Friday, 27 July 2007
'The 16 stately wrecks of England were unveiled yesterday; the most important, most expensive and most intractable buildings at risk in the country... They include a redundant colliery, the burnt out shell of a 13th century moated manor house, a Victorian sewage pumping station, and a vast, battered shed which is the only remaining airship hangar in Europe.'
For more, visit: http://arts.guardian.co.uk/art/news/story/0,,2134167,00.html.
English Heritage, the organisation charged with the upkeep of the above, are also those involved with the mismanagement of the Silbury restoration project (see below.) Whether the latter can be attributed to the vagaries of the English weather or to an unconscious desire to sabotage our national fabric, the heritage lobby- and English Heritage in particular- are regarded with due suspicion by certain voices in the conspiracy scene. We only need think of Stonehenge, and its rebranding as a gated icon; or the blatant insurance job that was the torching of the Cutty Sark... Or even Merton Abbey, the former chapter house turned SavaCentre- as reported upon, a very long time ago, here...
Several of these stately wrecks are worthy of comment. An eighteenth century mausoleum on the Castle Howard estate in Yorkshire was designed by Nicholas Hawksmoor, the architect of St Alfege's Church in Greenwich. (The Howard dynasty, the older Norfolk branch of it, featured in our Horsham Key article; Castle Howard being built for the third Earl of Carlisle- city of the mysterious Cursing Stone.)
Also at risk is Gunnersbury Park House, a former Rothschild property in North London; Old Quarr Abbey on the Isle of Wight, a known hang-out of one David Icke; and the 'cathedral-like' Crossness pumping station in Bexley, a sewage plant hidden within ornate Victorian facades. This latter was the design of Sir Joseph Bazalgette, whose great great grandson Peter is chairman of Endemol UK: the media group responsible for pumping shit back into our homes in the form of the reality TV series Big Brother.
Other notables include Ditherington Flax Mill in Shrewsbury, the world's first iron-framed structure and thus the precursor of the skyscraper. 'Without Ditherington Flax Mill,' writes Alun Palmer in the Daily Mirror, 'there could be no Empire State Building'- and presumably, therefore, no WTC either: a timely reminder of the birthplace of the New World Order.
For more visit http://arts.guardian.co.uk/art/heritage/story/0,,2136400,00.html.
This article includes an update on the flood damage to the Rotherwas Ribbon, the Hereford ritual pathway discovered only a few weeks ago (as posted on this site.)
Wednesday, 25 July 2007
Judgement, possibly not. But there is a religious- or spiritual, or even occult- aspect to all this water which reflects our present interest in things maritime. The maritime signals- the unfolding of the Age of Aquarius, and the rebirth of the Goddess- are all symbolised (and manifested) in water: as Hoi Polloi intuited, in a recent post at her blog, Sabrina's Journey. Discussing Atlantis: The Lost Empire, a recent Disney film- an image from which mysteriously imprinted itself on a Wiltshire field last month, as noted here- she writes:
'It seems that the movie is making the point that Atlantis the lost kingdom will be found through Venus energy or Isis/ Mary energy, as the case may be. The movie poster is also interesting, as is the opening scene of the movie which depicts a large inverted 'V' rising up from the ocean. At first I thought this was a pyramid or the letter 'A' for Atlantis, but it has no base and no horizontal slash, and really appears to me to be the letter 'V' Thus the film is connecting Venus/Mary to the ocean and the reclamation of divine consciousness.'
As this quotation aptly summarises, the Lost Empire of Atlantis is nothing less than our severed connection to the Goddess; the renaissance of which- the protestations of neo-pagans and Wiccans aside- may have little or nothing to do with now established forms of 'Goddess Worship' than with the gentler arts of intuition and kindness. (A point I attempted, somewhat badly, to make in my recent Red Ice interview, of which I am not tremendously proud.) So, whilst the process, ultimately, is psychic and internal, still there seems to be a physical connection with water: almost as though this element will be the channel through which the 'Drowned World', finally, can re-surface.
