From: nablusoss1008 <>

Sent: Sunday, October 26, 2014 10:53 AM
Subject: Re: [FairfieldLife] Re: FFL Hating Turq and Belief in God is a form of 
mental illness

The noise you produce was even worse when playing inside a room with a 
microphone in a video you probably deleted.  For good reasons.
You see now that I find you extremely pretentious and perhaps, though I doubt 
it,  understand why I find your critisism of Maharishi as silly as your 

Just as a question, Nabby, what do you think that people on this forum think of 

Essentially, I'm asking you to "self-rate," the same thing I've asked of Jim 
Flanegin and that he's been too terrified to ever do. I'm asking you to tell us 
what YOU think other people on this forum think of you, and how believable they 
find you.

1. Do you think that there is ANYONE on this forum (or anywhere else) who finds 
your stories about Benjamin Creme and the Any-Day-Now appearance of Maitreya 
believable? If so, who are these people so we can contact them to confirm this? 

2. Do you think there is ANYONE here who finds the stuff you write about crop 
circles believable and believes that they were created by 'Space Brotherws?' If 
so, please give us their names. ( The people who believe this, not the names of 
the Space Brothers. :-)

3. Do you think there is ANYONE on this forum who feels that you are a good 
example of what TM does for a person? Again, give us names please.

4. Do you think there is ANYONE on this forum (or anywhere else) who feels that 
you are even SANE? Names, please. 

5. Do you think there is ANYONE on this forum (or anywhere else) who actually 
CARES what you think of Curtis, me, or MJ? Again, we'll wait for you to supply 
names, if you dare. 

6. Finally, do you think you'd still be welcome in Vlodrop or in any official 
TM flying facility? 

I'm really interested in your answer to the last question, because I've been 
contacted by someone in Europe who has offered to give me your real name and 
the real story of why you are no longer part of the TM movement and are instead 
hiding out in Norway. It'll be interesting to compare this person's version 
with your own. 

---In, <curtisdeltablues@...> wrote :

M: Thanks for the well intentioned advice Nabs. I'll take it to heart. What I 
am getting from you is that when I am singing outside without a mike to an 
audience many meters away, I should sound more like a guy sitting in the corner 
of a quiet recording room inches from a mike. And when I am covering a fast 
Elmore James song I should play it like another song that is slower.

You got some mighty fine ears on ya boy!

---In, <> wrote :

"If Curtis were as bad as you say, what do you think he should do to improve?"

Good question. First of all I'd recommend practise, practise, practise. He 
could start by hitting one note at a time, just one note and listening to it, 
how it sounds, vibrates and how the sound slowly disappears. Just that, very 
simply and innoscently create one sound, and then listen to it, how pleasing is 
that sound, does it sound better doing it in another way ?  And again, and 
again, and again. By doing this one acquires an understanding of the basics and 
a love for the note itself. Without this basics one is lost and will never 
achieve anything. One should understand that the ability to play fast on any 
instrument is not the same as playing music. To be able to play slowly is the 
hallmark of a professional.
 Many amateurs, like Curtis, make this mistake; they skip the basics and try to 
convey too much.
I recommend you to listen to the video I posted by Robert Johnson. Where is the 
showmanship in this ? There isn't any because his heart is in it. When you 
listen to this, perhaps you better understand my disgust when fellows like 
Curtis comes along claiming to play the blues.

Robert Johnson - Kind Hearted Woman Blues (1936)

      Robert Johnson - Kind Hearted Woman Blues (1936) 
This Song contains the only guitar solo Robert Johnson ever recorded. I very 
good example for his amazing talent. He plays rhythm and lead guitar on one 
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