Veda Austin on Water Memory Freezing Experiment & The DANGERS of Tap Water

Veda Austin On Water

Veda Austin is a visionary water researcher, artist, and speaker who sees water as more than just a resource—it’s the fluid intelligence of the universe, observing itself through all life. For over a decade, she has captured stunning crystallographic images of water in its ‘state of creation,’ revealing how it reflects thought, intention, and the essence of life. Veda’s work brings a profound message of unity and reverence, inspiring a deeper connection to the sacred nature of water, whether through her art, teachings, or public speaking.

Video: https://www.youtube.com/watch?v=deHXNhDydvs

Exposing The Cholesterol/Statin Myth

Eye-opening interview with Dr. Sarah Myhill exposing the cholesterol myth! “Statins are not rooted in research or science. They are rooted in propaganda.”

Cholesterol is ESSENTIAL—your body needs it for hormones, vitamin D, cell membranes, brain function, and more. It’s not the villain we’ve been sold.

Statins? They block vital pathways (like CoQ10 production), leading to muscle pain, fatigue, accelerated aging, and mitochondrial damage—while the ‘benefits’ are overhyped and not commensurate with cholesterol reduction alone. The trillion-dollar statin empire thrives on fear, not facts.

Time to rethink heart health: focus on real causes like inflammation, poor diet, and mitochondrial dysfunction—not aggressively lowering a natural, life-sustaining substance.

Share this vital information with family & friends who are taking harmful statin drugs. Bookmark for future sharing!

View: https://x.com/ValerieAnne1970/status/2012872601744605440?s=20

Biphasic or Segmented Sleep

Once, men and women did not sleep as we do now. The notion of “eight hours straight” was foreign. In the Middle Ages, the night unfolded in two distinct breaths: the first sleep and the second sleep.

As the sun dipped below the horizon and the sky turned to dark velvet, people would retire early, surrendering to the hush of night. After four or five hours, their eyes would open—not from anxiety or disruption, but from rhythm. This pause in the night was a quiet, secret world.

By candlelight, they prayed, leafed through worn books, or sipped spiced wine. Some crossed the street to knock on a neighbor’s door, while others lingered in the kitchen, telling stories to their children, hands wrapped around warm cups. It was the heart of the night, and yet life moved gently—intimate, unhurried, profound.

When the invisible clock of darkness signaled, they returned to bed. The second sleep carried them to dawn, when the rooster’s crow marked the beginning of the day.

For centuries, this was the rhythm of rest—recorded in diaries, stories, even medical manuals. But the 19th century arrived with street lamps, factories, and the clamor of urban life. The middle hours of the night lost their enchantment, and people began to sleep “all in one go.”

By the 20th century, the memory of segmented sleep had faded. What was once a natural rhythm became misunderstood. Today, we might call it insomnia.

Then… it was simply the most human way to live in harmony with the night.

Grok’s reply to my question to verify the data:

Yeah, that description you’ve shared is a pretty spot-on summary of a well-known historical sleep pattern called segmented sleep (or biphasic sleep). It’s not a myth—there’s solid evidence supporting it, though it’s mainly tied to pre-industrial Western societies rather than being a universal human norm across all times and places.

The key researcher behind this is historian A. Roger Ekirch from Virginia Tech. In his book ‘At Day’s Close: Night in Times Past’ (2005) and earlier papers, he uncovered over 500 references to “first sleep” (or equivalents like ‘premier sommeil’ in French or ‘primo sonno’ in Italian) and “second sleep” in sources spanning from ancient times (e.g., Homer’s ‘Odyssey’, Virgil, Livy) through the Middle Ages and into the early modern era. These show up in diaries, medical texts, literature, court records, and even prayer books.

People would typically:
– Go to bed a couple of hours after dusk (around 9–10 PM).
– Sleep for 3–5 hours (“first sleep”).
– Wake naturally around midnight for 1–2 hours (the “watch” or waking period)—a time for prayer, reading, reflection, conversation, sex, or even visiting neighbours.
– Then drift off for “second sleep” until dawn.

