker 1: is compounded onto after.

12:55 Speaker 2: Yeah, and then and then it's it sort of explains

12:58 Speaker 2: or you know, nuances some of the things we talk

13:01 Speaker 2: about when we talk about the phenomena of which the

13:05 Speaker 2: UFO subject matter is a piece of it's it's not

13:09 Speaker 2: the it's not the only thing. I've been listening to

13:12 Speaker 2: the what is it? The telepathy tapes? Super fascinating, great podcast.

13:17 Speaker 2: But people that have autism who cannot speak and they

13:21 Speaker 2: use typing or other means to communicate that they can

13:27 Speaker 2: first of all, read people's minds. They can. There was

13:31 Speaker 2: you know, cases where and they're they're autistics. So it

13:36 Speaker 2: wasn't known until there were means to, you know, the

13:41 Speaker 2: right technology, the right kind of tools to ascertain this.

13:45 Speaker 2: But in some cases, this one autistic person, he was

13:50 Speaker 2: shown a book, he puts his hand on the book,

13:53 Speaker 2: he knows the book, knows it, and it's sort of like, well,

13:58 Speaker 2: where is that, where is that community happening? You know,

14:01 Speaker 2: how is this? How is this coming across he speaks to,

14:08 Speaker 2: he speaks to gods, he speaks to beings that give

14:12 Speaker 2: him knowledge. You know, these are things we hear of

14:15 Speaker 2: when people have UFO experiences and counters. So that's that's

14:21 Speaker 2: kind of that's that's where I'm coming from, and that's where,

14:25 Speaker 2: uh that these are some of the ideas I play

14:28 Speaker 2: with in the book. But to get back to the

14:31 Speaker 2: subject of you know, why did I choose this, Why

14:34 Speaker 2: did I go down the music path? Why did I

14:36 Speaker 2: choose that title? So a couple of things is that

14:40 Speaker 2: I'm deeply interested in music. So you know, I've a

14:44 Speaker 2: music journalist. I read about music, I talk to people

14:47 Speaker 2: about if they're passionate and interested, you know, the sources

14:53 Speaker 2: of music, music from different cultures, music genres. So there's

14:57 Speaker 2: that ready made U true authentic interest. And when I

15:03 Speaker 2: became interested in the UFO, the UFO topic, which really happened,

15:09 Speaker 2: you know, say about twenty seventeen, you know, I'm a

15:12 Speaker 2: late comer to it.

15:13 Speaker 1: And then yeah, around the time when the New York

15:17 Speaker 1: Times article came out exactly exactly.

15:20 Speaker 2: About that time. And then if I showed you my

15:23 Speaker 2: book collection, it's you know, mounting, it's like, you know,

15:26 Speaker 2: staggering piles of books. But I have gotten deeply, deeply

15:30 Speaker 2: interested in the subject matter, you know, reading everything I

15:34 Speaker 2: can get my hands on. Bernardo castrop is interesting, Jeffrey Kreipel,

15:40 Speaker 2: Diana Pasuca, Greg Bishop, Jeremy Vienny. There's just I mean,

15:44 Speaker 2: I've left out a million people. But so I saw

15:49 Speaker 2: that there was this, there was this kind of it

15:52 Speaker 2: didn't seem to be a topic covered. And so I

15:57 Speaker 2: made the title UFO symphonic means into sound, because I

16:01 Speaker 2: realized there's music, first of all, which is a kind

16:04 Speaker 2: of transportation system in a way, can take you across time,

16:11 Speaker 2: can take you to places emotionally in all kinds of ways.

16:16 Speaker 2: And also what's interesting is as I dug into this,

16:19 Speaker 2: and if I tell you Toy, when I began writing

16:21 Speaker 2: the book, I was kind of I was discovering. What

16:26 Speaker 2: I was trying to say is I was writing it so.

16:30 Speaker 1: So you're pulling it from the muse.

16:32 Speaker 2: Pulling it from the muse from dreams. You know, there's

16:35 Speaker 2: a lot of dream in my book. I believe very

16:38 Speaker 2: strongly that dream dreaming is it's it's a reality that's

16:44 Speaker 2: on par with our every day and I think it's

16:47 Speaker 2: a portal you know, to you said, the collective unconscious.

