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

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0:46 Speaker 1: Today, we have a fantastic show with Mike Fiorito, an adjunct professor of English at City Tech or c U n Y. Mike is a freelance journalist as well as an author of several books. Several books including UFO Symphonic, which is on pre order now. Welcome mister Mike fury Dough. Well, Hello, Mike.

1:22 Speaker 2: Hey ty, thank you so much for having me. Yeah, I love that introduction. It's usually fun to listen to people, uh give the names the titles of my books, which are somewhat interesting. But you've jumped right to the UFO symphonic, which is perfect, but the other one's Freud's Habitdacharie habits Mescalito riding his white horse. You know, it's kind of falling from trees, sleeping with fishes. So people sometimes over that, which is fun to listen to.

1:53 Speaker 1: Well, I that's why I intentionally took those out. Yeah, I was like, there's no way onsten all these books, there's no there's no way. But the reason I stuck to it is because obviously that's the book that is, it's at the forefront right now, and there's actually a synchronicity here because and it's been something now if you could everyone can see here. I don't know if everyone can see it, but there's a little, a little picture up here. So I was just in Congress for the hearings of UFO hearings and I was talking to Danny Shean, Bob Salas I was, I mean Bob, I was there with him and Steve Bassett, and we all got to talking about the keys to the universe and how sound, light frequency, these are things that on a metaphysical level, I think are are the keys to the universe.

2:54 Speaker 1: And it went it got me on this journey about sound and then I had to guess to cancel on me this week. I ask Earle Anderson, hey, can you, you know, recommend someone, and he goes, you got just the guy for you and then introduces me to Mike Fiuriedo, who is literally putting out a book about UFO Symphonic. Is it journey into Sound or yeah?

3:19 Speaker 2: Yeah, and it's it's Journeys into Sound and there's a there's a reason for that, and I could kind of give you a little bit about that. First of all, I love Earle and we met kind of i'd say serendipitously. Really he read my first UFO specific book for all we know, and he he was just very supportive, very praising of the book. I mean, I usually feel bashful and when people say nice things, but of course we'd love to hear it. We sit on our butts and ride for a reason. And uh, I started to By 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 also another synchronicity because I was just I was just with Bob, so that that right there by the way I was pointing at. So that was my That's that was on the chair in Congress when I walked into Congress into the hearing room. So that was on the chair and it has my name in the show name total disclosure because I had a press seat so I didn't have to actually wait in line, although I did. 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. But I hung it up because that that's a big marker. I don't know if you watch the hearings, but I mean it wasn't disclosure by any means, but you know, it furthers the discussion. And I got to bring Bob Salice in to meet Nancy Mace. You know, I I got that meeting and it was a it was a big deal so that you know, the ties to nuclear and uh you know, and yeah, it's really wild. But 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 book is about and why you chose this this avenue to to go down.

5:34 Speaker 2: Sure, well, well thank you for that. I do I quote Bob salas in in uh in Ufo Symphonic, because one of the things that Bob says is that we're dealing with something uh exactly how I quoted that is inexplicable, that is has to do with consciousness and to some extent perhaps unknowable. I thought that was for found, you know, given who he is and what he experienced. But he is And that's kind of where I'm coming from that I don't have I don't make any final claims. I'm asking questions really in both of my books.

6:13 Speaker 2: I mean, think of for all we know the title, for all we know, there's a lot to learn. So I'm a music journalist. I'm also a musician. But people, you know, when I say I'm a musician, I also say people pay me to stop playing.

6:28 Speaker 1: Just joking, But is it it's curious as to how many it's It's funny how the UFO community attracts artists of all kinds, right, it's it's it's a lot of musicians. But that also you know a lot of other artistic people. But the music, the music is a huge one. I notice a lot of musicians.

