"The Duz in the UZ" Chorus    Definitions Buz: Static; The attractive force between Electron and Proton. (electric charge)   Duz: (Does) The Interaction of the Kuz, Fuz, Buz and Wuz.   Fuz: Hypothetical lines of force that link Photons to Electrons; The Duz' spatial component. (Flux; Magnetism)   Kuz: (Cause) Radiation; The component of cause—the phenomenon of the initiation of inhabitation of the uz [sic]. (Photonic phenomena)   UZ: The space/time medium; Read "A volume that contains a duration" as opposed to "ZU," which is read "A duration that contains a volume," which is a composite of all of the forms of biological life inhabiting the UZ. Where:   Space     =     U     =     Volume Time      =     Z      =     Duration Wuz: (Was) Gravity; Kuz' opponent. (Gravitonic phenomena) Chorus ...Now some Buz/Fuz Duz, Kuz some Fuz/Buz Kuz, And some Buz/Fuz Wuz, Kuz some Fuz/Buz Duz...   The Tip of the DRIP What a slippery DRIP we attempt to scale, When first we plot to make people fail.

1. "Color=Pitch & Space=Time" Musical Notation Correlation Table

   Notes' tones are represented via their color and  Notes' durations are represented by the quantity of spaces that each sounding takes up, each space representing a displaced, though equivalent period of time throughout the body of the song.  (TOC)
   The Number of Frets Up the Fret Board from Any Note that is Used as that so Fretted Note's Primary (Key) Note.	Names of  the Interval Sounds Between any Particularly Designated Note and the Base Key Note.	The notes as they would land on the section of the electromagnetic spectrum that contains properties that are visible to humans.  (The subscripts represent how many rows* up from the most bass octave each particular note resides.) This arrangement is meant to be a literal representation that, devoid of mistakes, should be as true a representation as semantics allow.
   Twelve	Octave	E45 — F45
   Eleven	Major Seventh	(D# / Eb)45 — E45
   Ten	Minor Seventh	D45 — (D# / Eb)45
   Nine	Major Sixth / Diminished Seventh	(C# / Db)45 — D45
   Eight	Augmented Fifth / Minor Sixth	C45 — (C# / Db)45
   Seven	Perfect Fifth	B44 — C45
   Six	Augmented Fourth / Diminished Fifth	(A# / Bb)44 — B44
   Five	Perfect Fourth	A44 — (A# / Bb)44
   Four	Major Third	(G# / Ab)44 — A44
   Three	Minor Third	G44 — (G# / Ab)44
   Two	Major Second	(F# / Gb)44 — G44
   One	Minor Second	F44 — (F# / Gb)44
   Zero	Unison	E44 — F44
   *Row: Musically—any string of 13 adjacent notes. They span one musical octave‡. i.e. The row of the octave‡ of visible light spans from the color range: E44 — F44 (362.4 terahertz — 384.0 terahertz), which is located in the 44'th octave above the most bass range of its so related audible tones, E0 — F0 (20.60 hertz — 21.83 hertz), in the electromagnetic spectrum, to the color range: E45 — F45 (724.9 terahertz — 768.0 terahertz), which is located forty-five octaves‡ above that same range of tones, E0 — F0. ‡ A tone whose frequency has the property of being an integral (whole number) multiple of the square, of any more bass tones' frequencies that it is so related to. i.e. The forth octave above the note "A0," the most bass A note, whose tone's frequency is 27.50 cps is "A4," whose tone's frequency is 440 cps, because 27.50 cps x 2 x 2 x 2 x 2, or 27.50 cps x 24, or 27.50 cps x 16 = 440 cps. The note's pitch (tone) that is officially tuned to in contemporary Music has a frequency (regularly repeating occurrence) of 440 cps and is called the A4 note.  (TOC)

Haikuronym of "ACRONYM" (acronomy license) A co-mmuniqué, Rigorous-ly organized, Naming, yet meaning.

"The Happy Death Day Song"

Due to my growing apprehension regarding my suspicion that my most likely presently nearly non-existent poetic popularity might suffer even greater setbacks due to my inclusion of this work in my meager public portfolio, due to other of my misunderstood attempts at artistic expression, which I have yet to obtain a beneficial effect for myself, due to the voluminous quantities of negative feedback involved, I feel that some preambling to the presentation of the work is in order and thus, ensues directly.  

"The Happy Death Day Song," of course, is a parody of "The Happy Birthday Song." It is not meant to be a mock of people who are being forced to succumb to truly intractable, terminal, biologic malfunction issues, for which the author naturally feels the deepest of sympathies for, but rather is a plea to those who, out of subjection to profit motivated, pseudo beneficial, bio-technological propaganda, have lost hope of ever winning at improving, or even maintaining their present state of health and have instead switched their efforts, albeit subconsciously, to perishing as an answer to their travails, when many of their maladies are, via their diligent use of the correct information involved to resolve, are even more easily remedied than their medical practitioners heretofore have believed possible.

"The Happy Death Day Song" is offered in passing to medical practitioners who, at times, are daunted by their patient's seeming disregard for their sincere efforts to help them, possibly to not sing out loud to their charges, but to contemplate while their ministrations and suggestions are being resisted and scoffed at, in order to bolster their resolve to at least continue to attempt to assist those of their patients who are still trying to work at the business of living and have not yet abdicated the control of their actions to those that would benefit by their demise.       

