I first `experienced’ that in-an-outta-you kind of pleasure between the ears when a lover played it for us, often, sometimes while we were cooing for many hours in the afternoon, other times for a quickie early in the morning before work, and of course it soon became one of those “our song” thingees.
Ah, them was the days, oh my.                     To be young, was very heaven.
Now that I am old and wear the bottoms of my trousers rolled, I do not hear that song in quite the same way as when a younger man, only; oh I still do hear it as an erotic `do-me do-me do’, but I also hear it as an ecstatic cry of Joy–like Rumi’s poetry, or Solomon’s Song–a moan from union with the Divine Beloved…and I hear it too as the Divine’s graceful yet demanding reply “You betcha; get in Here.”
As for your reaction, well… in my view the French have it right: “ à chacun son goût”

Peace in.


Video Title: Bluetech-Triangle(Retriangulated) 



~guyatree reblogs (with adds and links)  parkstepp’s earlier post:

“Evan Bartholomew, under the moniker Bluetech, produces his unique style of experimental noise from San Diego, CA. Classically trained on the piano for public performing, Bartholomew deviated from the traditional sounds and began to express the rhythms that sprouted from within him, and Bluetech was born. This resulted in his interpretation of nature’s expression of being, a sound that is dronal ambient, downtempo, improvisational. He devoured the electronic potentials for musical expression and conveyed it in IDM, digidub, and psychedelic trance. 

"Bartholomew created and runs his own art collective in San Diego and does commercial sound design and production for both national and regional clients. He also writes and produces his own songs. “The Rubicon”, “Prayers For Rain”, and “Mezzamorphic” originally appeared on an EP released by Truffle Records, and brought the name Bluetech to a larger audience. In September 2003, these songs appeared on Bluetech’s first album, Prima Materia, released by Waveform Records. ~ Eleanor Ditzel, Rovi”



guyatree offers pranams to yogaprivatelessons for sharing this video, {and adds}:

{Hindusim utilizes imagery as a spiritual language of depth and clarity. Please consider the following few sentences as a joyful welcome to that Hindu iconological language which is often so rich in insight and opportunity as to make written words seem pale and lifeless. }

ॐ गम गणपतये नमः }

{Dear Lord Ganesha, son of Lord Siva, please hear my prayer:

Grant me the ability to pay attention

to concentrate, to gain discrimination, to grow in wisdom,

and to have long, clear memory.

I pray that you Lord, remove all obstacles between me and the LORD.

I pray that you remove all obstacles between me and my loved ones.

I pray that you remove all obstacles between my loved ones and the LORD.

Let us see All in one; let us see One in all.}

 {ॐ गम गणपतये नमः}

This mantra invokes the Lord Ganesha to remove every impediment in your life and in your works. By constant meditation on this mantra, all obstacles and blocked energy in your physical and astral bodies are released.”

{A son of Siva, Ganesha enjoys and supports two wonderful consorts, Wisdom and Skill. To some he may seem a freak in appearance, yet he is an obedient son, an attentive scribe, a wise protector, and a fierce warrior in action.}

“Ganesh is a warrior, but is not into fighting for fighting’s sake. Indeed, that is why he lost his head and it had to be replaced with the head of a elephant. Rather, He helps you find other ways of overcoming obstacles. The real obstacles He breaks are those which prevent you from recognizing alternative solutions.”~Om Gam Ganapataye Namaha

{guyatree reminds the attentive that MANTRA needs must be imparted to the chela by a qualified teacher, a guru, be that as a scholar or as a spiritual friend, alway one who charges no fee, and whose Vedic Sanskrit is recognized by Sanskrit scholars as accurate.  The hymns in this mellifllous collection by Deva Premal are all Westernized, and all songs may be listened to as entertainment. However to chant Vedic Sanskrit improperly, or incorrectly, or with the wrong goal in mind--may lead to mental confusion.

‘Nuff said?}

ॐ गम गणपतये नमः

Deva Premal – Mantras for Precarious Times


Hmm, maybe via a reblog, or an archive review, or hey–maybe… I will get to that in a sec.

Since my followers here at tumblr do see this, lemme say that I (and you, too) can bet we have the very bestest of all followers, when we do NOT follow them back, and they stick around anyway. 

Wonder whom you follow that does not follow you— at least, not via their tumblr account?

Fact is, they could be following you via a Reader…or subscribing to your blog via RSS… or google your account– and that means they just might be the super very bestest follower of all, because they follow you anonymously

A: only because they really really like your posts, and/or 

B: don’t want anyone else interrupting your feed– and

C: fershure not just because you follow them on tumblr. 

And so, for my visible and invisible followers at tumblr: 

MWAH!A wink is a good as a nod

I follow you, but you don’t follow me. Then how’d you get this?
This posting alludes to one bhajan (a devotional song), but three versions. The audio here, and Alicia Rappoports interpretation, and another, described below


Since 1944 devotees and students of Sathya Sai Baba have been composing devotional songs which celebrate the Numberless Names of The One. This “learning version” of HARI OM NAMAH SIVAYA is one such bhajan, and unlike either the version offered here or that by veareflejos,  when played at Sai Centers it is vigorous, uptempo, accelerating in speed and enthusiasm as it progresses.

Composed and sung in the late seventies by two students attending a Sai College in Whitefield, India, their singing of HARI OM NAMAH SIVAYA aided a determination in listeners to calm their minds, stabilize their intellects, and to love all, serve all.

As sung by the composers four decades ago, the occasion manifested such devotion that for many of the congregants, myself included, it seemed frighteningly obvious that Siva Himself was among us–and more than a few of us were moved to tears of  joy and awe in praise of the Unseen Ever-Present Great God Who Dances, Siva.
That original bhajan is still being sung in Sai Centers worldwide, but it is not presented as a soft and lulling melody in the manner of the lovely cantor Alicia Rappaport’s interpretation, nor is it sung by Sai Bhakthas as slowly and as unemotionally as the `teaching version’ provided here. 
To my ear, Alicia Rappoport has captured the sweetness and devotion of the original, but not the vigor or awe experienced when in Siva’s Presence. I suppose though that each of us enjoys a uniquely personal and direct experience of that quickening, and it is that which might be considered the third version.
Again I offer pranams to veareflejos who provided Hari Om Namah Shivaya  via a ‘western’ interpretation by cantor, Alicia Rappoport


The book “The Ancient Power of Sanskrit Mantra and Ceremony: Volume I” by Thomas Ashley-Farrand defines Om Namah Shivaya as:

“This mantra has no direct translation. The sounds relate directly to the principles which govern each of the first five chakras on the spine…Earth, water, fire, air, ether. Notice that this does not refer to the chakras themselves which have a different set of seed sounds, but rather, the principles which govern those chakras in their place. A very rough, non-literal translation could be something like, ‘Om and salutations to that which I am capable of becoming.’ This mantra will start one out on the path of subtle development of spiritual attainments. It is the beginning on the path of Siddha Yoga, or the Yoga of Perfection of the Divine Vehicle.”

Jai Siva Sai