16:51 Speaker 2: It's a portal to this other kashak records, this other field,

16:58 Speaker 2: this bigger field that connects us to each other, to

17:02 Speaker 2: other beings, other places and times. Yeah, and so h

17:08 Speaker 2: just one thing to say. When I was I was

17:10 Speaker 2: looking into music, but I realized this also involves sound.

17:15 Speaker 2: So this also involves sound in the sense that, yes,

17:17 Speaker 2: there's music. There's music as a contact modality, as a vehicle,

17:24 Speaker 2: but there's also things like drumming, rhythm. I've gone to

17:30 Speaker 2: indigenous ceremonies where you know, they use drumming and singing, chanting,

17:37 Speaker 2: and let me tell you, man, that is a way

17:39 Speaker 2: to uh to go places. I had an experience with

17:45 Speaker 2: They call it son pedro. It's a kind of it's

17:48 Speaker 2: a similar to it's an alkaloid, a plant that's similar

17:54 Speaker 2: to mescaline, but it's very it's kind of lighter. But

17:59 Speaker 2: we there was a shaman that led us on a

18:02 Speaker 2: journey into sound.

18:03 Speaker 1: Yeah, I mean I've taken Yeah, I took d MT.

18:06 Speaker 1: I did DMT. I would like to do ayahuasca like

18:10 Speaker 1: a ceremony with a shaman. I want to do that. Yeah,

18:15 Speaker 1: But I also there was us I did a sound bath, yeah,

18:22 Speaker 1: and that the woman that was leading the sound bath,

18:27 Speaker 1: she pulled me aside afterwards because she had noticed how

18:32 Speaker 1: deep I went under and it was it was probably

18:36 Speaker 1: the closest time. It was the closest I've ever got

18:39 Speaker 1: to the d MT experience without actually taking a substance

18:43 Speaker 1: like DMT because the and it's crazy, like you talked

18:49 Speaker 1: about drumming frequency just or the beat, the how you

18:54 Speaker 1: can feel it, the base, you can feel it in

18:56 Speaker 1: your body. There's something about sound and we talk about

19:00 Speaker 1: this in the community, you know, whether it's being you know,

19:02 Speaker 1: ancient civilizations and how they may have used sound as

19:05 Speaker 1: technology pretend perhaps even levitation using sound or and frequency

19:11 Speaker 1: to levitate stone. You know, who knows? Uh. You know,

19:15 Speaker 1: there's so much there's so much lore and and hypothesis

19:20 Speaker 1: out there that I that I really could have validity,

19:24 Speaker 1: but no one's doing the work to actually look into it.

19:27 Speaker 1: Because there's something powerful about like you said, when like

19:32 Speaker 1: when you hear a song and it will bring you

19:33 Speaker 1: back to a moment, right, it's able to traverse you

19:36 Speaker 1: through time in your mind, right because the consciousness again

19:42 Speaker 1: is the only thing that we know of that can

19:43 Speaker 1: go into the past, into the future, and in the

19:48 Speaker 1: now all at once if it really needs to. And

19:52 Speaker 1: and uh, I just find there's a lot of overlap,

19:57 Speaker 1: uh and in a lot of these categories. So so

20:00 Speaker 1: can't sound Can sound be used to as a contact modality?

20:07 Speaker 2: Like you said, yeah, it has been, It really has been.

20:11 Speaker 2: You know, at the Monroe Institute, they developed this thing

20:14 Speaker 2: called hemi sync and hemi sink is you have two

20:18 Speaker 2: you know, you put on a headset and you have

20:20 Speaker 2: two frequencies. They're going at different rates, and it creates

20:24 Speaker 2: this kind of warble effect. But if you do it,

20:27 Speaker 2: first of all, it's very hypnotic, and then you start

20:30 Speaker 2: to have hypnogogic kind of images and things come up.

20:35 Speaker 2: I mean, you have conversations, you have little beings that

20:38 Speaker 2: come out. And I had like an old kind of

20:42 Speaker 2: old lady come out and you know, yelling at me.

20:44 Speaker 2: It's in the book. I forget the detail, but you know,

20:47 Speaker 2: I was, I experimented. Part of this book is my

20:51 Speaker 2: journey into these things, my experimentation, So that is very

20:56 Speaker 2: very powerful hemi sync. And also you said sound baths,

21:01 Speaker 2: So I went to a sound bath place in Manhattan,

21:05 Speaker 2: and you know I walked in. I remember I you know,

21:08 Speaker 2: I was late. So get off. The train is New

21:10 Speaker 2: York City running.