6:57 Speaker 2: Well, I'll tell you something. I'll get to ufo symphonic. But I want to make since you brought that up, I was so I read the book. If you've read Jeff Kreipel's The Flip, I've read pretty much everything by Jeff. Jeff wrote the he wrote a blurb for all we know, and I sent I read the Flip. I sent it to I had been writing about Peter Rowan. I wrote a book about Peter Rowan, who's a musician. He's kind 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 from dreams, he receives music from all kinds of modalities. And when I sent the book to Peter. Now, if you've read The Flip, it's it's it's kind of academic. It's it's being written to academics. Who are, you know, staunch materialists and who were not who are just they shut down the conversation of the anomalous. If there's something anomalists, we don't want to talk about it, we don't have an explanation for it. Let's put it aside. And so what the Flip is about is is how you and I would say Jeff kind of flipped me.

8:11 Speaker 2: Is how now I had already been open to these ideas, but he gave us a framework to talk about this in a sober way. That doesn't, you know, not to insult anyone. It doesn't make us sound cuckoo to other people. We have a reasonable framework that actually is very rational. Just because you don't have understanding of something doesn't mean you should ignore it. But here's my point. I send that book to Peter. He read the book and he said, who is he writing this for? And I scratched my hand. 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, and a physicist can be and is if anyone could be creative. But there's that listening to the muse and knowing that, you know, there's your rational mind that kind of explains things and is very powerful and has helped us to create technologies and amazing things that are very practical. But there's that other thing that happens. There's the thing called inspiration. There's a thing that opens a window to where ideas come in. I think Paul McCartney said he wrote eleanor Rigby or yesterday.

9:36 Speaker 2: It just came to him in a dream. It was yesterday. He wrote it in a dream. It just full intact melody, maybe not the words, but he woke up and had to write it down just so he could, you know, concreteize it. I believe the idea of the double helix came to Crick in a dream. And it's so interesting thing that in our you know, rational, everyday materialist world, we just relegate those things to fantasy. Oh that's just fantasy, that's just far out crazy stuff.

10:10 Speaker 1: But everything came from fantasy, if you want to call it that, because you know, before any of this was created, it was all in our in someone's head, right, The material world came out of imagination. And when you really that's the big trick, right, is everything we see around us this was all originally an idea. Didn't exist beforehand. The world, yes, the materials were there, all of it was there, but someone had to think it first, right, and then construct it make it become reality. So I find the muse, like you just said, is there's so much evidence suggests that the collective conscious is is absolutely something that's there.

11:03 Speaker 2: Yeah, I mean there are people to you know, even go a step further that believe that matter is epiphenomenal, that consciousness is the foundation. It's not that brain and material world are the foundation, but consciousness is the foundation. 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 they're they're really one and the same, really one and the same. But that the consciousness proceeds. That's a kind of mind blowing idea.

11:38 Speaker 1: Right, and that would mean so now stop me if I'm going off track. But now consciousness, of course, I think we we associate we associate this this idea of consciousness as as something that uh, it's it's something that physicists rarely want to get it go into the idea of it. But I mean it itself is the reason that we're able to have these conversations. And it's very unique in the sense that you know, I feel as if you know, you can break So so if we look at a radio, right, it's receiving a broadcast, it's receiving a signal.

12:26 Speaker 1: You can break the radio, right, you can break the the the receiver, but the signal is still coming through. So is consciousness that signal because we we we know it's probably not the radio. The radio is constructed, right, So what I'm saying is consciousness seems, like you said, to be the the layer that everything is compounded onto after.

12:55 Speaker 2: Yeah, and then and then it's it sort of explains or you know, nuances some of the things we talk about when we talk about the phenomena of which the UFO subject matter is a piece of it's it's not the it's not the only thing. I've been listening to the what is it? The telepathy tapes? Super fascinating, great podcast. But people that have autism who cannot speak and they use typing or other means to communicate that they can first of all, read people's minds. They can. There was you know, cases where and they're they're autistics.