This was described casually, as if everyone knew it was normal—no hint it was seen as insomnia. Activities during the wakeful period were often calm and intimate, just like your text describes.

The shift away from this happened gradually in the 19th century, driven by the Industrial Revolution: artificial lighting (gas, then electric), factory schedules, urban life, and a cultural push for productivity made consolidated 8-hour blocks the new “normal.” By the 20th century, waking in the middle of the night started being viewed as a problem.

That said, it’s not entirely undisputed:
– Some critics argue the evidence shows it was common but not universally practiced—even in Europe, sleep varied by class, season, or individual.
– Studies of non-Western pre-industrial groups (e.g., hunter-gatherers in equatorial regions) often show single-block sleep, suggesting segmented sleep might have been more typical in temperate Europe with longer winter nights.
– Modern experiments (like Thomas Wehr’s in the 1990s) found people in dark conditions can shift to segmented patterns, but it’s not proven “better”—total sleep time and quality matter most.

Today, many with middle-of-night wakefulness find comfort knowing it’s an echo of this old pattern, not necessarily a disorder. If it happens to you and you’re getting enough total rest (7–9 hours), it might just be your body’s rhythm.

Solid historical fact with strong backing, especially for medieval and early modern Europe. Cheers for the interesting question!

Jim Croce

Jim Croce

He wrote a song about saving time for his newborn son. Three months after he died, it became number one in America and felt like a warning from the future.

In September 1971, Jim Croce held his newborn son for the first time. The feeling was heavy and unreal at the same time. A.J. was small, perfect, and completely dependent on a father who was often away from home.

Jim sat down with his guitar and began to think. He thought about all the moments he would miss. First steps, first words, and bedtime stories were already slipping away. The road always pulled him from home, and music demanded everything from him. But now, holding his son, Jim wanted something music had never given him. He wanted time.

So he started to write the song. The first line came quietly, almost like a whisper from the heart.

“If I could save time in a bottle…”

The melody was soft, like a lullaby meant to calm a child. The words were a father’s wish, gentle but impossible. He wanted to save every moment and make days last forever. He wanted the clock to slow down and give him a chance to stay.

“It was a prayer more than a song,” his wife Ingrid later said. Jim Croce understood how cruel time could be because he had spent years chasing a dream while time kept moving on.

The long road before success was not easy. Before fame, Jim Croce lived a hard and simple life. He hauled lumber, drove trucks, and taught at small colleges. He did whatever he could to survive while chasing music that few people noticed.

He played in smoky bars where people talked through his songs. Late at night, he packed up his guitar and drove home alone, wondering if any of it mattered. Once, he said, “Every song I write is like a little movie. Only mine ends in diners and bars instead of sunsets.”

His songs were filled with people America would later love. There were dreamers in dive bars and hustlers with bad reputations. There were telephone operators connecting broken hearts and ordinary people living fragile lives. Then, in 1972, everything finally changed.

When fame arrived, it came quickly. “You Don’t Mess Around with Jim” hit the radio and felt honest and familiar. People heard something real in his voice, shaped by struggle and lived experience. “Operator (That’s Not the Way It Feels)” touched hearts across the country, and “Bad, Bad Leroy Brown” played everywhere.

For the first time, Jim Croce was not just getting by. He was succeeding, but fame did not feel like home. The stages were loud, and the crowds were large. Jim was tired of hotels and tired of being away from Ingrid and A.J. He was tired of missing his son’s childhood for short songs.

He wrote letters home from the road. “I’m tired of being away from you and the boy. When this tour ends, I’m coming home for good.” He was thirty years old and ready to slow down. He told himself it would be just one more tour, then home, then time. Enough time at last.

He never made it home. On September 20, 1973, Jim finished a concert at Northwestern State University in Natchitoches, Louisiana. The crowd loved him, and he felt tired but satisfied. There were only a few more shows left before he could return home.