21:11 Speaker 1: Yeah, get out of my way.

21:15 Speaker 2: I don't to meditate. Leave me home.

21:17 Speaker 1: The populated world is in your way at that point.

21:24 Speaker 2: And I get to the place and the sound baths

21:28 Speaker 2: started and it's it's using a mixture of gongs and

21:35 Speaker 2: chimes and bells, and you know, you even though when

21:42 Speaker 2: I lie down and I was a little out of

21:45 Speaker 2: breath and I'm saying, oh gosh, I can't I can't

21:48 Speaker 2: relax because I'm still worked up. But the the the

21:52 Speaker 2: sound takes you, you know, it's just the science of it,

21:57 Speaker 2: the the way it's ringing, and you're, like you said,

21:59 Speaker 2: you're whole body, and it takes you on a journey,

22:03 Speaker 2: and it's something to like what's similar to sleep. Yeah,

22:07 Speaker 2: in a sense, you go into the hypnogogic state, a

22:10 Speaker 2: hypnoglogic state, and then you're you can go further. Monroe

22:18 Speaker 2: talked about how he was Robert Monroe talked about how

22:25 Speaker 2: he had extended conversations now interestingly tie with beings that

22:31 Speaker 2: were where first of all, we're funny, we're kind of trickstery.

22:37 Speaker 2: We're giving him messages to kind of save humanity. The

22:44 Speaker 2: things we've heard before and all through sound, and these

22:49 Speaker 2: were things I kind of stumbled upon in my research,

22:52 Speaker 2: So I didn't really start out with that exactly, but

22:55 Speaker 2: as I did more research, what became clear to me is,

23:00 Speaker 2: first of all, the whole universe is alive, a buzz

23:02 Speaker 2: with sound. Everything even stones have a you know, and

23:08 Speaker 2: then there's like wind, and you know, there's pulsars. You know,

23:12 Speaker 2: everything rings with frequency. So there's this big you know,

23:16 Speaker 2: the universe is more like a music than it is

23:19 Speaker 2: like a machine. It's one thing kind of discovered. And

23:27 Speaker 2: the things that I go into are from the prosaic

23:31 Speaker 2: to a lot of it has to do with grief,

23:35 Speaker 2: to be honest with you, as much as in what

23:38 Speaker 2: I have discovered in the Ufoor world is people who

23:44 Speaker 2: have encounters. There's often something, there's near death, sometimes there's grief,

23:50 Speaker 2: there's loss, there's something that kind of cracks open their

23:55 Speaker 2: everyday bubble of reality and opens them up to something

24:01 Speaker 2: beyond themselves, something bigger. Yeah, So a lot of these

24:05 Speaker 2: stories involve they'll involve something of grief. They could be

24:09 Speaker 2: very prosaic stories. They could be. Sometimes there are things

24:13 Speaker 2: like where an instrument basically began communicating to someone from

24:18 Speaker 2: the dead. You know, someone was communicating, I should say

24:22 Speaker 2: through it an instrument from the dead. Very profound. One

24:27 Speaker 2: woman had an experience where she was what is it

24:34 Speaker 2: called an epidemiologist, and she was she was, you know,

24:42 Speaker 2: scientists who had this kind of I guess way she

24:44 Speaker 2: looked at the world. And then she went to a

24:47 Speaker 2: breakup that was maybe part of it. And she began

24:53 Speaker 2: her porch, she said, became a spaceship. She would go

24:57 Speaker 2: into her porch and she would here beings. Beings would

25:02 Speaker 2: come to her, and they would ask things of her.

25:06 Speaker 2: They would ask her to sing, and she said, I

25:08 Speaker 2: have a god awful voice, but she would sing to

25:13 Speaker 2: for healing. She said, I don't know to whom and where,

25:18 Speaker 2: but she was compelled to have these, to make these songs.

