It’s Your Life

Why don't you take a good look at yourself and describe what you see,
And Baby, Baby, Baby, do you like it?
~ Led Zeppelin, Misty Mountain Hop 1971

Mage Music 87  

One thing that most teachers are pretty sure of is that it’s their way or the highway. You see that with Magick, of course, though it’s not just the Masters of Magick who expect the students to follow directions in lock step.

It’s true in music, too, and all the arts. It’s true on social media and it’s true in society and basically everywhere you look.

Just about everybody wants to be an expert, an artist, a creator -- yet few dare step out of the herd far enough to show what they can do because they will be challenged. The only way to avoid being challenged -- and derided, which seems to be how challenge works mostly -- would be if everyone was just like everyone else. And what a boring world it would be if we humans really could stand to live that way.

But we can’t. In fact, we are always looking at what we see in ourselves and – more often than not – deciding we don’t like it. We decide to change who we are but then we look outside, to teachers who supposedly know more.

That generally doesn’t work so well.


When the student is ready…

It’s one thing to learn a how to do something from someone who knows how to do whatever it is better than you do. The more expertise an instructor has, the more the student can learn. But learning how to play the guitar doesn’t mean you are learning how to create music. Learning how to read and write doesn’t mean you are learning how to create a novel or a poem. Learning how to do something isn’t the same as learning how to be who you were born to be.

They say you can lead a horse to water but you can’t make it drink. Generally that’s understood to mean that you can’t force it to drink, which is true -- but the real meaning is that you can’t force the horse to choose to drink. Only the horse chooses.

Only you can create who you were born to be. If you choose, you can use many tools to do so. One of them is Magick.

But how do you do Magick? Who do you believe? What do you believe?


The uphill battle starts early

Problem is, it’s too easy to take someone else’s opinion on what you should do or how (or who) you should be. There’s a lot of pressure coming from everywhere to bend to authority and to peers. It starts early, with parents who want to protect their children by choosing for them. From the very first day of school kids are taught to follow directions, and teachers don’t have time to allow for kids to learn by seeing where the wrong path will take them. After that it’s teen years with the pressure to fit in, to belong. And after that, well, the habits of conforming are hard to break, and there's little outside encouragement to do so.

Trouble is, all your life probably all who have been your teachers have taught what you should do without ever teaching you how to be the person your born to be.


Magick in your life

They also say that when the student is ready, the teacher will come. The teacher is, of course, you -- but you have to choose to believe that.

Somewhere along the line most people do learn how to start making choices based on their own desires, but for most those choices are limited in scope. Most people live reactive lives most of the time, letting the circumstances they encounter dictate which paths they take. For some, though, the need to create original works – of art or knowledge or discovery, including becoming the self that you choose – overcomes the powerful outside pressures to conform. This means approaching life very differently.

The creative act requires opening from the inside, opening to the inside and then through to the other side to let the energy of the universe flow back up that pipeline to manifest in your personal reality.

If you don’t know who you are, you are creating blindly. If you are creating blindly, you can’t know if you are creating your own work or if you are in fact creating at all.

If you take someone else’s word for who you are, you aren't creating your own work -- you’re simply assembling someone else’s vision.

Creating art or creating a new personal reality – it’s all the same. It requires understanding that if it’s going to be your life, it has to be your choices that create it. That means taking a good look at yourself, acknowledging all that you are – the good and the bad, the attractive and the ugly - and accepting that it is there, that it is you, and that it is, in the end, all perfect. 

This is the first and most important step. You can’t change what you don’t know about. And then you boldly go where you've never been before.  

Know Thyself.  Then Do What Thou Wilt.  Other people's words, but they're true. 

Magick 102

"...the greatest secrets are always hidden in the most unlikely places. Those who don't believe in magic will never find it.”
~Roald Dahl

Mage Music 76

Scientists and other logically-based thinkers like to put down Magick as nonsense because Magick can't be readily perceived. The reasoning is that if something can't be perceived (with the physical senses on their own or enhanced with technology), it can't be measured, quantified, and duplicated in a laboratory.  If it can't be identified by science then it isn't real.