A few final thoughts on all this rain. It has not escaped my attention that the places worst hit by the flooding- in the south, at least- have names or histories that lend themselves to esoteric decoding. On Monday, photographs of the medieval town of Tewkesbury in Gloucestershire appeared to lend credence to our notion that important places of religion were built upon the 'Tot Hills' of former times, as the large (Norman?) church at the heart of the town seemed serenely adrift from the chaos unfolding below. One of the worst-effected places in Berkshire- one of the counties through which flows the Michael Line- was Maidenhead; and today we have the hugely symbolic prospect of the Thames bursting its banks at Oxford, and descending thence unto the capital.
The Thames, at any rate, is a sacred waterway and the birth canal of the Goddess (as Ellis Taylor reveals in his book In These Signs Conquer.) And if, as we maintain, the New Age, conceived in Oxford, is due to be delivered- through water- from Greenwich and thence to the world; then what we are presently witnessing may well be nothing less than the first birth pangs of that mighty process.
And just to make it all that little bit stranger, is the fact that all of the above is happening whilst a song by the Goddess-resonating Rihanna (Rhea) has been ruling the radiowaves. Still at Number One, as it has been for the last ten weeks, the title of this tune should strike even the most dulled of provincial wits as strikingly appropriate. As sung live to the waiting world on the Seventh of July, ladies and gentleman, I give you: Umbrella. (A more complete analysis of performer and song to follow.)
The 26 (and rising) pilgrims who died in a coach accident in the French alps on Sunday were en route to the Black Madonna shrine in Altotting, Bavaria, a place of pilgrimage since the fourteenth century. The group had already visited Marian shrines in Spain and Portugal before visiting the Notre-Dame de la Salette sanctuary, where the Virgin Mary is believed to have appeared to two children in 1846. (The visitation is notorious in the annals of Freemasonic fakery, for long-standing rumours of stagecraft.)
According to Roger Boyes in The Times, 'The darkened image of the Virgin Mary is said to have repelled Swedish invaders and saved Catholic Poland; the Marian shrines thus offer political and well as personal miracles... Black Madonnas are pictures or statues of the Virgin Mary with dark or black skin, mostly of medieval origin. They are often worshipped as having miraculous powers. Besires Altotting, there are famous Black Madonnas in Switzerland, Mexico, Spain, Italy and Poland.' (And, let this author add, in Albion: see here for more.)
Drinkers spilled out of pubs, motorists stopped to gawp and camera phones were aimed upwards as the five orbs, in a seeming formation, hovered above Stratford-Upon-Avon for half an hour.'
For more, visit: http://www.dailymail.co.uk/pages/live/articles/news/news.html?in_article_id=470579&in_page_id=1770
Sunday, 22 July 2007
Friday, 20 July 2007
The Temple of Mithras, which dates from the third century, was discovered in the Fifties during construction work in Walbrook Square... The temple's remains, which were given listed status this year, will now be carefully dismantled and relocated in a large exhibition centre, open to the public, in the basement of one of the new Legal & General buildings.' (See here for more.)
Is it significant than a former temple site is now occupied by a financial services company? And that a place sacred to Mithras, of strategic importance to Roman Britain, should have morphed into the City: powerhouse of the Empire, and dark heart of the global conspiracy?
Thoughts which lead us back to a story from December last year: a clipping which, for no good reason, I have carried in my wallet since that time.
'The Roman map of London may have to be re-drawn after an ancient grave was found near Trafalgar Square. The limestone coffin, containing a headless skeleton dating back to about 410AD, was uncovered during excavations at St Martin-in-the-Fields. The famous church lies outside the boundaries of what were the city walls of Roman London. Archaeologist Taryn Nixon said: 'This means we will have to re-think what Roman London really was.'
For more, visit http://news.bbc.co.uk/1/hi/england/london/6196972.stm
Tuesday, 17 July 2007
For more, see here.
Apologies for the lack of updates just recently... I'll be back in business very soon.