25:25 Speaker 2: So that was beautiful. And this is a person who

25:27 Speaker 2: was brought to tears telling me this. So the people

25:30 Speaker 2: I talked to, all I asked, is you have a

25:34 Speaker 2: music a story related to music. I didn't want it

25:37 Speaker 2: to find it. I don't want to push it on

25:39 Speaker 2: you and tell you what it is. I wanted to

25:41 Speaker 2: hear it from you, and then I wanted to make

25:43 Speaker 2: sure it kind of qualified. So the book is kind

25:47 Speaker 2: of a catalog of other peoples in a way, like

25:50 Speaker 2: a symphony. So that's kind of why I called it that,

25:54 Speaker 2: like a polyphonic symphony, which means many voices, it's not

25:58 Speaker 2: just my voice. One of the things I wanted to

26:01 Speaker 2: mention in my research I started to do. I mean,

26:04 Speaker 2: I read, you know, books on musicology. You know, that's

26:07 Speaker 2: the thing about ufology. You've better get ready to stack

26:10 Speaker 2: up your library because you're going to run into you

26:13 Speaker 2: have to read science. You're gonna have to read psychology.

26:16 Speaker 2: You're gonna have to get into jung You're going to

26:18 Speaker 2: have to read anthropology and sociology. You're going to have

26:22 Speaker 2: to do a lot of reading. So I was reading

26:24 Speaker 2: books on musicology. Where does music come from? Bottom line

26:30 Speaker 2: is no one knows. And it may proceed our ability

26:36 Speaker 2: to sing, may proceed our ability to speak in language,

26:40 Speaker 2: which is so fascinating, how primitive and how deep you know,

26:45 Speaker 2: and when you think of you know, like music, you know,

26:52 Speaker 2: moaning or you know, there are certain eulilations that are used,

26:56 Speaker 2: you know, in certain kinds of singing, and but that

27:02 Speaker 2: takes us to deep places within ourselves, you know, And

27:05 Speaker 2: it's it's pre language, you know. And this subject matter, this,

27:12 Speaker 2: this the upology subject it seems to really go beyond language.

27:17 Speaker 2: It's sort of like when I try to put it

27:19 Speaker 2: down into words and I'm sorry, Yeah.

27:21 Speaker 1: Wouldn't that be fascinating though, if if, if some way,

27:26 Speaker 1: somehow we find out that that that our our our

27:33 Speaker 1: language didn't come first. It was the yeah, the the

27:38 Speaker 1: maybe maybe something more like yeah, like what you just said,

27:41 Speaker 1: tradition communicating with uh noises strung together the same way

27:48 Speaker 1: we do with words, just but with put you know,

27:51 Speaker 1: more drawn out in a drawn out way that was

27:54 Speaker 1: more you know, had more uh base to it and

27:58 Speaker 1: or flourished to it. Yeah, And maybe that is why,

28:04 Speaker 1: you know, when people go to church and they hear

28:06 Speaker 1: that type of music, they really they start to resonate

28:09 Speaker 1: and go to that place where they're able to communicate

28:13 Speaker 1: with a higher a higher conscious or higher being. Right,

28:19 Speaker 1: whether you choose to call it God or h Muhammad

28:24 Speaker 1: or or or this or that, the common theme seems

28:29 Speaker 1: to be that these places of worship are also places

28:34 Speaker 1: of music.

28:35 Speaker 2: Right, I mean what you described could be said, could

28:38 Speaker 2: happen at a football game, right, you know, you go

28:43 Speaker 2: to a football game and they have songs. They have

28:45 Speaker 2: songs for touchdowns, they have songs for uh really everything

28:50 Speaker 2: from the beginning to the to the end, and everyone

28:53 Speaker 2: knows those songs. And it's extremely emotionally connecting. You know.

28:59 Speaker 2: Sometimes that's the way people are are connecting in the

29:03 Speaker 2: deepest ways, because some things are hard to say. You know,

29:06 Speaker 2: if you could, if I could say it in words,

29:08 Speaker 2: I wouldn't need music. And it's very primitive. Interestingly, I

29:13 Speaker 2: learned that there are primates that uh, there are gorillas.

29:18 Speaker 2: I think there were gorillas that when they eat, they

29:22 Speaker 2: have they have eating songs and they hum m hm.

29:27 Speaker 2: Really and when they're like their favorite foods, they have

29:30 Speaker 2: like songs for their favorite foods.

29:34 Speaker 1: That's easy.

29:36 Speaker 2: Yes, there's this deep, unpacked thing that all I've done

29:40 Speaker 2: is really, all I've done is scratch the surface. Really,

29:43 Speaker 2: I think.

29:45 Speaker 1: Right, there's a study that I reference a lot, and

29:48 Speaker 1: I need to get the details of the school because

29:52 Speaker 1: I never remember the school, but or there was an institution,

29:56 Speaker 1: I don't know. I'll again spotty on that detail. Some

30:01 Speaker 1: sort of institution ran an experiment where they froze water

30:07 Speaker 1: and before they would freeze it, they would speak to it.

