The Crystal of Atlantis was Made up of Seven Faceted Rings

The Crystal of Atlantis was dark red but had a mottled look, showing dark and light spots in the inside. It was fairly large in size, about thirty feet in diameter at the bottom, narrowing in to perhaps five feet at the crown. It was based on mathematics; it was faceted according to the mathematical calculations of the course of the sun. It did not track by turning but tracked the sun by faceting. Because the sun was constantly moving, this involved a series of facets so fine as to be almost one solid ring around the crystal. And there was more than one ring. There were seven rings around the crystal all faceted or carved with the most intricate, precision-like cuts. The cuts caught the sun’s rays and each ring caught them differently according to its pattern.

The reflected auras of the crystal were then caught and harnessed at different areas of the land. The channels between each facet allowed maximum storage of the ray in any particular area at one time. Then it would be picked up by the next “station.” One ring was for air transportation, one was for communication with space ships, one was for energy to run pumping systems for irrigation purposes, one was for growing food itself and the final one, as far as being useful to everyone, was for healing the people. There was one more that was used for secret work by the priests. The topmost ring itself was used to energize the crystal so the other six rings were more potent than they would have been without the seventh or top ring. It was an accentuator ring.

The color of red came from the stone the crystal was carved from. It was polished and the surface was smooth with all the intricate faceting being on the underneath side. If the facets had been directly exposed to the sun it would immediately have caused havoc in all the land due to the chaotic and powerful rays that would have been shooting off the crystal. The only way to control it was to have the facets on the underneath side and then control them with the accentuating ring at the top of the crystal. This was all mathematically designed. The stone that was used was brought from another planet. There is no such stone available on the earth today.

My Adventures in Writing Music – Part One

It was my fiftieth birthday and when I got up that morning I decided to celebrate by giving myself the day to do anything I wanted – something that I had always wanted to try and had never allowed myself time to do. I decided to try to write music. It seems unbelievable that I had been playing piano since the age of four and had never tried to write music of my own. It just never entered my head that I would be able to do this. I didn’t believe I was intelligent enough.

When I began composing, the music and lyrics would flow out in complete form. I would sit on the couch in the evening watching TV and writing words and music at the same time. Sometimes I didn’t even listen to them until the next day. Many of them were about places and things and events in Colorado. I wrote songs about everything and everybody. I realize now that the compositions followed my own experiences with music. I worked my way through folk music, country, blues, pop, show music, even some rock, and then the music started turning spiritual with new age lyrics about a visionary world.

At one point I was in contact with one I called Frances, as I spelled it for a long time until it was corrected to Francois. A couple of years after that the last name came down and it was Couperin. Francois Couperin was a famous French composer and musician, a harpsichordist for the court of Louis IV and the teacher of the royal princes and princesses.

A year later, I began to receive information from a spiritual source that flowed the same way as the music. Some of the information came from a being named Sashuyon and one of his former incarnations had been as Tchaikovsky and this is where the Russian influence came from in the music.

Eventually I was in touch with the Musical universe and the Science of Music started coming through. This science will give the world much needed new technology by applying music to seven established sciences for new ways of healing not only humans but also the earth herself.

The day I decided to start composing music, the first song I wrote was entitled “Walk, Walk, Walk with the Angels.” I hated it. I didn’t want to write religious songs. Then I realized that while writing the song I was seeing a vision of angels parading across the top of Grand Mesa, a 14,000 flat top mountain close to my home in Grand Junction. I decided it was meant to be and went on to write another song. This one turned out to be very different. It was about the female singer in my dance band. It continued on from there.

One evening while driving to choir practice a song started coming through and I had to write it on a piece of paper while driving the car. This was kind of hard to do and also kind of dangerous. This song was entitled “When the Columbine Turns Blue Again” and was inspired by a trip we had made up onto the Grand Mesa to cut firewood for our fireplace. I was later informed that this was a reflection on a previous life I had.

By the time I had twenty-five songs written I decided to write a musical play and fit the songs into it. I called this play “Boomtown, U.S.A.” Our area was a boomtown at this time based on the oil shale development that was going on at this time in western Colorado. (This play will soon be available on my website
As I worked the songs into the plays, I began hearing arrangements for them and tried to incorporate these arrangements into the piano accompaniment. Most of the music in this group was of a country western flavor. Besides piano, I playedorgan, accordion, guitar, mandolin and violin and my sister and I sang at various events as teenagers. I know this influenced these early songs.

The music eventually became a little more in the line of pop music with some influence by early 50s rock and roll. It still didn’t stop me from writing about everyone and everything. One night as I went into choir practice I heard someone ask “Where’s Joe.” The answer that came back from another member was “Joe’s not here.” This became the title of another song and was in the blues genre. This happened quite often.