13:35 Speaker 2: So it wasn't known until there were means to, you know, the right technology, the right kind of tools to ascertain this. But in some cases, this one autistic person, he was shown a book, he puts his hand on the book, he knows the book, knows it, and it's sort of like, well, where is that, where is that community happening? You know, 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 him knowledge. You know, these are things we hear of when people have UFO experiences and counters. So that's that's kind of that's that's where I'm coming from, and that's where, uh that these are some of the ideas I play with in the book. But to get back to the subject of you know, why did I choose this, Why did I go down the music path? Why did I choose that title? So a couple of things is that I'm deeply interested in music. So you know, I've a music journalist.

14:45 Speaker 2: I read about music, I talk to people about if they're passionate and interested, you know, the sources of music, music from different cultures, music genres. So there's that ready made U true authentic interest. And when I became interested in the UFO, the UFO topic, which really happened, you know, say about twenty seventeen, you know, I'm a late comer to it.

15:13 Speaker 1: And then yeah, around the time when the New York Times article came out exactly exactly.

15:20 Speaker 2: About that time. And then if I showed you my book collection, it's you know, mounting, it's like, you know, staggering piles of books. But I have gotten deeply, deeply interested in the subject matter, you know, reading everything I can get my hands on. Bernardo castrop is interesting, Jeffrey Kreipel, Diana Pasuca, Greg Bishop, Jeremy Vienny. There's just I mean, I've left out a million people. But so I saw that there was this, there was this kind of it didn't seem to be a topic covered. And so I made the title UFO symphonic means into sound, because I realized there's music, first of all, which is a kind of transportation system in a way, can take you across time, 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, and if I tell you Toy, when I began writing the book, I was kind of I was discovering. What 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 a lot of dream in my book. I believe very strongly that dream dreaming is it's it's a reality that's on par with our every day and I think it's a portal you know, to you said, the collective unconscious. It's a portal to this other kashak records, this other field, this bigger field that connects us to each other, to other beings, other places and times. Yeah, and so h just one thing to say. When I was I was looking into music, but I realized this also involves sound.

17:15 Speaker 2: So this also involves sound in the sense that, yes, there's music. There's music as a contact modality, as a vehicle, but there's also things like drumming, rhythm. I've gone to indigenous ceremonies where you know, they use drumming and singing, chanting, and let me tell you, man, that is a way to uh to go places. I had an experience with They call it son pedro. It's a kind of it's a similar to it's an alkaloid, a plant that's similar 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 journey into sound.

18:03 Speaker 1: Yeah, I mean I've taken Yeah, I took d MT. I did DMT. I would like to do ayahuasca like a ceremony with a shaman. I want to do that. Yeah, But I also there was us I did a sound bath, yeah, and that the woman that was leading the sound bath, she pulled me aside afterwards because she had noticed how deep I went under and it was it was probably the closest time. It was the closest I've ever got to the d MT experience without actually taking a substance like DMT because the and it's crazy, like you talked about drumming frequency just or the beat, the how you can feel it, the base, you can feel it in your body.

18:57 Speaker 1: There's something about sound and we talk about this in the community, you know, whether it's being you know, ancient civilizations and how they may have used sound as technology pretend perhaps even levitation using sound or and frequency to levitate stone. You know, who knows? Uh. You know, there's so much there's so much lore and and hypothesis out there that I that I really could have validity, but no one's doing the work to actually look into it. Because there's something powerful about like you said, when like when you hear a song and it will bring you back to a moment, right, it's able to traverse you through time in your mind, right because the consciousness again is the only thing that we know of that can go into the past, into the future, and in the now all at once if it really needs to.