30:12 Speaker 1: So when they were when they used words or anything

30:16 Speaker 1: that had a positive connotation, the when frozen, the m

30:23 Speaker 1: the the water would crystallize in these beautiful, amazing structures.

30:31 Speaker 1: But when they used words that had negative connotation, war, tragedy,

30:36 Speaker 1: you know, uh, the ice froze and not beautiful structures

30:42 Speaker 1: like crazy, you know, wonky ones. So it goes because

30:47 Speaker 1: our voice, right, our voice, we we it's it's a frequency.

30:53 Speaker 1: So what they're what they kind of proved, is that

30:56 Speaker 1: our words matter literally right, they affect the matter around us.

31:04 Speaker 1: So singing would ultimately have that same effect, if not

31:09 Speaker 1: a more powerful effect. People sing to their pregnant wife's bellies.

31:15 Speaker 1: So why why do we have that instinct? And why

31:20 Speaker 1: is it there? Its very all these questions are now

31:24 Speaker 1: coming to me.

31:25 Speaker 2: Yeah, there's music. I mean those are all great points.

31:28 Speaker 2: You know. There's music, you know for funerals, there's music

31:31 Speaker 2: at graduation. There's music accompanying pretty much every great, every

31:37 Speaker 2: significant milestone. And it's something that we're compelled to do.

31:42 Speaker 2: It's just something illicit, you know, it does I mean

31:47 Speaker 2: even if I like give an example, if I if

31:50 Speaker 2: I start speaking as I'm speaking now, right, I'm just

31:53 Speaker 2: talking to you, but then I start to I will

31:56 Speaker 2: rise and go now and go to in as free

31:59 Speaker 2: and a small and build there of clay and wattles

32:02 Speaker 2: made nine bean rose. Shall I have there and a

32:05 Speaker 2: hive for the honey bee, And I shall leve alone

32:08 Speaker 2: in the be loud glade, and I shall have some

32:11 Speaker 2: piece there for peace comes dropping slow, you could see,

32:17 Speaker 2: you know, talent side right, let's crack on my talent

32:24 Speaker 2: lack of it there, But yeah, there's something different. And

32:28 Speaker 2: you know prayer, you know, people will talk about you

32:31 Speaker 2: were saying to the water. I think prayer is very powerful.

32:34 Speaker 2: It's very very powerful. I mean, Buddhists, you know, say

32:38 Speaker 2: that you know the words that you use, you know,

32:42 Speaker 2: create your reality and be careful, be cautious of the

32:45 Speaker 2: words you use because you know thought, thought precedes the words.

32:49 Speaker 2: The words kind of then you know, push things into happening.

32:55 Speaker 2: And I think we're all guilty of those things. I

32:57 Speaker 2: know I am. You know, there are things I wish

32:59 Speaker 2: I wouldn't say that I wish I hadn't said, and

33:01 Speaker 2: I feel terrible about having said that, but we're all

33:07 Speaker 2: we're all a work in progress, and you know this

33:11 Speaker 2: power of you know, sometimes you hear music, you know,

33:14 Speaker 2: you want driving music, right, Sometimes you want uh music

33:21 Speaker 2: because you're sad, you know, or music because you're happy

33:26 Speaker 2: for me. The music. It's so it's been so magical

33:31 Speaker 2: that you know, say, for example, the way that I

33:33 Speaker 2: met I met Peter Rowan through a series of improbable,

33:38 Speaker 2: you completely incredible events. So if I can tell you

33:43 Speaker 2: very briefly, and it's part of this magic, the synchronicity,

33:47 Speaker 2: this kind of chasing the dream this uh. So my

33:51 Speaker 2: friend uh, Carlos has UH. He's an artist, he has

33:55 Speaker 2: an UH and he had a studio on Coney Island

33:59 Speaker 2: and and Cody Island Avenue. I went to his studio

34:04 Speaker 2: and there was I'd been doing interviews with indigenous artists

34:11 Speaker 2: and just indigenous people around the country. I went to

34:15 Speaker 2: a studio I should say. Carlos is from Guatemala, He's

34:18 Speaker 2: half indigenous, and there was a portrait I was kind

34:24 Speaker 2: of tucked in the back there and the portrait was

34:27 Speaker 2: of this guy, Ernie Panacoli. Ernie Panacoli is a hip

34:33 Speaker 2: hop photographer. He was born in Brooklyn, and he he's

34:38 Speaker 2: half Cree and this picture was just it was so incredible.