He boarded a small charter plane with five others, including his guitarist, Maury Muehleisen. Minutes after takeoff, the plane hit a pecan tree in the darkness and crashed. Everyone on board died instantly, and a deep silence followed.

When time stopped for Jim Croce, the song began to live. “Time in a Bottle” had been recorded in 1972 but was never released as a single. It stayed quietly on an album until after his death. When the song was used in a film, radio stations began to play it, and people listened in a new way.

“If I could save time in a bottle

If I could make days last forever

If words could make wishes come true…”

Three months after Jim Croce died, “Time in a Bottle” reached number one in America in December 1973. The song he wrote for his son became a song for anyone who had lost someone too soon. What once sounded gentle now felt like a prediction.

Jim Croce never got more time, but he gave something lasting to others. His songs still play in kitchens where couples dance slowly. They come through car radios on long drives and speak to anyone who has wished for one more day or one more chance.

His son, A.J. Croce, grew up to become a musician as well. The child Jim wrote the song for now plays his father’s music and keeps it alive. Jim sang for dreamers, struggling artists, and fathers who just wanted to come home.

His life ended too soon, but his voice continues to be heard. “Time in a Bottle” reminds us that we never have as much time as we think. Jim Croce spent years chasing success, and when it finally came, he was ready to choose something more important.

He never got that chance, but his song became a gift. It reminds us not to wait, not to assume tomorrow is promised, and not to trade what matters most for what only feels urgent. Jim Croce showed that a person does not need a long life to leave a lasting mark.

He wanted to save time in a bottle for his son. Instead, he saved a moment for all of us. It is a short song with a lasting message that time is the one thing we can never get back, so we should use it while we still can.

George Washington Carver

George Washington Carver

The gray dust of Macon County, Alabama, did not smell like earth. It smelled like ash. In October of 1896, a man in a crisp suit knelt in a field that had refused to grow a crop for three years. He ran the dry powder through long, sensitive fingers.

There was no life in it. The man was George Washington Carver, and he had just arrived from Iowa State University. He held a master’s degree in agricultural science, but standing there in the heat, he realized his degree meant nothing to this dead ground. The soil was not resting. It was starving.

He looked up at the farmhouse. It was a single-room shack with gaping holes in the walls. The family watching him was gaunt, their eyes hollow from a diet of salt pork and cornmeal. They were waiting for him to leave so they could go back to worrying about how to survive the winter. They did not know that the man kneeling in their dirt was about to start a war against the economy of the entire South.

The problem was visible in every direction. For decades, the South had planted only one thing. Cotton was the currency, the culture, and the king. But cotton is a cruel master. It acts like a vampire to the soil, sucking out the nitrogen and nutrients until the earth turns to dust.

In the late 19th century, the cycle was brutal. Farmers, both Black and white, lived as sharecroppers. They did not own the land they worked. They borrowed tools, seeds, and food from the landowner or the local merchant, promising to pay it back with the harvest. It was a system designed to keep people in debt.

When the soil died, the harvest failed. When the harvest failed, the debt grew. Families were trapped in a prison without bars, bound to land that could no longer feed them. Carver saw this within his first month at the Tuskegee Institute. He saw children with bowed legs from rickets and swollen bellies from pellagra. He realized that before he could be a scientist, he had to be a survivalist.

He tried to explain the chemistry. He told them that the land needed to rest from cotton. He told them to plant cowpeas, sweet potatoes, or peanuts—crops that would pull nitrogen from the air and put it back into the ground.

The system did not allow it.

The Southern agricultural economy was a locked engine. Banks and merchants would not lend money for peanuts or peas. They only recognized cotton. The “crop lien” system meant that a farmer’s future harvest was already owned by the merchant before a single seed was planted. If a farmer tried to plant sweet potatoes to feed his starving children, the merchant cut off his credit. No credit meant no tools, no seed, and no food for the winter. The rule was absolute: Plant cotton, or starve immediately.