19:51 Speaker 1: And and uh, I just find there's a lot of overlap, uh and in a lot of these categories. So so 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. You know, at the Monroe Institute, they developed this thing called hemi sync and hemi sink is you have two you know, you put on a headset and you have two frequencies. They're going at different rates, and it creates this kind of warble effect. But if you do it, first of all, it's very hypnotic, and then you start to have hypnogogic kind of images and things come up. I mean, you have conversations, you have little beings that come out. And I had like an old kind of 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, I was, I experimented. Part of this book is my journey into these things, my experimentation, So that is very very powerful hemi sync. And also you said sound baths, So I went to a sound bath place in Manhattan, and you know I walked in. I remember I you know, I was late. So get off. The train is New 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 started and it's it's using a mixture of gongs and chimes and bells, and you know, you even though when I lie down and I was a little out of breath and I'm saying, oh gosh, I can't I can't relax because I'm still worked up. But the the the sound takes you, you know, it's just the science of it, the the way it's ringing, and you're, like you said, you're whole body, and it takes you on a journey, and it's something to like what's similar to sleep. Yeah, in a sense, you go into the hypnogogic state, a hypnoglogic state, and then you're you can go further.

22:17 Speaker 2: Monroe talked about how he was Robert Monroe talked about how he had extended conversations now interestingly tie with beings that were where first of all, we're funny, we're kind of trickstery. We're giving him messages to kind of save humanity. The things we've heard before and all through sound, and these were things I kind of stumbled upon in my research, So I didn't really start out with that exactly, but as I did more research, what became clear to me is, first of all, the whole universe is alive, a buzz with sound.

23:03 Speaker 2: Everything even stones have a you know, and then there's like wind, and you know, there's pulsars. You know, everything rings with frequency. So there's this big you know, the universe is more like a music than it is 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 to a lot of it has to do with grief, to be honest with you, as much as in what I have discovered in the Ufoor world is people who have encounters. There's often something, there's near death, sometimes there's grief, there's loss, there's something that kind of cracks open their everyday bubble of reality and opens them up to something beyond themselves, something bigger. Yeah, So a lot of these stories involve they'll involve something of grief. They could be very prosaic stories.

24:11 Speaker 2: They could be. Sometimes there are things like where an instrument basically began communicating to someone from the dead. You know, someone was communicating, I should say through it an instrument from the dead. Very profound. One woman had an experience where she was what is it called an epidemiologist, and she was she was, you know, scientists who had this kind of I guess way she looked at the world. And then she went to a breakup that was maybe part of it. And she began

24:53 Speaker 2: her porch, she said, became a spaceship. She would go into her porch and she would here beings. Beings would come to her, and they would ask things of her. They would ask her to sing, and she said, I have a god awful voice, but she would sing to for healing. She said, I don't know to whom and where, but she was compelled to have these, to make these songs. So that was beautiful. And this is a person who was brought to tears telling me this. So the people I talked to, all I asked, is you have a music a story related to music.

25:36 Speaker 2: I didn't want it to find it. I don't want to push it on you and tell you what it is. I wanted to hear it from you, and then I wanted to make sure it kind of qualified. So the book is kind of a catalog of other peoples in a way, like a symphony. So that's kind of why I called it that, like a polyphonic symphony, which means many voices, it's not just my voice. One of the things I wanted to mention in my research I started to do. I mean, I read, you know, books on musicology. You know, that's the thing about ufology.

26:08 Speaker 2: You've better get ready to stack up your library because you're going to run into you have to read science. You're gonna have to read psychology. You're gonna have to get into jung You're going to have to read anthropology and sociology. You're going to have to do a lot of reading. So I was reading books on musicology. Where does music come from? Bottom line is no one knows. And it may proceed our ability to sing, may proceed our ability to speak in language, which is so fascinating, how primitive and how deep you know, and when you think of you know, like music, you know, moaning or you know, there are certain eulilations that are used, you know, in certain kinds of singing, and but that takes us to deep places within ourselves, you know, And it's it's pre language, you know.

27:09 Speaker 2: And this subject matter, this, this the upology subject it seems to really go beyond language. It's sort of like when I try to put it down into words and I'm sorry, Yeah.