34:42 Speaker 2: You looked at the eyes and there were so much

34:44 Speaker 2: they came to life. I mean they popped out from

34:46 Speaker 2: the back of you know, things he'd been working on.

34:50 Speaker 2: And I said, who's that guy? And so anyway, he said,

34:54 Speaker 2: he's Ernie Panacola. Do you want to meet him? I

34:56 Speaker 2: met Ernie and I wrote I did an inter with him,

35:00 Speaker 2: which then got published in a newspaper. And then Ernie

35:06 Speaker 2: says to me, listen, I have someone very special I

35:08 Speaker 2: want to introduce you to. He goes, I trust you.

35:11 Speaker 2: It's kind of a you know, an interesting thing that

35:13 Speaker 2: he chose me. And so was this woman. He introduced

35:17 Speaker 2: me to young chin Lamo, who's a Tibetan singer, incredible

35:20 Speaker 2: Tibetan singer, just super interesting, using traditional Tibetan singing with

35:26 Speaker 2: other influences flamenco. She played with a Russian piano player,

35:31 Speaker 2: wild interesting stuff. She and I have since become friends.

35:36 Speaker 2: And then I saw she played with Peter Rowan. I said, oh,

35:38 Speaker 2: I see, I read somewhere you played with Peter Own

35:41 Speaker 2: And then she says, do you want to meet him? Now?

35:44 Speaker 2: This led into me writing. When I met Peter, I

35:48 Speaker 2: was having these incredible dreams and I'm just aloft on

35:51 Speaker 2: these dreams. And I'm telling Peter, I'm having dreams about you,

35:54 Speaker 2: which may have frightened them a little bit. No, not

35:57 Speaker 2: those kinds. They just to your seeing you in dreams.

36:02 Speaker 2: We're having conversations, and some of that stuff had kind of,

36:06 Speaker 2: you know, extraterrestrial elements to it. You'd have to read

36:09 Speaker 2: the book. And anyway, I'm in this kind of fit

36:13 Speaker 2: of passion and a lot in these imaginative dreams and visions.

36:19 Speaker 2: And I said, I think I have a book a concept.

36:22 Speaker 2: Would you be interested in pursuing it with me? And

36:25 Speaker 2: that happened. But this is all from it's it's sort

36:28 Speaker 2: of music related. The music inspired me, the music enveloped me,

36:33 Speaker 2: and I flowed down that river to wherever it took me.

36:37 Speaker 2: You know, we talked about the Muse and just I

36:39 Speaker 2: didn't know where I was going. I'm just writing the

36:42 Speaker 2: thing as it's happening. I'm capturing dreams I've subsequently, I

36:48 Speaker 2: dream a lot of I have UFO dreams where I

36:50 Speaker 2: have intense encounters and intense exchange of information and downloads

36:57 Speaker 2: that kind of thing. So I factored that very it's

37:01 Speaker 2: to me, it's it's extremely important in they're not dreams

37:05 Speaker 2: are not to be discounted. They're just another modality, another

37:08 Speaker 2: way in which we may contact with that bigger river,

37:12 Speaker 2: with that other who is perhaps us or some reflection.

37:18 Speaker 1: Of us, right, And and that that is kind of

37:24 Speaker 1: a crazy thought in itself. I think, you know, Michael

37:26 Speaker 1: Masters uh talks about future humans and and uh, I

37:32 Speaker 1: I tend to think with the phenomena uh, that that

37:35 Speaker 1: it's many different things, that there's multiple you know, it's

37:39 Speaker 1: not because we're raised in a world that's black and white,

37:42 Speaker 1: and it's not un till you know later on that

37:45 Speaker 1: we realized there's more gray than we were ever told.

37:49 Speaker 1: And and and I think that it's funny that you know,

37:53 Speaker 1: you say, muse and we talk about music, right, it's

37:57 Speaker 1: the it's right there in the world right him. Yeah, yes,

38:02 Speaker 1: the music Museum, Like you said, uh, that root word

38:07 Speaker 1: of of pulling from the the that river, and I

38:12 Speaker 1: think that sound is is definitely one way that we

38:16 Speaker 1: can we can channel that river uh and and attach

38:20 Speaker 1: our tour reattach ourselves to But one of the people

38:24 Speaker 1: I met while waiting in line at the UFO hearings

38:29 Speaker 1: was Chris Bledsoe. And we talked earlier about HEMI sync.