For some songs I drew from events that took place in my childhood. The song “Daddy was a Bootlegger” was a true story because my Dad was a bootlegger. He ran a still in the blackberry bushes on our property and he quite often spent some time in jail when caught. My Mother hated this song, but did like most of my other work.

My Adventures in Writing Music – Part Two

For twenty-five years I played for dances every New Year’s Eve. I never had a New Year’s Eve off. One year I had surgery on my right wrist and I still played a four hour gig with just my left hand and left foot on the organ. Anyone who plays piano or organ knows that the melody is most always in the right hand, so this was a very difficult night. This was when we lived in Ohio.

Another night that was kind of unforgettable, while we were still living in Ohio, was when I was playing a dance for a group of state patrol officers. I was about 8 months pregnant; the officers were drinking merrily and kept yelling at me all night, “don’t worry lady, we’re all trained in childbirth.” They repeated this over and over more loudly as the night wore on and they became more inebriated. The last worrisome part of the night was when they insisted on carrying my organ down a steep flight of stairs. I was sure they were going to drop it.

We moved to Colorado and “Christmas in the Country” was the aftermath of the holiday season when I lived in Vail, CO. For Christmas Eve I had the honor of playing a church service for President Ford and his family. A week later on New Year’s Eve I was on my way uptown to play in a bar when I was in an accident. The woman who hit me turned out to be the sister of the man who hired me to work at the bar. I had to be careful how I handled the event for fear of losing my job, which I really needed.

After we moved to Grand Junction, CO I started my own dance band. I called it “Aces and Eights” after the hand of cards that Wild Bill Hickox was holding when he was shot. I had this band for about ten years. I remember well the first and last jobs.

The first gig was In Telluride, CO, a ski town about 150 miles southwest of Grand Junction. I had booked a three piece band at a club and hired a trumpet player and drummer, both college students. We all went in our van with the instruments including my organ. My husband was driving. The drummer said he’d been in an auto accident earlier that day, but he was all right. We made it through the first set and he got sick. He had to lay down on a couch backstage and the trumpet player took over the drums. He’d never played them before, but had studied how to do it in college. Thank goodness for his talent. We had to pack the van carefully going home so there was room for the sick drummer to lay down on the floor. We had taken the rear seat out and that was the only place he could lay down. He was pretty sick by this time. He had a concussion from the accident.

The last job was in a town about the same distance northeast of Grand Junction. It was New Year’s Eve and that night I had booked a five piece band. We had to take the equipment up three flights of stairs. But that wasn’t the worst part; the travel was treacherous that night. The roads were snow covered and very slippery. My husband was driving and did a great job, but I was scared both going to the job and going home again. There were snow shoe rabbits all over the roads on the way to the job and coming home it was deer and moose that were all over the roads. That was the night I “hung it up.” Our son Neil was about four when we moved to Colorado and by this time he was 14, too old for a baby sitter and too young to stay by himself. I never played another dance job.

After moving to Los Angeles I decided to try to write some pop music so I signed up for lyric writing classes and started going to workshops. I had signed up for twelve weeks of lyric classes. The classes were held at the teacher’s house. One night after I’d been going there for about three weeks, I left her house and headed for my car. It was across the street and down a little ways from her house. While walking to it I noticed two homeless men walking towards me pushing their carts. I saw them cross the street and head towards me. I hurried and just got inside and shut and locked the door when they were knocking on my window. I started the car and tore out of there. I never went back to finish my lessons.

Another night I was at a workshop in a downtown high rise and when I came out to go to the parking lot which was about a block away, I had to walk among street people laying right on the sidewalk and reaching up as I passed, asking for money. I never went to anymore workshops.

I lived in Los Angeles about five years. I was there for fires, floods, earthquakes and riots. I was teaching music at a preschool one day and the other teachers came in, locked the doors and pulled all the shades shut. I sat there and entertained the children while they waited for their parents to pick them up. The rioting was within a block and a half of the school.

I was there for the big earthquake that did so much damage. Our house didn’t receive much damage, but when I went to the preschool where I was to teach a few days later it was completely destroyed from the earthquake.

When the fires were burning I could open my front door and see the flames behind a hill not too far away. My big worry was needing to leave my cat locked in the house while I was teaching. I gave the neighbor a key and asked her to let the cat out if the evacuation order came. It never did.

