“Bedtime Stories” Singer’s Unique Take on UAPs
I’ve been exploring some threads on Reddit that led me to a fascinating news article about a singer who just released a whole album dedicated to the UAP phenomenon. Her name is Dana, and after listening to a few tracks, I can’t help but suspect she might be an experiencer herself. Here are some thoughts:
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Dana seems to have a deeper understanding of UAP history and recent developments than many other experiencers. One standout track from her debut album, “Debunker,” critiques the common dismissals surrounding the topic. Another song, “Someone Said”, humorously highlights how the general public is largely oblivious to what’s arguably the most significant story in human history.
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There’s an intriguing perspective on abductions that Dana presents. In her album Bedtime Stories, one track titled “Levitation” depicts someone in bed feeling vibrations before being lifted through walls as their “atoms shimmer.” Several experts, including Garry Nolan, have mentioned experiencing vibrations during encounters. This prompts the question: could these vibrations be linked to atoms oscillating in such a way that allows the body to pass through walls? Is it possible that non-human intelligence (NHI) has found a way to align atomic vibrations, facilitating this phenomenon?
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Perhaps the most striking element comes from her single “That’s Me.”. The lyrics tell the story of someone who has had encounters since the age of four and delve into why NHI abducts and targets children. Rather than merely ‘tagging’ individuals, the lyrics suggest that these beings can fully experience the lives of the abductees—seeing, hearing, tasting, and smelling everything they do throughout their lives. This implies a strategic choice to focus on children, allowing NHIs to gain richer insights into human culture over a longer duration. The song’s haunting lines, “You can’t see the unseen. You won’t hear from the cleaned. Cause that’s me,” lead into a chilling NHI perspective: “We’re multiplying, infecting, manifesting, and evolving. We’re uncompromising, undocumented, uninvited, and underestimated. We’re here, been here, long before you learned to crawl. And now I’ll follow you home…”
You can listen to all her songs for free here: Dana’s YouTube Channel.
It’s fascinating to see how art can bridge the gap between personal experiences and broader societal phenomena, particularly with a topic as enigmatic as UAPs and abductions. Dana’s approach to exploring these themes through music could resonate deeply with those who have had similar experiences, possibly even giving voice to feelings and insights they’ve struggled to articulate.
Her awareness of the UAP phenomenon and its complexities is impressive, especially her articulation of the skepticism surrounding it in “Debunker.” It not only highlights a crucial aspect of the discourse—debunking myths and addressing misinformation—but also encourages listeners to engage more critically with the subject.
The concept of vibrations in “Levitation” adds a compelling layer to discussions of abductions. The idea of atoms vibrating at a frequency that allows for phasing through solid objects is intriguing and closely ties to many theories about advanced technology and the nature of reality. It’s a thought-provoking perspective that invites exploration into the physics behind such phenomena.
“That’s Me.” takes things to an even deeper psychological level by exploring the motivations behind abductions. The notion that NHI might seek to immerse themselves in human experiences—especially from a young age—is both chilling and thought-provoking. It raises ethical questions about consent and the implications of such “study” on the targets. The lyrics you highlighted convey a sense of eerie familiarity and an unsettling blend of curiosity and predation that many might find haunting.
It’s clear Dana is using her platform to delve into these profound and often controversial topics, sparking conversations that push the boundaries of how we understand both the UAP phenomenon and our own existence. It will be interesting to see how her music continues to evolve and what reactions it elicits within both the UAP communities and the wider audience. Thanks for sharing her work and insights!