38:35 Speaker 1: They have, you know, put instrumentation to to watch his

38:41 Speaker 1: brain activity while he uh contacts whatever you know, it

38:46 Speaker 1: does does whatever he does. Yeah, Yeah, he's able to

38:50 Speaker 1: have me sink his own brain. They say that he's

38:53 Speaker 1: like he's on a level on par with like someone

38:56 Speaker 1: who's meditated their whole life, uh, you know, like shaman

39:00 Speaker 1: shamanistic levels. And then you know he he has the

39:05 Speaker 1: ability to call in these orbs. He's worked at the

39:07 Speaker 1: Monroe Institute. So there is something there to this idea

39:14 Speaker 1: that that that the connection could be right in front

39:21 Speaker 1: of us. It could be inside of us this whole time.

39:25 Speaker 1: And I mean when people talk about the like even

39:28 Speaker 1: Bloodsoe has talked about how these beings communicate, is uh telepathically.

39:34 Speaker 1: So again it's it's it's all. It all kind of

39:40 Speaker 1: comes back to consciousness, uh to some degree. So that's

39:45 Speaker 1: it's it's just interesting to me.

39:46 Speaker 2: Ye think even like close encounters, right, how the beings bump.

39:53 Speaker 1: I was thinking of that earlier. It's ironic that you

39:55 Speaker 1: said that because and we talked about you know, imitate

40:00 Speaker 1: or or you know, the reality forming from consciousness UH

40:09 Speaker 1: with close encounters. People think that that impacted that that

40:16 Speaker 1: movie like made the archetypal alien, but that's not true.

40:23 Speaker 1: The movie used the Project blue Book files and the

40:28 Speaker 1: real UH descriptions of the most common description of the beings.

40:33 Speaker 1: So that's how Steven Spielberg represented it. So it's interesting

40:38 Speaker 1: that he put music in there as well and put

40:41 Speaker 1: that whole scene in there because that's very very critical

40:45 Speaker 1: to that, to the moment and to the contact that

40:49 Speaker 1: they're having. So again we got to ask ourselves, you know,

40:54 Speaker 1: what what's happening? What what? What truth is there? And

40:58 Speaker 1: we need more people like you to die into that

41:01 Speaker 1: because sound and frequency, I think is just important as

41:06 Speaker 1: any other as any other and it's I truly think

41:12 Speaker 1: that it's a key to the universe.

41:14 Speaker 2: I agree with you, and it's long been an idea,

41:17 Speaker 2: you know. It's so there is the music of the spheres.

41:20 Speaker 2: I'm trying to commit it from a different angle to

41:23 Speaker 2: be as to go very broad. And also I included stories,

41:28 Speaker 2: so I wanted it to be concretized in people's stories,

41:31 Speaker 2: which were completely varied, and that that was important to me.

41:34 Speaker 2: I didn't want a repeated story, and I didn't want

41:36 Speaker 2: to say, okay, is your story of X, Y and Z. No,

41:40 Speaker 2: something unexplainable, inexplicable happened that's associated with music. Some of

41:45 Speaker 2: it was people when they had an encounter and experience

41:48 Speaker 2: there was this incredible music. They'll often say, the most

41:53 Speaker 2: beautiful music I've ever heard. This like kind of symphonic, beautiful,

41:58 Speaker 2: gorgeous thing that's happening. Not that the the Sometimes people

42:03 Speaker 2: will have a there's it's silent, you know, the actual

42:07 Speaker 2: objects may move in silence, but there could be music

42:11 Speaker 2: associated with what they're experiencing, right, And my point was,

42:16 Speaker 2: just give me a story. Let the stories speak for themselves.

42:20 Speaker 2: Let them be polyphonic, many voices, let them h I

42:25 Speaker 2: bet more people have stories that they they may discount.

42:31 Speaker 2: They may say, well, that's not really this, and you know,

42:34 Speaker 2: but when you actually talk to them and you scratch

42:36 Speaker 2: that surface and you dig deeper, there's something there.