Talk to Each Other was inspired by actually seeing a woman lift the lid of a garbage can. I also was acquainted with a teacher at the school where the student was shot. I entered the song in a contest to “Heal L.A.” after the riots. It got an honorable mention out of 1200 entries and I also got an eighteen month contract on it, but nothing ever came of it.

Introduction to the Science of Music

The Science of Music will tie together everything that has existed from the time of the “big bang” into a musical vibration for the purpose of finding compatibility between the different kingdoms. This will aid in the healing of humans and the planet.

To do this we need to expand our thinking and take music theory several steps higher into the field of science. In the beginning these will only be baby steps. As it is progressed it will eventually become the main science over all the other sciences. Music actually is the Father of mathematics on which all science is based at the present time.

Mathematics is a child of music. Music is the Father of everything. By the vibration accompanying the virtue that went with the birth of each planet there became a mathematical formula at that instant that was a musical formula.

The tie-in of mathematics to music should not be too difficult. The science of mathematics has out-distanced music, but can be directly applied and this music then, the musical formula arrived at, will give absolute knowledge for astronomy and predictable changes in the planets in the future.

Music was the first potential in the beginning of all creation, not mathematics. On other planets mathematical figures are not used, symbols are. But music is either heard or felt or seen or assimilated in some way, shape, or form by every planet in all universes, as it is a part of the makeup of all universes and all things in all universes.

Remember that as the father of mathematics, music is capable of progressing far past the stages of mathematics as far as separations of degrees of pitch and combinations of all these degrees. These are actually the genes of our body, both physical and divine.

All of our body is composed of degrees of music in its many different manifestations. If a wiring circuit of all these genes in us were to be done it would show an amazing thing. When completed the wiring diagram would tie back into itself for total completion. This is why it is stated that each form is a universe, as indeed it is. It is subject to the same rules and regulations that govern large universes, even unto the rhythm of the cycles.

Music is based on absolute, mathematical perfection as its foundation and then molded into a creation of beauty. So also are humans. Music is the common denominator of all creeds, all theories and all concepts of both scientific leaders and spiritual leaders. This science encompasses all scientific knowledge, all religions and philosophies and draws them together for a look at the total picture of creation and evolution as being partners in the miracle of life.

The scientific application of music is an exoteric one of the unchanging facts of physical manifestation. The spiritual application of music is an esoteric one of pliable etheric manifestation. Both are absolutely necessary for the expression of the Creator. One cannot exist without the other. One cannot function in full expression of life without the other.

This means the physical form must evolve to allow full expression of the Creator to take place. With the Science of Music as the guide for both factions of thought in today’s world, science and religion can be effectively wedded. Music is the “tie that binds” the two together

Music has other sub-charts, one of which is emotional feelings, processed through the solar plexus of each entity, which manifests in “feelings.” Music can not only be heard audibly, but also be seen visually through color. It is capable of far more variations of expression than mathematics or physics. It has many more fields of expression than either of these other disciplines. The complexity of musical harmony can be heard through sound, seen through color and felt through the emotions.

Not only will music tie science and spirituality together on our planet, but it also will be the ultimate communication system with all others in all universes. Music is the essence of the Creator. Now it does have structure, and on our planet this structure took the form of mathematics to hold music onto the earth plane in an audible form.

The true secret of all life everywhere is music. It is much more, by the way, than just vibration. It has an encompassing depth to it that makes the vibration fill all space. The vibration of our physics is flat, it is not all-dimensional, which is what pure music is.

Our instruments, especially our solo instruments, can only capture one small aspect, a lineal aspect of music. The piano comes the closest to true music expressing the more true form of the universe, with the pipe organ being the instrument that expresses the truest form of music for the earth plane, but the really best way to capture something that is ethereal and catch and hold it in matter has not yet been invented.

There are, as given, many expressions of music, sound being only a small percentage that makes up music. Musical sound can be directly related to colored lights. It could have aromas and shapes or forms also tied into it along with a process of connecting musical strings directly to the body for total experience as much as possible on the earth plane.

At the same time music could be tied to food that would be eaten while listening. This would cause instant digestion and raising the vibration of the body to the level of receiving from the higher planes, which would then add an ethereal experience to the total experience of music. I cannot even begin to describe what this would feel like, only to say that we cannot experience it at this time. It is impossible at the stage of knowledge we have of music.

Excerpted from The New Millennium NoteBooks at

Trips by Spaceships are Biblical Days

The ball of fire blazing in the distance, which was to become our earth, was visible at all times for hundreds of thousands of years until gradually it began to cool. Many more eons went by before the flights to planet earth began from the Andromeda galaxy.