Science, of course, would be that area of human knowledge that changes all the time. New technology enables things to be perceived that couldn't be perceived before, and surprise! Science changes its tune about the nature of reality and we all pretend scientists aren't contradicting what they just said.

No scientist should say that anything is impossible or can't exist. In an infinite universe, by definition all things are possible and do exist. That's why even "laws" of nature are still referred to as theories. In spite of what some would have us believe, in fact humans don't know everything that can be known about reality.

Working with the impossible

Mages and artists, however, know that just because something doesn't yet exists doesn't mean it isn't possible. In fact, that very point may be the most significant difference between Magick and the rest of everyday human reality.

That is, just because you can't perceive something doesn't mean it doesn't exist.  It just might be hidden from human perception.

Creation is the act of changing reality, that is, manifesting something new in the world. It isn't duplication of something that has existed before. Creation is an act shared with the gods, and it is something that every human could do but few will. That means that for all intents and purposes, to the non-creative world the new thing that has been made manifest came from a secret place, and how it came to be manifest in the real world is a secret as well.

For truly, if the Work of a Mage or artist (a Mage musician for example!) was perceived and examined minutely, was measured, quantified, and duplicated over and over - where it came from and how it came to be manifest in this reality would still remain a complete mystery.

That's because Magick and art are hidden in the most hidden place of all - the duality of the infinite Universe manifest in the human soul ("as above, so below"), and of course that means Magick will never be found unless the seeker suspends the need for outside verification of the inner truth.

"Who’s to say what’s right and what’s wrong? In another 50 years, it’ll all be topsy-turvy anyway. It’s just the way people view a collective consciousness at any given time.”
- Jimmy Page, Guitar World 2006 

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Message to my readers:  Mage Music posts for the month of November will be briefer than usual and probably have no images. That's because I'm focusing on fiction writing for the month. I won't forsake you, but I am going to neglect you.

Solitude

"Whosoever is delighted in solitude is either a wild beast or a god."
~ Aristotle

Mage Music 73

I'm writing this post on my laptop while sitting on a porch of an isolated lodge overlooking an alpine meadow in the wilds of the White Mountains in Arizona. I'm on vacation and I'm at a quilting retreat.

The occasional bald eagle flies overhead. Horses graze in the distance. A pair of pigs (ultimately intended for bacon and chops) trot by. Wind soughs through the pine trees. It's peaceful out here. 

Inside the lodge - not so much.

Inside there are wall-to-wall tables set up in the main room for nearly two dozen women who bend over sewing machines. Some of these women have quilted for decades, for half a century, maybe longer. Some, like me, have come to it more recently. Everyone knows everyone - whether from before the retreat or because of it. And everyone has a lot to say. Twenty-some women, all talking about sewing techniques, fabric, family, food and life in general - all at once. The retreat is an opportunity to gather to share knowledge, to complete projects and to be inspired to new creativity. For me, it's an internal battle between opportunities not usually available to people who live a solitary life - as I do - and the desire to run, screaming, from the clamor of so many minds and voices.

Magick, and creativity in general, benefit from solitude. In some cases, they require it. The solitude doesn't have to be physical, but being alone makes it easier to find the psychic and spiritual quietude from whence Magick and creativity arise. This is the inner silence that is the equivalent of a blank canvas or sheet of paper, the silence of a room before the first chord.

Creativity in art and Magick starts with the identification of the spark of a new thing that has not existed before in this world, a spark deep inside the self. Less than a spark, actually - creativity begins with the discovery of the idea of a new thing, an intangible potential so fragile and elusive that almost anything can become a distraction that leads to its destruction.

The psychic noise of everyday life, while providing comfort and stimulation for most purposes, can destroy all but the most demanding and insistent creative thought. The most delicate nuances may be stillborn, unable to compete with the loud and insistent noise of tribal interaction.

This is not to say that an artist or Mage must dwell in isolation, but only that he (or she, of course) needs to reserve an inner space for the Work, and to hold that space inviolate for the creative process. For some this can be achieved by withholding the inner self from the public eye while yet living in the spotlight. For others, it means hiding out far from the maddening crowd.