Tuesday, 10 July 2007
And if you were lucky enough to be granted an audience with Madonna backstage, you'd find her equally mesmerising - or else!
We can reveal that US TV presenters who interviewed her were bizarrely ordered never to lose eye contact with her.
Before being ushered into the Queen of Pop's presence at Wembley on Saturday, interviewers were instructed by minions:
Eye contact must be maintained at all times;
Never look down to check notes - all questions must be memorised or the interview will be terminated.'
For more, visit http://www.mirror.co.uk/showbiz/3am/2007/07/09/eye-and-mighty--89520-19426757/.
'I have been convinced that we, as an order, have come under the power of some very evil occult order, profoundly versed in Science, both occult and otherwise, though not infallible, their methods being black magic, that is to say electromagnetic power, hypnotism, and powerful suggestion. We are convinced that the order is being controlled by some Sun Order, after the nature of the Illuminati, if not by that order itself.' -Duke of Brunswick, former head of German Freemasonry.
Monday, 9 July 2007
And who stole the show at Live Earth? Ah: our old friend...
'Now learn a parable of the fig tree; When his branch is yet tender, and putteth forth leaves, ye know that summer is nigh:
So likewise ye, when ye shall see all these things, know that it is near, even at the doors.
...Even at the Doors...
Sunday, 8 July 2007
'Is there a connection between the rise and fall of Tony Blair and the rise and apotheosis of Harry Potter? The first Potter book, Harry Potter and the Philosopher's Stone, was published in 1997, two months after the Labour landslide ushsred Tony/Harry to Downing Street/Hogwarts. On 21 July, the series will end with Harry Potter and the Deathly Hallows, just weeks after Blair is expected to step down. And throughout there have been obvious correspondences: the main character's on/off relationship with his best friend (Ron Weasley/Peter Mandelson), the sinister figures that surround him (Mr Snape, Master of the Dark Arts, aka Michael Howard), attempts to win friends by dabbling in hitherto little-known sports (Quidditch/fox-hunting) and terror of being destroyed by a scary nemesis Lord Voldemort (Gordon Brown). Has it all been (ooh-er) some kind of code?'
In serious journalist mode, Walsh repeats a similar line in a lengthy profile of the writer, in today's Independent On Sunday. 'For 10 year- closely, even spookily, shadowing the ministerial career of Tony Blair- she has been feted, lionised, showered with praise.' Notice that it's now JKR herself, rather than her famous creation, who doubles for Tony; which rather lessens the impact, Blair's final years hardly matching the rise and rise of Rowling's astonishing career.
Other mysterious facts noted by Walsh include Rowling's 'spooky' conviction that she was working on an early draft of Philosopher's Stone, the first in the HP series, at the precise moment of her mother's death (from multiple sclerosis, on New Year's Day, 1991.) Interestingly, Rowling had never told her mother about her 'scrawny, black-haired, bespectacled' hero.
This echoed something I had read, and never forgotten, about the similar stellar rise of Bob Dylan; whose explosive trajectory provoked several suicides within the New York folk scene from which his mighty star was plucked. ('The apotheosis of Bob Dylan had begun,' wrote Howard Sounes in his biograpy, Down The Highway.) Is it an unacknowledged rule that giant, epochal phenomena of the Dylan and Rowling variety require the occasional sacrifice to sustain their energetic momentum? (Isn't that what lies at the very heart of so much occultism, both ancient and modern?) Dylan, to his credit, seemed to understand something of this; and has repeatedly sought to shield himself and others from the divine madness that envelops him- and those in his path; with counter-intuitive moves calculated to deflate the mythic imagination.
And now, writes Walsh, 'the Potter saga is about to end'- with the release of Deathly Hallows on July 21: weirdly timed to coincide with the thirteenth anniversary of Tony Blair's elevation to the leadership of the Labour Party, following the convenient death of John Smith in 1994. About her literary future, Walsh- via Wikipedia- lifts the fact that 'a political fairy story, about a monster', has been mooted; a fact which bodes not well. Neither does her close friendship with Gordon Brown- who, between the two of them, helped secure more press coverage for Madeleine McCann than any other missing girl in history. And what does it tell us about the corridors her wealth permits her access to, that- along with Nelson Mandela, Al Gore and Alan Greenspan- Rowling wrote an introduction to a collection of Gordon Brown's speeches, the proceeds of which were diverted to the Jennifer Brown Research Company?
