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SZ: What were the reasons for the decline of Callas's voice?
GS: Onassis. Leading the life she did, a very social life. He took her into the highest circles. She no longer was herself because she no longer had her music. And later, when she went to make the film Medea, with Pasolini, I said to her, "You are music incarnate. By abandoning music, it is only natural that your voice has abandoned you. Now you want to resume your career. But Maria, dear, you can't hope to resume it, for there has been such a rupture in your career that even psychologically you never can regain the success you had once." She listened. I could say anything to Maria. I could tease her, scold her, advise her. She asked me for advice--I never would have dared offer it to her. We were good companions. If we felt like talking, we talked. If we didn't feel like talking, we remained silent. If one wanted to go to a museum and the other said, "Today I'm a little tired," the other would say, "That's all right; I'll go by myself." No one was offended. Maria and I got along very well.
SZ: Before she met Onassis, was there no decline in Callas's voice?
GS: No, no.
SZ: Did the voice change over the years?
GS: Yes, it's as if it shattered because something in her broke. After this change in her style of living, without music, Maria no longer was herself.
SZ: In '59 or '60, was her voice the same as in '48?
GS: I would say yes. In fact there was an added maturity. With her knowledge of technique and studying the way she did and with an instrument that still was sound, she still could do what she wanted. There were no weaknesses. Her ruin really was that man.
SZ: In '48 the voice was broad, wide-ranging and somewhat heavy whereas....
GS: It hadn't gotten heavier--more dramatic perhaps. Since she no longer sang the leggero repertoire, the voice naturally had become more robust.
SZ: According to you, was the voice more robust in '58 or '59 than in '48?
GS: It's difficult for me to remember now if it was robust in one period but not another. I can't give you a precise answer.
Originally posted by ladyinwaiting
Hi Getsmart.....thank you so very much for this very interesting information. I have always adored reading biographical information, and this, along with your own thoughts and conjectures made for a most excellent read. S&F, well deserved.
Originally posted by jkrog08
I must say this is a rather interesting read, truly something you would only see on ATS. Thanks for taking the time to put this together. S/F...
The image is symbolic for Diana returning to this world ‘with the same looks’ so to speak. The collective spiritual energy directed at Diana from the human race will allow her to return to earth with the very same looks when she chooses to...
The Serpent Cult have placed the items you see inside this Temple to receive our free will permission to allow Diana to return to this world as many times as she chooses in the exact same physical image and equipped with the same guile. The 'figures' represent 'reincarnation' in the same body and the hanging profile picture is to symbolism that reincarnation will be with the same face...
Diana: Can you see the real me?
by Mathew Delooze
www.oneballmedia.com...
Originally posted by Truth hunter
Yeah, and maybe Elvis was cloned from King David and the American Statue of Liberty and his image has been cloned throughout history to do great things in certain ages... Why not?
Originally posted by someotherguy
This came up on the other thread. It is my personal opinion that there is a connection between Faul McCartney & Emperor Justinius - clone or maybe what Delooze was describing in his article:
The image is symbolic for Diana returning to this world ‘with the same looks’ so to speak. The collective spiritual energy directed at Diana from the human race will allow her to return to earth with the very same looks when she chooses to...
Hi Someotherguy,
All four of The Beatles, the original deal as well as their impostors, have had their image so engraved in our collective imagery that we cannot look at this Byzantine era mosaic without thinking of the Fabulous Four.
Justinian at Saint Vital Church in Ravenna circa 540 AD
Saint Vital church was built between the years 532 and 547, the work was started at the initiative the daughter of Ostrogoth King Theodric. You can see the mosaic in question at the bottom right of the following picture.
Saint Vital Church in Ravenna
Large size complete mosaic
Here is a comparison of George Harrison and one of Justinian's companions.
There is a strong presumption here that these four were at the very least symbolically resurrected for unknown Occult and mystical purposes, their appearance and exploitation being handled with much mystification. What may also be assumed is that these Four individuals may have been cloned and implanted in different families, with or without their knowledge. They may have later been manipulated into forming a group making them into a new force to forge a new society, extending the Empire of those controlling them.
Without going into details of what occurred in the 1950's and 60's, we can well enough imagine that the British Imperial Crown as well as the Tavistock Institute were either behind this or at least accomplices in the task.
[edit on 15-12-2009 by Getsmart]
Originally posted by dizziedame
I have wondered about cloning for many years and have suspected the Germans to have perfected the process even before the war.
Originally posted by Getsmart
What may also be assumed is that these Four individuals may have been cloned and implanted in different families, with or without their knowledge.
Originally posted by Truth hunter
I don't see any difference between the two real Elvis photos ...