The first day mentioned in the Bible referred to the first ships from the other galaxies. The Andromedans made the first two trips. The first trip was the discovery of the amoeba; on the second trip they discovered that it had progressed into the upright animal form. These would be the first two days Biblically speaking.

The travelers from the Andromeda galaxy watched the cooling down process. Their space ships traveled to it before it even cooled enough for landing. It had cooled to a solid but the gases were still curling up off of it and lava would bubble up everywhere.

They stayed with it until the discovery of the amoeba. This ended the participation of the Andromedans, who came from all the inhabited planets in that galaxy, taking turns sending expeditions.

Having discovered the beautiful shaping up of this amoeba, the Andromedans turned the watch over to the Pleiades galaxy, which was responsible for the third and fourth days Biblically speaking. By the time of the fourth trip the animals had truly progressed past the ape stage into a different form. The Pleiadians carried it to the stage where the animals started walking upright, when it was possible to mate the animals with evolved life from other planets.

When this was discovered the Pleiadians then turned it over to Sirion and others in the same galaxy, the Milky Way as we know it. The different galaxies watching earth’s progress had superior knowledge in their particular stage of the watch and, for instance, when the Andromedans turned it over to the Pleiadians, they (the Andromedans) took on the watch of the next planet, which is almost in the amoeba stage now.

As given the Pleiadians, in turn, gave the watch over to other planets in the Milky Way galaxy, of which Sirion and Venus were the main two. They were responsible for the fifth and sixth trips (days).

At the time of the fifth trip the true form had altered from that of the animal. They had been watching for this alteration to appear before they began their experiments. The animals still had their tails at the beginning of their experiments, which they quickly lost. The original experimenters were from Venus. The animals were left to bear their offspring for two generations. This would be the fifth day.

On the sixth day (trip) they were again inseminated with their genes, artificially. It took four generations for them to lose their tail to the point where it was a stub of six inches, and it took three more generations for this stub to disappear.

The story of creation covers many generations of experiments. Passages in Genesis were still dealing with the experiments of the space people in getting a line of more highly evolved humans started; not only started, but controlled as far as having anything further to do with those coming from a more pure animal background.

This article was excerpted from the “Timeline of Eternity” by Norma Hickox and is available at

The Universe Compared to a Whipped Cream Salad

Yes, there is a God, a powerful, all-pervading energy whose presence is everywhere in everything. It is an energy field filled with thoughts so potent they are dangerous in the wrong hands and used for the wrong purpose. It is all so complicated that one is at a loss as to how to pull it all together for explanation.

To explain God in a very simple manner, please picture a whipped cream fruit salad. God is the mixture in which all else takes place, the ingredient without which there would be nothing. Without the whipped cream as the holding ingredient, all parts of the salad would fall apart. The fruit are individual themselves in the whipped cream; they still retain their taste and characteristics, but without the whipped cream they have little relationship to each other, except for the fact that they are all fruit. God is the agent that bonds all together into a finished product.

At the bottom of the bowl, the energy (whipped cream) is bubbling and churning (picture a blender.) The different fruits are right on top of this bubbling and every so often an extremely strong bubble will be right under one piece of fruit, say a cherry or a grape. The bubble will propel this piece of fruit to the surface where it will float in one position (say the stem is up on the cherry) even though it is moving around the bowl, unless a strong bubble pops to the surface beside it. This will cause it to shift its position so the stem points a slightly different direction. It will stay afloat until the time when an extremely strong pull of suction from below will pull it under.

The bubbling at the bottom of the bowl, (spinning blades of the blender), is the center of God, the true center of our universe. We are like the pieces of fruit on the surface of the whipped cream going away from the bubbles. It is all an action of ebb and flow. We are never really away from God, because we are always in the whipped cream mixture.

When picturing the universe as a bowl of whipped cream salad the size of a football field, one should picture earth as one tiny cherry. See this football field inflated, as a football itself is and in the center visualize the bubble making machine. It is constantly at work; it never stops its action, so things it affects must always be changing.

The overall picture is one of the universe in constant motion. When a star sinks into a black hole (sucked under by a bubble in the whipped cream), it does not disintegrate to be no more. It simply waits with the rest of the bubbles to be popped to the surface again in a different time and place. When it does pop to the surface again, it must go through a cooling period. When it has cooled it starts the process of evolution all over again.

There is no destruction of the stars, just appearances and disappearances. The football field sized universe with earth as a cherry and the sun as a peach, perhaps a grapefruit would be a better size comparison for the sun, are all part of the same solar system. There are many solar systems in our galaxy and there are many, many galaxies, each with many solar systems.

This article was excerpted from the “Timeline of Eternity” by Norma Hickox and is available at