For more visit http://arts.independent.co.uk/books/
'Aliens are definitely on their way, seriously. Mark my words. From now until 2012 — watch out kids.'- Robbie Williams
In brief, as every researcher knows, 1947 was the year of the discovery of the Dead Sea Scrolls in caves around the Wadi Qumran in Palestine's West Bank. (Or the first of the scrolls, to be precise. The last cache was not unearthed until nine years later, in 1956.) On first sight, ancient scrolls and alien contact might seem very queer bedfellows; but there are connections- as we learn from Graham Phillips' book, very relevant to our present research into the Madeleine McScam ritual, The Marian Conspiracy. The author describes his visit to West Jerusalem's (distinctly Catholic-sounding) Shrine of the Book, where the majority of the scrolls are displayed:
'Hailing a cab, I crossed the New City to the cultural capital of Israel, the Valley of the Cross. Here, in the far southwest of Jerusalem, were the National Library, the Hebrew University, the Israel Museum and the Shrine of the Book: the home of the Dead Sea Scrolls. Paradoxically, though the shrine was purpose-built to contain one of the oldest manuscript collections in the world, its design is strangely futuristic. The main gallery is more like the inside of a flying saucer: a huge, round, windowless room covered by a great ringed dome and bathed in an orange luminescence that seems to radiate from the very walls. At the centre of the room are the most precious of the scrolls, contained inside a circle of illuminated panels that looks like the control console for an alien vessel.'
Checking it out on Wikipedia, we discover that:
'The shrine is built as a white dome, covering a structure placed two-thirds below the ground, that is reflected in a pool of water that surrounds it. Across from the white dome is a black basalt wall. The colors and shapes of the building are based on the imagery of the Scroll of the War of the Sons of Light Against the Sons of Darkness, whereas the white dome symbolizes the Sons of Light and the black wall symbolizes the Sons of Darkness.'
The photographs confirm that the place is even more futuristic than Phillips' prosaic observations convey. Recalling the sort of crop circle motifs seen during Robbie's Close Encounters tour, the exterior looks like this:
As we see, the dome looks not unlike the model embassy proposed by the dodgy Raelian sect, whose leader happens to be in Albion next weekend- in Glastonbury, for the Forbidden Knowledge Conference mentioned on these pages some months ago. (I hope to be in attendance.) The similarity, whilst wholly coincidental, is appropriate: at the centre of the Raelian belief system stand 'the Elohim', a word that recurs throughout the Torah, often understood to denote a single deity or, in other cases, powerful beings; popularly regarded as fallen angels who mated with human wives.
Following many of the ideas of von Daniken et al, Raelians take these Elohim for extra-terrestrials, who the cult is planning to welcome on their impending return. To this end, they plan to create an alien embassy in Jerusalem, which Rael has referred to as 'The Third Temple'; the Jewish people having been selected by the Elohim scientists as the 'most promising', the Isaeli capital is also being groomed as the seat of world government in the Raelian New World Order. (Rael's insistence that he is the Hebrew Messiah, however, and his recently-reiterated warning of Israel's imminent destruction, has meant that the group's attempts to procure land in the country have not met with success.) The cult's publicity videos, as revealed here, are littered with animated pyramids with illuminated capstones; the Magen David surmounting a swastika is its telling logo; and even the Prophet's assumed moniker could be read as an abbreviated reference to Is-RAEL.
The proposed 'Third Temple', as designed by the Elohim and received by Rael.