For me, it means I have to take frequent time-outs so that I my soul can uncurl itself and breathe freely.  The women here may sense I'm some kind of wild beastie compared to themselves, but if so, they're very understanding.

Walk in Beauty

With beauty, may I walk.
With beauty before me, may I walk.
With beauty behind me, may I walk.
With beauty above me, may I walk.
With beauty all around me, may I walk.
~ Excerpt from the Navajo Night Way Ceremony


Mage Music 61  

While beauty truly is in the eye (and ear) of the beholder, one thing that most people would agree to is that too much sameness is pretty darned boring, and that rule applies to what can be found in nature or in human-created works of art.  It is contrast that makes the difference – but not in just any which way.

Balance is beautiful

Contrast is the difference in surroundings that makes the contrasting thing stand out and be noticed.

Humans are quick to notice differences in patterns of everything around them.  Things that have changed leap out and attract our attention, because evolutionary survival has taught us that changed circumstances are often immediately followed by things that leap out and make us dinner.  This ability to take note of changes in pattern is so important to survival that it is an involuntary response of the brain.  Our response to sudden change is hardwired into us.

No one could survive, however, if they spent all their time reacting to every change.  There would be no time for anything else in life. We tolerate lots of change in our daily lives just fine.  Our brains don’t automatically shove us into involuntary survival mode every time there’s a difference in what we perceive.  We need to take time to differentiate between bad things and good - after all, just because something changes doesn't mean we won't like it.    

Being able to appreciate the contrasts in our environment, not just involuntarily run from them, is a good thing, too, because artists rely on contrast to give life to their work.  

Light and shade

Normal humans are most comfortable in a middle-ground of contrast, but we seek entertainment outside of the comfort zone.  We look for the maximum difference that doesn't tip us over into the danger zone. We all flirt with discomfort and risk for fun and enjoyment to one degree or another.

Contrast is interesting. We are attracted to it.  Beauty happens when there is just the right amount of contrast, which means balance. Sameness may be pretty on the first go-round, but artfully balanced contrast will stand the test of time.

Jimmy Page refers to contrast as light and shade. These are terms for visual arts, but the terms obviously apply to music, too. The important thing for music and any form of art is to find the delicate point of balance between too much and too little, and when you are dealing with things that are not necessarily alike, it becomes a juggling act.

Balance is beautiful

We humans have an innate understanding of music. We know instinctively when various components satisfy intuitive benchmarks. We seek out pattern and completion, and we know when the contrasts are beautiful or boring.

It’s not so easy to satisfy us though. The light and shade – contrast – that provides interest doesn't come from simple juxtaposition of opposites, which would be too predictable and therefore boring. Musical contrast doesn't come from just going from loud to soft, from fast to slow, from plain vanilla to heavy effects – it comes from mixing all possible combinations of musical values in contrasting patterns. Juggling, if you will.

Balance in art is a tricky thing. Great beauty comes from balancing on the edge of chaos – after all, juggling one tennis ball is not nearly as interesting as juggling a couple of raw eggs along with a sharp dagger or two.

When it comes to Magick, it’s even trickier.


Beauty in the heart of contrast
Consider how a downhill skier handles the many changing conditions there are on a run: Speed, slope, snow quality, obstacles, wind, and more. The skier finds an internal place of balance in the heart of the onslaught of new and constantly changing conditions, letting her body move around that center, rather than trying to move her center in reaction to the conditions. Knees flex, skis bounce, poles poke and drag, the body sways – a flurry of movement centered on a core of balance.  

 
A Mage steps from what is now to what will be by dwelling in the quiet point of balance between the inner world of his own desire and will, and external reality. Walking in beauty is dwelling in the quiet heart of contrast.  

I believe if you listen to the music of Jimmy Page, you will hear exactly what I'm talking about.

A Million Monkeys

“Your brain on music is a way to understand the deepest mysteries of human nature.”
~ Daniel J Levitin, This Is Your Brain on Music: The Science of a Human Obsession

Mage Music 56

This post is a mix of a few different things that at first might seem not seem connected but at a deeper level really are. I want to share some questions that have been asked here as well as on the Mage Music Facebook page, and then there's my, um, unusual playlist that I have a few things to say about.