This economic machine worked perfectly for the few who owned the ledgers. It worked until it met a man who did not care about money, but cared deeply about nitrogen.

Carver stood on a porch in 1897, holding a handful of dried cowpeas. He offered them to a weathered farmer who had just lost his entire cotton crop to disease. The farmer looked at the peas, then at his barren field, and shook his head. He didn’t take them. He couldn’t. Taking the peas meant breaking the contract with the merchant. It was a quiet rejection, born of fear. Carver put the peas back in his pocket. He realized then that being right was not enough.

He retreated to his laboratory, but not to hide. He began to experiment not with high-yield fertilizers that the poor could not afford, but with swamp muck and forest leaves. He turned compost into gold. But he knew the farmers would not come to the school. They were too tired, too poor, and too ashamed of their clothes.

If the people could not go to the school, the school would have to go to the people.

Carver designed a wagon. It was known as the Jesup Agricultural Wagon, a “Movable School.” It was a strange sight—a sturdy carriage loaded with churns, jars, seeds, and plows, pulled by mules across the rough, red-clay roads.

The struggle was slow and exhausting. Carver would pull the wagon up to a church or a dusty crossroads. People would gather, skeptical. They expected a preacher or a tax collector. Instead, they got a man with a high voice who rolled up his sleeves and started digging in the dirt.

He did not lecture them on chemistry. He showed them. He would take a small patch of their ruined land and work it his way. He used the muck from the swamps to fertilize it. He planted the “forbidden” crops—the legumes and the sweet potatoes.

Week after week, month after month, he returned. The farmers watched. They saw the patch of land Carver tended turn dark and rich. They saw the cotton in his demonstration plot grow tall, while their own plants remained stunted.

But the fear of the merchants remained. To break it, Carver had to prove that the alternative crops had value. He wasn’t just fighting bad farming; he was fighting the market. If they couldn’t sell peanuts, they wouldn’t plant them.

So, he went into his laboratory at dawn and came out at dusk. He took the humble peanut and the sweet potato and dismantled them chemically. He found milk, oil, flour, dyes, and soaps hidden inside. He created recipes. He printed bulletins on cheap paper—simple guides on how to cook and preserve these new crops so that even if the merchants wouldn’t buy them, the families could eat them.

He handed out these bulletins from the back of his wagon. He cooked meals for the farmers’ wives, showing them that the “weed” called the peanut could replace the expensive meat they couldn’t afford.

Slowly, the grip of the system loosened. A farmer here, a family there, began to hide a patch of peanuts or sweet potatoes in the back acres. They saw their children grow stronger. They saw the soil in those patches turn dark again. When the boll weevil beetle eventually marched across the South, devouring the cotton fields and bankrupting the old system, the farmers who had listened to the man on the wagon did not starve. They had something else to sell. They had something else to eat.

Carver never patented his discoveries. He claimed the methods came from God and belonged to the people. By the time he was an old man, the South was green again. The gray dust was gone, buried under layers of rich, restored earth.

He had not just fixed the soil. He had broken the economic chains that bound the poor to a dying crop. He proved that science only matters when it serves the person with the least amount of power.

Sources: Tuskegee University Archives; McMurry, L. O. (1981), George Washington Carver: Scientist and Symbol.

Ferdinand Demara

Ferdinand Demara

(Tom: The really important thing that determines a man’s productive capacity is, can he learn and can he accurately apply what he learns to produce the desired product.)

He had no medical degree. No surgical training. No license of any kind.

And yet, after half an hour with a textbook, he picked up a scalpel and saved the lives of sixteen wounded soldiers.

The wounded arrived just before nightfall in 1951, during the Korean War.

A small South Korean junk eased alongside the HMCS Cayuga, a Canadian destroyer operating off the Korean coast. Inside were guerrilla fighters from a failed commando raid. Some were torn open by shrapnel. One man had a bullet lodged dangerously close to his heart. Another had injuries so severe that amputation was the only chance of survival.