Another feature of the Shrine which deserves attention is the black basalt wall, symbolising the forces of darkness, which overlooks the vulva/breast/dome. (See above.) This, as the Wiki quote tells us, is an apt depiction of the over-arching theme of the Scrolls themselves: the eternal conflict between the Sons of Light and Darkness; a factor worthy of further research. Might the same religious concerns explain the frequency with which domes and obelisks are sited within close proximity: as, for example, in Washington DC, the Vatican... and Greenwich? When we survey some of the claims alternative researchers have made about these documents- that they enshrine the 'pagan Christianity' of the original Jesus movement, etc: a residual form of which we find within Freemasonry- then it becomes a highly plausible notion that the elites who make these decisions on our behalf might well be motivated by esoteric concerns of the kind laid out therein.
There's a great mystery contained in the above; which I exhort anyone so inclined to research further.
The new Greenwich Peninsuslar encoding the eternal conflict between the Sons of Light (the vulva/breast/dome) and the Sons of Darkness (Canary Wharf: the raging obelisk, drawing down the forces of the Sun.) Are the designers of this neo-landscape motivated by the religious beliefs of the Dead Sea Scrolls?
I dare say you need a little light refreshment after ploughing through the above; so let me leave you in the capable hands of The Man. 'Rael, real gone...'
Saturday, 7 July 2007
'Shoppers were terrified when they feared a huge blast being filmed for Dr Who spin-off show Torchwood was a terrorist bomb. The explosion was staged near Cardiff's Millenium Stadium, yards from shops and restaurants. A pall of smoke rose into the air.'
This is not the first time Doctor Who has come to our attention in recent days. On June 23rd, following a tip-off from David Southwell, I posted the fact that the Cybermen take up residence in none other than the Millenium Dome in a recent Who novel.
Torchwood, the Who spin-off series being filmed at the time of the fake bomb blast, is based on the fictional activities of the Torchwood Institute: a kind of British MJ-12, with special responsibility for locating and exploiting alien technology. It made its first series appearance in 2006; as a shadowy cabal orchestrating paranormal phenomena from inside the Canary Wharf tower on the Isle of Dogs- featured in the latest Harry Potter movie- within a bare whisker of the Dome on the Greenwich Peninsula. Most curiously, considering our recent obsession with the fast-approaching 7/7/7, this episode (its concluding part, to be quite accurate) aired on July 8th 2006; with the ominous title of 'Doomsday'. (Domes-day?)
The preceding episode had introduced viewers to the Genesis Ark: as Wikipedia helpfully explains, 'a prison ship... created by the Time Lords to house millions of Daleks captured during the Time War.' During my recent visit to Greenwich another, similar prison ship was moored within firing distance of (the real) Torchwood Tower: a Royal Navy Aircraft Carrier, in London to mark the twenty-fifth anniversary of the end of the Falklands War on June 14 1982. Its name? HMS Ark Royal. (News report here.)
These contorted connections between July 7/8th, and apocalyptic terror, need hardly surprise us. We have, after all, been tracking a number of signals pointing to this timeframe as a likely troublespot, as a whole raft of influences converge on the overstretched capital. The Concert for Diana last weekend, the Tour de France (starting in Greenwich), Al Gore's Live Earth concerts, the second anniversary of the London Bombings, the mystical 777... Had I but factored in the ascendancy of our newest Pharaoh, Gordon Brown- and less preoccupied with our latest Shirley Temple, the Matinee Madeleine herself- I might well have concluded that an 'attack' of the kind we didn't quite see last weekend was a practical certainty.
Indeed, so unified was the propaganda this week that the messages became virtually indistinguishable from each other: the brain-melting reality soup in which terror, global warming, international sporting spectacle and nefarious pageantry conflates in an orgy of high seriousness. "It's very important that people carry on living their lives as normal," Gordon Brown stated, after the latest staged terror drill: "We are all in this together."
It was that last (insincerely-delivered) line that the eejit meedjah pounced on for their soundbite. A line which echoes, almost perfectly, the marketing message of the impending Live Earth concerts, as witnessed here. (Live Earth, whose 'official companion', The Live Earth Global Warming Handbook, has kindly been put together by one David Mayer de Rothschild. See here for more.)