The Happy Death Day Song's manifestation has been impelled by several triggers, both positive and negative not the least of which is that sometimes daunting feeling, whether intentionally induced, or not which one sometimes obtains while attempting to convey a, to them, a very helpful fact about health to a person or people who seem to have no concept of what they are talking about, because they lack the education required to comprehend the factors involved, because they are indoctrinated, via media propaganda into a presupposing that they should believe that anyone who is attempting to actually help them physically that is not officially recognized by the official medical establishment is mentally deranged, in order that one's ideation is specifically rejected, to suppress the status quo, so that its negative features can be used more to squeeze maximum profits from the lives of its subordinates than to help them get better physically again.

One man's worse is another's better. An awareness of this balancing idea establishes the status quo's position at the midpoint of a hypothetical objective value scale. A desire to raise the status quo up to at least this point has also induced the manifestation of "TheHappy Birthday Song" parody, "The Happy Death Day Song."

Another (major, IMHO) trigger for the manifestation has been reading a, to me, rather unique idea in the text of a Scientology―religious philosophy―book. The text is "The Science of Survival," by L. Ron Hubbard. On page 315 of the book it states: "Above 2.0 the individual plays to win. Below 2.0 the the individual uniformly plays to lose." More explanation is required. "2.0" is a reference to a point on the "Hubbard Chart of Human Evaluation." 2.0 is the midway point between the chart's top and bottom. The chart employs the Emotional Tone Scale to align human characteristics to help people understand each other better. Emotions stack in the Emotional Tone Scale one upon another from the dismal ones, up through the stormy ones, all of the way back up to the sunny ones. What I finally came to realize from obtaining and trying to use the information involved is that when one is trying to help someone live who is, by their position on the Emotional Tone Scale, trying to die, to one extent, or another, one is trying, in their opinion, to defeat the acquisition of their goal of death, thus one is aligning themselves against those individuals' intentions that occupy the sadder than 2.0 (antagonism) emotions on the Emotional Tone Scale. Obtaining this understanding has been a real relief. That understanding combined with an ongoing desire to actually help people live better is another reason that The Happy Death Day Song has materialized. It is to help any attempting health helpers remain rational in face of resistance to their efforts and to spark ill people who could use a little nudge, up into an emotional state at which they are more willing to look at information that could help them regain their previous level of bio-functionality, even though media programming and thus public opinion has been geared to dissuade them from this more optimistic emotion of individuals occupying higher emotional tones on the Emotional Tone Scale.

"The Happy Death Day Song," a parody of "The Happy Birthday Song" is then being offered as an impetus to possibly nudge low emotionally toned people up to where they might care to see and do something about the more exogenic (caused to come to exist by external means; antonym of endogenic) reasons for their state, hopefully to get them to view with more agreement the fact that they can pull their attitudes up by their bootstraps to tones at which they can have more hope for themselves to function better, thus prepare themselves better mentally and emotionally to help themselves improve their physical state.

The use of the song could get a person to see that their efforts to live are actually resisted by some other people, so that they can draw lines better between that which is, and that which is not beneficial for them from a more logical, as opposed to emotional standpoint. This idea is supported by the notion that logic can be used to help one, to some extent, gain control over emotional phenomena via the employment of their mental abilities. The song could be seen as a tool to get the subject/s to use their logic to get as much of a grip on their emotions as they can from a mental standpoint, so that dealing with the physical end of the mental/emotional/physical sea-saw is not such an overwhelming task for them, thus increasing their possibility of success in the area of holistic self help.

Without further ado, here are the lyrics of "The Happy Death Day Song." (The trailing "You you yous..." into "...Cause we want to live yet too." is a segue into the classic "Funeral Dirge.")

"The Happy Death Day Song" Happy death day to you. We know you've been blue, But if you wanna die, We gotta say by by, And have a pizza on yoooouuuuuuu, You you you, Cause, We want, To live, Yet tooooooooooooo.

In synopsing, the song is meant to be:

1. A stabilizing tool for health care practitioners to be kept in mind while attempting to deal with patients that seem as though they are trying to get worse rather than better and
    

2. A taunt to people whose sicknesses are remediable to nudge them back up into working more to live than to give into the natural forces that would kill anyone.
    

The song is most assuredly not meant to be used as a means to make anyone feel any worse than they already do without ultimately acting beneficially for them as a motivational tool, albeit a somewhat negatively oriented one, to help them to get moving in a better direction than the way that they are observed to be going.

Footnotes:

1. Philosopher's Stone: Universal Cure-all (TOC)
    

2. To make the minerals work directly on your teeth, you need to combine them with vitamin D, because vitamin D co-acts with Calcium, rendering it workable at the point of their combination and contact with the teeth involved. No lie, holding multi minerals in your mouth with vitamin D, in combination with adequate oral hygiene, will fill in your teeth's cavities, make them very durable and larger also.
    

3. alf'-a-new'-mar-e-bet: A combination of the words alphabet and numeral representing the connection of English letters and Arabic numerals, attached at zero—Zee-Row⁴.
    

4. The symbiological representation of the unification of the last letter in the English alphabet and the Arabic numeral representing Descartes' "Origin" as one single, complete entity, which could be viewed as representing the primary bond between letters and numerals; Could be viewed as the junction between Physical and Ephemeral phenomena, Corporeal and Incorporeal phenomena and the concepts of Quality and Quantity; The location at which all phenomena coincidental to Descartes' "Origin" meet.
    

 

Last Edited on & at: 2009-10-16 21:49 EUST

2004-2007®Philip B. Obsharsky. All rights reserved. This material may be copied, or transmitted as long as any source information that is included with it, it meaning any part of the composition of this material that is transmitted or copied for any reason, is retained with it and this copyright statement is retained as a part of it and no financial compensation is sought or derived for such action.