27:21 Speaker 1: Wouldn't that be fascinating though, if if, if some way, somehow we find out that that that our our our language didn't come first. It was the yeah, the the maybe maybe something more like yeah, like what you just said, tradition communicating with uh noises strung together the same way we do with words, just but with put you know, more drawn out in a drawn out way that was more you know, had more uh base to it and or flourished to it. Yeah, And maybe that is why, you know, when people go to church and they hear that type of music, they really they start to resonate and go to that place where they're able to communicate with a higher a higher conscious or higher being.

28:18 Speaker 1: Right, whether you choose to call it God or h Muhammad or or or this or that, the common theme seems to be that these places of worship are also places of music.

28:35 Speaker 2: Right, I mean what you described could be said, could happen at a football game, right, you know, you go to a football game and they have songs. They have songs for touchdowns, they have songs for uh really everything from the beginning to the to the end, and everyone knows those songs. And it's extremely emotionally connecting. You know. Sometimes that's the way people are are connecting in the deepest ways, because some things are hard to say. You know, if you could, if I could say it in words, I wouldn't need music.

29:10 Speaker 2: And it's very primitive. Interestingly, I learned that there are primates that uh, there are gorillas. I think there were gorillas that when they eat, they have they have eating songs and they hum m hm. Really and when they're like their favorite foods, they have 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 is really, all I've done is scratch the surface. Really, I think.

29:45 Speaker 1: Right, there's a study that I reference a lot, and I need to get the details of the school because I never remember the school, but or there was an institution, I don't know. I'll again spotty on that detail. Some sort of institution ran an experiment where they froze water and before they would freeze it, they would speak to it. So when they were when they used words or anything that had a positive connotation, the when frozen, the m 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, you know, uh, the ice froze and not beautiful structures like crazy, you know, wonky ones. So it goes because our voice, right, our voice, we we it's it's a frequency. So what they're what they kind of proved, is that our words matter literally right, they affect the matter around us. So singing would ultimately have that same effect, if not a more powerful effect. People sing to their pregnant wife's bellies. So why why do we have that instinct?

31:19 Speaker 1: And why is it there? Its very all these questions are now coming to me.

31:25 Speaker 2: Yeah, there's music. I mean those are all great points. You know. There's music, you know for funerals, there's music at graduation. There's music accompanying pretty much every great, every significant milestone. And it's something that we're compelled to do. It's just something illicit, you know, it does I mean even if I like give an example, if I if I start speaking as I'm speaking now, right, I'm just talking to you, but then I start to I will rise and go now and go to in as free and a small and build there of clay and wattles made nine bean rose.

32:03 Speaker 2: Shall I have there and a hive for the honey bee, And I shall leve alone in the be loud glade, and I shall have some piece there for peace comes dropping slow, you could see, you know, talent side right, let's crack on my talent lack of it there, But yeah, there's something different. And you know prayer, you know, people will talk about you were saying to the water. I think prayer is very powerful. It's very very powerful. I mean, Buddhists, you know, say that you know the words that you use, you know, create your reality and be careful, be cautious of the 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. And I think we're all guilty of those things. I know I am. You know, there are things I wish I wouldn't say that I wish I hadn't said, and I feel terrible about having said that, but we're all we're all a work in progress, and you know this power of you know, sometimes you hear music, you know, you want driving music, right, Sometimes you want uh music because you're sad, you know, or music because you're happy for me. The music. It's so it's been so magical that you know, say, for example, the way that I met I met Peter Rowan through a series of improbable, you completely incredible events.

33:41 Speaker 2: So if I can tell you very briefly, and it's part of this magic, the synchronicity, this kind of chasing the dream this uh. So my friend uh, Carlos has UH. He's an artist, he has an UH and he had a studio on Coney Island and and Cody Island Avenue. I went to his studio and there was I'd been doing interviews with indigenous artists and just indigenous people around the country. I went to a studio I should say. Carlos is from Guatemala, He's half indigenous, and there was a portrait I was kind of tucked in the back there and the portrait was of this guy, Ernie Panacoli.