42:40 Speaker 1: Absolutely, absolutely, And again I think that I personally think

42:46 Speaker 1: that it's it's interesting that you talked about. So the

42:52 Speaker 1: emotion that often comes with it, it tends to be

42:57 Speaker 1: grief related because that's ultimately what set me on my

43:01 Speaker 1: own path and triggered a lot for myself. Is the

43:06 Speaker 1: moment that my mother passed away and I was in

43:09 Speaker 1: the room for it. And you know, when I think

43:12 Speaker 1: back on it, it's weird because I kind of I

43:16 Speaker 1: think back on it, and I think a lot of

43:18 Speaker 1: us do this is we kind of play it back

43:21 Speaker 1: like a movie in our heads, and we put dramatic

43:25 Speaker 1: like I have a dramatic music that plays when I

43:27 Speaker 1: think of that moment, and it's something that didn't exist

43:31 Speaker 1: there in the first place. So it's we find these

43:36 Speaker 1: ways and songs they elicit this emotional response from us.

43:42 Speaker 1: And like I said, something I've been thinking about a

43:45 Speaker 1: lot lately. It's hard to get into words like you

43:48 Speaker 1: had said, but I really, really really want to dive

43:53 Speaker 1: deeper into it because I think there is a huge

43:56 Speaker 1: element that we're all missing as a community. So I

43:59 Speaker 1: just want to say thank you for you know, writing

44:01 Speaker 1: this book and creating that symphony.

44:05 Speaker 2: Thank you. And I did it with the help of

44:08 Speaker 2: the voices of other people who are generous enough and

44:11 Speaker 2: trusting enough to trust me with their stories. So I

44:14 Speaker 2: feel privileged in that respect, and I only hope people

44:17 Speaker 2: take the mantle and go further.

44:19 Speaker 1: How can people pre order the book? Where can they

44:23 Speaker 1: find it and how?

44:25 Speaker 2: Yeah, so it's anywhere books are sold, you know, in bookstores.

44:29 Speaker 2: It's hard to tell. I'm not sure, but if you

44:31 Speaker 2: go to any online service, you can pre order it

44:33 Speaker 2: now and it'll it'll publish in on February first, twenty

44:40 Speaker 2: twenty five. I will be getting some I will be

44:44 Speaker 2: getting some early copies. So if folks are interested, if

44:47 Speaker 2: they go to my website, Mike Furido dot com, I'll

44:50 Speaker 2: have you know, a short set of books that I

44:54 Speaker 2: could send to them. But that'll that'll be they'll be

44:57 Speaker 2: coming soon. Yeah.

44:59 Speaker 1: I start uh started reading it as a last night

45:04 Speaker 1: so and uh, I really look forward to continuing it.

45:07 Speaker 1: It's really good. So uh everyone you know, get that

45:10 Speaker 1: on pre order uh now and uh, like I said,

45:13 Speaker 1: all the links will be in the description below for

45:16 Speaker 1: Mike and if you want to pre order the book

45:18 Speaker 1: and check out his other books because he's got a

45:21 Speaker 1: long long list of them. Mike, thank you so much

45:24 Speaker 1: for being on total disclosure. I really appreciate it, and uh,

45:27 Speaker 1: I appreciate you filling in.

45:30 Speaker 2: Thank you, thanks so much. It was great to be here.

45:33 Speaker 1: Yeah, I look forward to uh to maybe having a

45:35 Speaker 1: conversation in the future. So yeah, definitely keep the dialogue

45:39 Speaker 1: open and I looked I look forward to it.

45:43 Speaker 2: Same here, Ty. Thank you so much. It was a fun,

45:45 Speaker 2: fun conversation. Have a great.

45:47 Speaker 1: Day you too, my friend. And for everyone out there

45:51 Speaker 1: watching in this sphere of uh ufology, whether you're listening

45:55 Speaker 1: on Spotify, on Apple or watching on YouTube, and always

45:59 Speaker 1: helps leaving a like following the show and if you

46:03 Speaker 1: can review and give us a rating because it helps

46:07 Speaker 1: us garner a wider audience and allows us to keep

46:11 Speaker 1: giving you the best, the best content possible. Or Congressional

46:17 Speaker 1: documentary video will be coming out this Sunday, so keep

46:21 Speaker 1: an eye out for that. We'll see you guys later.

46:25 Speaker 1: Have a good night. I'll see you on the other side.

47:00 Speaker 1: M h, I don't read. I didn't identify the emplating

47:12 Speaker 1: an inflating the educated