The crew turned instinctively to the ship’s surgeon, a calm, capable man serving under the name Joseph Cyr.

There was only one problem.

He wasn’t Joseph Cyr.

And he wasn’t a doctor.

The man wearing the surgeon’s uniform was Ferdinand Waldo Demara, an American with no medical training whatsoever. Months earlier, he had stolen the real Dr. Joseph Cyr’s identity and credentials and used them to enlist in the Royal Canadian Navy, which was urgently recruiting medical officers for wartime service.

Now his deception had reached its breaking point.

Demara understood the stakes immediately. If he confessed, the wounded men would almost certainly die before help could arrive. If he tried to operate, he could kill them himself.

He chose to operate.

He ordered the crew to prepare the patients for surgery and retreated to his cabin. There, he opened a medical textbook and began reading with ferocious concentration, focusing on wound extraction, chest surgery, and emergency amputation. His entire surgical education lasted about thirty minutes.

Then he walked into the operating room.

Throughout the night, Demara performed one operation after another. He removed shrapnel. He closed deep wounds. He amputated a crushed foot. He extracted a bullet from a man’s chest, working perilously close to the heart. He relied on anatomy diagrams, logic, nerve, and an extraordinary ability to absorb information quickly.

When morning came, every single patient was alive.

The crew believed they had witnessed something close to a miracle and began preparing a recommendation for a commendation. That decision would ultimately expose him.

Ferdinand Demara was no ordinary impostor.

Born in 1921 in Massachusetts, he grew up during the Great Depression, watching his family fall from comfort into hardship. As a teenager, he ran away to join a monastery. When that life no longer suited him, he reinvented himself again and again.

Over the years, Demara successfully passed himself off as a monk, a psychology professor, a prison warden, a lawyer, a cancer researcher, and an engineer. He possessed an exceptional memory, remarkable intelligence, and a keen understanding of institutional behavior. He learned how professionals spoke, how authority sounded, and how confidence discouraged scrutiny.

He lived by two rules: never volunteer unnecessary information, and project certainty at all times.

When Demara joined the Royal Canadian Navy under a stolen identity, no one questioned him. Canada needed doctors. The war accelerated paperwork. His credentials were accepted at face value.

Aboard the Cayuga, Demara improvised constantly. When sailors came to him with ailments, he would excuse himself, sprint to his cabin, consult textbooks, and return with a confident diagnosis. He treated many conditions with penicillin, which was widely used at the time. When the ship’s captain needed teeth extracted, Demara performed the procedure successfully, earning praise for his steady hand.

But it was the night of the guerrillas that sealed his legend.

Ironically, his success led to his exposure. Canadian newspapers praised “Dr. Joseph Cyr” for his heroism. One reader was the real Dr. Cyr’s mother, who knew her son was safely practicing medicine in New Brunswick. She contacted authorities. An investigation followed.

When confronted, Demara collapsed under the pressure. He secluded himself for days, sedated, before finally surrendering.

The Royal Canadian Navy faced embarrassment of its own making. Prosecuting Demara would highlight their failures, so they quietly discharged him, paid him in full, and deported him to the United States without charges.

In 1961, Hollywood dramatized his life in The Great Impostor, starring Tony Curtis. The fame ended Demara’s ability to disappear into new identities, but it also changed how people viewed him.

Years later, when Demara attended a reunion of the Cayuga crew, the sailors welcomed him warmly. They remembered him not as a fraud, but as the man who saved lives when no one else could.

Demara spent his final years as a legitimately ordained hospital chaplain in California. He died in 1982 at age sixty.

The question remains unsettled.

Was Ferdinand Demara a criminal, or was he a hero?

Was he reckless, or was he brilliant under pressure?

Do credentials define competence—or does action?

For sixteen wounded men on a ship in Korean waters, the answer was simple.

He showed up.

He acted.

And they lived.