So here we go with questions first, though not necessarily answered in the order they were asked. Sorry.

Genius

Q: What exactly is a genius? Is it true that if you can bring Magick into music you must be a kind of genius? Are all Mages geniuses? Can an artist be a non-genius and still create Magick?

A: A Kind of Magic (I got an earworm from reading the question).  First, let's lay out a few basic concepts. Let's agree that a genius is a person who is exceptionally intelligent or creative. And let's agree right from the start that Jimmy Page is a musical genius since there is no doubt that he is exceptionally creative. And there's no doubt in my mind that the music of Jimmy Page carries Magick in it and probably there's no doubt in your mind either since you're reading this, so let's take that as a given, too.

But are genius and art and Magick connected? 

Well… yes and no. I believe that an artist can be a non-genius and still create Magick. That's because I don't think there is a cause/effect relationship between genius and Magick (or art and Magick), but rather that they are similar expressions of the human soul. You can't lump the two together, making one a product of the other, because Magick can stand alone without art.  Plus, I think there are some pretty darned dumb Mages out there - artists, too.

Anyone can create Magick to some degree - at least if they do it right. Magick doesn't require intelligence or creativity - it does, however, require powerful desire and will and a certain skill in the performance of ritual.

Maybe not so coincidentally, it takes those things - desire, will and skill - for art and genius to express themselves in the world, too. That's because while it certainly appears that people of extremely high creativity and intelligence have something extra going for themselves, just having a gift doesn't automatically result in use of the gift to its fullest or highest extent. A gifted person can be a slacker just as well as the next person can. So, while it might be easier for a genius to do Magick, that doesn't mean they will do Magick - or anything else - not without actually working towards it.

Which brings up the monkey business

Q: Can a Mage own the magic without be aware of doing it? Or is just because of his particular being?

A: Magick is all about choices and manifesting with purpose.  A Mage is, by definition, a person who chooses to do Magick, which is purposeful transmutation of reality. An artist is also a person who chooses to purposeful transmute physical reality. But... the short answer to your question is sort of but not really.

You can't do something on purpose without being aware you're doing it.

The infinite monkey theorem states that a monkey hitting keys at random on a typewriter keyboard for an infinite amount of time (or an infinite number of monkeys typing for a specific amount of time if you want to get this done sooner) will eventually produce the complete works of William Shakespeare. This is assuming that the monkeys aren't aware they're supposed to be writing plays and don't stoop to plagiarism.

Artists and Mages work hard to achieve their results.  They like credit where credit's due.  Artists don't want people to think they create their art by accident.  Still, a person with sufficient desire and will and skill - a person such as Jimmy Page, for instance, or any person who has worked hard to develop those components of creativity - could and probably does also manifest Magick without being consciously aware of it, but not because it's by accident. Owning the music, owning the creation, means owning all of it, including the process of creation, and the process itself requires active and purposeful involvement. The musician may not have intended his music to carry Magick - that might indeed be a bonus - but he certainly intended to create the music itself, no accident there.  And given the similarity of the components - desire, will, skill in ritual - and given how suitable music is for carrying Magick... well, then you get Jimmy Page, who may or may not be purposefully manifesting Magick, but he's purposefully creating so it makes no difference, does it?

Check out this week's playlist, for example. Some of the sounds created by recording cosmic radiation sound pretty good. There are moments during them that sound almost purposeful - but the moment Jimmy Page's music starts, you know there's a human hand at work. That's because cosmic radiation sounds, no matter how beautiful, aren't actually music. Perhaps a higher level of being has created them on purpose - but that purpose is not knowable by humans, and therefore there is no meaning to the sounds and they are not music.  Non-music can suggest music, but it can't be music.

Music from other realms

I've created a kind of strange playlist for this week's post, recordings of cosmic radiation and other space anomalies that are converted through instruments into audio signals.  These tracks alternate with Jimmy Page's soundtrack for Lucifer Rising.  The thing that caught my ear is that the space recordings were all made decades after Jimmy Page recorded Lucifer Rising, and yet they are so similar that you have to wonder just where and when Mr. Page's soul was traveling back then.