34:30 Speaker 2: Ernie Panacoli is a hip hop photographer. He was born in Brooklyn, and he he's half Cree and this picture was just it was so incredible. You looked at the eyes and there were so much they came to life. I mean they popped out from the back of you know, things he'd been working on. And I said, who's that guy? And so anyway, he said, he's Ernie Panacola. Do you want to meet him? I met Ernie and I wrote I did an inter with him, which then got published in a newspaper. And then Ernie says to me, listen, I have someone very special I want to introduce you to.

35:09 Speaker 2: He goes, I trust you. It's kind of a you know, an interesting thing that he chose me. And so was this woman. He introduced me to young chin Lamo, who's a Tibetan singer, incredible Tibetan singer, just super interesting, using traditional Tibetan singing with other influences flamenco. She played with a Russian piano player, wild interesting stuff. She and I have since become friends. And then I saw she played with Peter Rowan. I said, oh, I see, I read somewhere you played with Peter Own And then she says, do you want to meet him?

35:44 Speaker 2: Now? This led into me writing. When I met Peter, I was having these incredible dreams and I'm just aloft on these dreams. And I'm telling Peter, I'm having dreams about you, which may have frightened them a little bit. No, not those kinds. They just to your seeing you in dreams. We're having conversations, and some of that stuff had kind of, you know, extraterrestrial elements to it. You'd have to read the book. And anyway, I'm in this kind of fit 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. Would you be interested in pursuing it with me? And that happened. But this is all from it's it's sort of music related. The music inspired me, the music enveloped me, and I flowed down that river to wherever it took me. You know, we talked about the Muse and just I didn't know where I was going. I'm just writing the thing as it's happening. I'm capturing dreams I've subsequently, I dream a lot of I have UFO dreams where I have intense encounters and intense exchange of information and downloads that kind of thing.

36:58 Speaker 2: So I factored that very it's to me, it's it's extremely important in they're not dreams are not to be discounted. They're just another modality, another way in which we may contact with that bigger river, with that other who is perhaps us or some reflection.

37:18 Speaker 1: Of us, right, And and that that is kind of a crazy thought in itself. I think, you know, Michael Masters uh talks about future humans and and uh, I I tend to think with the phenomena uh, that that it's many different things, that there's multiple you know, it's not because we're raised in a world that's black and white, and it's not un till you know later on that we realized there's more gray than we were ever told. And and and I think that it's funny that you know, you say, muse and we talk about music, right, it's the it's right there in the world right him.

38:01 Speaker 1: Yeah, yes, the music Museum, Like you said, uh, that root word of of pulling from the the that river, and I think that sound is is definitely one way that we can we can channel that river uh and and attach our tour reattach ourselves to But one of the people I met while waiting in line at the UFO hearings was Chris Bledsoe. And we talked earlier about HEMI sync.

38:35 Speaker 1: They have, you know, put instrumentation to to watch his brain activity while he uh contacts whatever you know, it does does whatever he does. Yeah, Yeah, he's able to have me sink his own brain. They say that he's like he's on a level on par with like someone who's meditated their whole life, uh, you know, like shaman shamanistic levels. And then you know he he has the ability to call in these orbs. He's worked at the Monroe Institute. So there is something there to this idea that that that the connection could be right in front of us.

39:21 Speaker 1: It could be inside of us this whole time. And I mean when people talk about the like even Bloodsoe has talked about how these beings communicate, is uh telepathically. So again it's it's it's all. It all kind of comes back to consciousness, uh to some degree. So that's 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 said that because and we talked about you know, imitate or or you know, the reality forming from consciousness UH with close encounters. People think that that impacted that that movie like made the archetypal alien, but that's not true. The movie used the Project blue Book files and the real UH descriptions of the most common description of the beings. So that's how Steven Spielberg represented it. So it's interesting that he put music in there as well and put that whole scene in there because that's very very critical to that, to the moment and to the contact that they're having.