The combination is actually very eerie and the final one, the recording of the sun, seems creepy to me. How cool.

Also, I just had to include that link to Queen's A Kind of Magic in the post above.  First, I had to because the phrase in the question reminded me of it; second, if you want Magick in your life you've got to listen to your intuition; and third, Brian May certainly knows something about musical genius and Magick.  Not to mention the great Freddie Mercury, who, ironically, felt that you either have Magick or you don't - you don't work up to it.  I have to respectfully disagree.  But that's another tale, another time and place.

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Full Playlist (note that some videos have a no-sound text introduction and conclusion).
NASA space sounds
Lucifer Rising track 1
Sounds of the Planet Mercury
Lucifer Rising track 2
NASA Voyager recordings
Lucifer Rising (Incubus)
Earth sounds from space
Percussive Return
Sound of the Sun

A Year of Music and Magick

"We had been taken somewhere and brought back and we were different people..."
~ Terry Pratchett, Snuff (Discworld)


Mage Music 52

A little over a year ago I posted my first article to this Mage Music blog.  I really didn't know what I was going to write about, but I knew that there were questions I had that needed answering.  I was pulled towards the music of Jimmy Page.  There was a depth to it that spoke to me in a language that was beyond words.  It was... vaster, more meaningful.  It was the essence of emotion... primitive, essential and powerful.  I wanted to connect with that, but first I had to know it.

I confess that part of the reason I wanted to write was because I couldn't seem to find anything about what I wanted to learn anywhere else.  There is so much to say about Jimmy Page's work, but I wasn't finding anyone writing about what I was interested in reading about, which wasn't the drugs, sex or excesses, the outfits, his facial expressions or his hair (sorry if that offends or disappoints, but there it is).

And of course, people like to natter on about Mr. Page's connection with the occult, specifically the work of Aleister Crowley. To me that wasn't the right direction.  Yes, there was Magick in the music but it was so obviously Jimmy Page's own Magick - not someone else's - that I didn't see the point of looking to anyone or anywhere else for answers.

So I have spent a year exploring the concepts, delving into understanding the basis of Magick across disciplines and focusing on music as an expression of Magick.  I used Mr. Page's work as inspiration for the words I wrote.  I came to understand that I was translating from not only another language but another reality, and the result could only ever approximate the depth, the beauty and the mystery of what I sought. Still, the music compelled me to keep trying.  Or maybe it's been the Magick doing so.

It took me somewhere and made me grow

Over the course of the year I listened to so much of Jimmy Page's music that I began to hear it in an entirely different way.  The beauty and mystery that had always called to me now was speaking to me with a meaning that I could almost comprehend, but that remained elusive.  I knew I would understand if only I listened just a little more closely, a little more carefully, so I really listened, focusing on what I was hearing at the root rather than at the surface.

What I was hearing was the Magick that was speaking through Mr. Page's guitar, of course.  I came to understand that I was never going to understand it with my thinking brain, because Magick is meant for a deeper part of a human than that.

I'm no musician, I'm a listener and I'm a writer, so I finally just let the mystery of the music flow past my brain and into my heart and soul to inspire me and push my own creative process.  I found myself writing much more than I ever had before, and about things that that I didn't know I knew.  The music of Jimmy Page has taken me to times and places I'd never been before in my own work - a process so exciting and so inspiring that I plan to keep going there.

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The job of the artist is to recognize the truth of All That Is and to fairly represent it to the best of his ability. The tragedy of the artist's lot is knowing that, no matter how skilled he is, the artist's creation can only ever be an infinitesimal aspect of All That Is.  And the triumph of the artist is that he keeps doing it anyway.

Here is a Kashmir playlist - because the Magick is right there.

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I hope you have enjoyed reading these posts as much as I've enjoyed writing them this past year.  I hope you won't mind if I keep on writing them, too.  I've got another big project in the works that I'll be talking about in upcoming months, but you can count on Mage Music posts every week as long as the music has Magick. I guess that'll be for a while.

As always, thank you Jimmy Page