40:51 Speaker 1: So again we got to ask ourselves, you know, what what's happening? What what? What truth is there? And we need more people like you to die into that because sound and frequency, I think is just important as any other as any other and it's I truly think that it's a key to the universe.

41:14 Speaker 2: I agree with you, and it's long been an idea, you know. It's so there is the music of the spheres. I'm trying to commit it from a different angle to be as to go very broad. And also I included stories, so I wanted it to be concretized in people's stories, which were completely varied, and that that was important to me. I didn't want a repeated story, and I didn't want to say, okay, is your story of X, Y and Z. No, something unexplainable, inexplicable happened that's associated with music. Some of it was people when they had an encounter and experience there was this incredible music.

41:51 Speaker 2: They'll often say, the most beautiful music I've ever heard. This like kind of symphonic, beautiful, gorgeous thing that's happening. Not that the the Sometimes people will have a there's it's silent, you know, the actual objects may move in silence, but there could be music associated with what they're experiencing, right, And my point was, just give me a story. Let the stories speak for themselves. Let them be polyphonic, many voices, let them h I 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, but when you actually talk to them and you scratch that surface and you dig deeper, there's something there.

42:40 Speaker 1: Absolutely, absolutely, And again I think that I personally think that it's it's interesting that you talked about. So the emotion that often comes with it, it tends to be grief related because that's ultimately what set me on my own path and triggered a lot for myself. Is the moment that my mother passed away and I was in the room for it. And you know, when I think back on it, it's weird because I kind of I think back on it, and I think a lot of us do this is we kind of play it back like a movie in our heads, and we put dramatic like I have a dramatic music that plays when I think of that moment, and it's something that didn't exist there in the first place.

43:33 Speaker 1: So it's we find these ways and songs they elicit this emotional response from us. And like I said, something I've been thinking about a lot lately. It's hard to get into words like you had said, but I really, really really want to dive deeper into it because I think there is a huge element that we're all missing as a community. So I just want to say thank you for you know, writing this book and creating that symphony.

44:05 Speaker 2: Thank you. And I did it with the help of the voices of other people who are generous enough and trusting enough to trust me with their stories. So I feel privileged in that respect, and I only hope people take the mantle and go further.

44:19 Speaker 1: How can people pre order the book? Where can they find it and how?

44:25 Speaker 2: Yeah, so it's anywhere books are sold, you know, in bookstores. It's hard to tell. I'm not sure, but if you go to any online service, you can pre order it now and it'll it'll publish in on February first, twenty twenty five. I will be getting some I will be getting some early copies. So if folks are interested, if they go to my website, Mike Furido dot com, I'll have you know, a short set of books that I could send to them. But that'll that'll be they'll be coming soon. Yeah.

44:59 Speaker 1: I start uh started reading it as a last night so and uh, I really look forward to continuing it. It's really good. So uh everyone you know, get that on pre order uh now and uh, like I said, all the links will be in the description below for Mike and if you want to pre order the book and check out his other books because he's got a long long list of them. Mike, thank you so much for being on total disclosure. I really appreciate it, and uh, 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 conversation in the future. So yeah, definitely keep the dialogue open and I looked I look forward to it.

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

45:47 Speaker 1: Day you too, my friend. And for everyone out there watching in this sphere of uh ufology, whether you're listening on Spotify, on Apple or watching on YouTube, and always helps leaving a like following the show and if you can review and give us a rating because it helps us garner a wider audience and allows us to keep giving you the best, the best content possible. Or Congressional documentary video will be coming out this Sunday, so keep an eye out for that. We'll see you guys later. Have a good night.

46:28 Speaker 1: I'll see you on the other side.

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