Friday, 6 July 2007
'Oddball rocker' Robbie Williams has guested on these pages on more than one occasion. All the way back in January we noted the latest addition to his impressive body art collection: an Eye of Horus; and asked then what this particular selection indicated about the astral links being forged by the famously troubled star. Then in April we noted the weird timing of his last stay in rehab: synchronised, almost to perfection, with the demise of chanteuse Britney Spears and the release of his poorly-performing 'She's Madonna' single. (The curse of the Mummy?)
Now he's back on your screen, declaring his love for Jesus and other semi-strange things. Of course, Robbie has been honing his 'weird' act- an almost compulsory adjunct of the celebrity existence- for years now; we got bored of it over here which is why, sensibly, he lives in LA. But there was at least one line from an earlier nadir, the She's Madonna video, which struck me then and now as quite genuinely strange- in rather a good way- and perhaps the nearest thing to authentic disclosure that can be expected from the self-doubting piece of merchandise that Robbie has, reluctantly, become.
Over instrumental flourishes, Robbie- kitted out in incongruous drag- recites lines allegedly drawn from real-life therapy. 'At one point, when all these worlds and people that are inside me- and each other, cos I'm not the only one that's got multiple personalities- when all these worlds collide, and the jumbo cataclysm happens... [Smiles] Watch out, cos it's gonna be quite an afternoon.'
Watch the video here, if you like.
It was this sense of the struggling Indigo, wrestling to integrate the human and non-human parts of his personality, that he emphasised on a recent album cover: Intensive Care. (We could talk for hours about this image alone.) And then there was the well-titled, and vastly lucrative Close Encounters tour, which not only broke ticketing records but effectively spelled out Robbie's apparent certainty that we are not alone. What follows is cribbed from an article by journalist Wil Marlow:
'As you may have guessed from the title, the Close Encounters tour has an alien theme. The stage set is designed to look like a spaceship by tour producer Lee Lodge, along with set designer and architect Ray Winkler, who has worked with The Rolling Stones and Tina Turner.
"We wanted the stage to look like a huge alien contraption that had landed in the middle of the stadium," says Ray. "It stems from Robbie's obsession with aliens and all things extra-terrestrial. The geometry of the stage set is built around circular motifs - resembling crop circles."
The beginning of the show starts with the musical notes from Close Encounters Of The Third Kind as well, with Robbie bursting out on to the stage to the power pop blast of hit single Radio.'
(You can get a good idea of what the set looked like here, taken from a documentary of the tour entitled, fittingly, Robbie Williams: We Are Not Alone.) From Wikipedia, we learn that the musical theme alluded to above, 'the five tones that the UFO plays back and forth with the humans, is re - mi - do - do (octave lower) - sol. These tones all lie on a major pentatonic scale.' Interestingly, this five note theme boasts patronage from a very high source: it is used as a cosmic greeting card by no less an agency than the United States government, in its official SETI-programme.
In these regards, Robbie is simply the latest in a distinguished line of rock and roll stars with a keen interest in extra-terrestrial phenomena. We've already essayed a few of those here (or at Battling the Behemoth.) In this post we referred to Mick Jagger's claim to have spotted a UFO in the skies over Altamont during the Stones' infamous concert there in 1969. We also refer to what must rank as the best compendium of the many correspondences between rock music and alien activity: Michael C Luckman's well-researched tome, Alien Rock. In that book we discover that the undisputed doyen of cosmic rock stars, as well as one of the very finest musicians, is Jimi Hendrix; who was once interred beneath a giant flying-saucer sculpture commissioned by the guitarist's father at Greenwood Cemetry in Seattle.
In that same city we find the Experience Music Project, designed by the billionaire co-founder of Microsoft Paul Allen, intended as an alternative to Cleveland's Rock and Roll Hall of Fame- already identified as a possible 'Talisman of the One World Religion', in this article from March. Drawing a nice association between the twin fields of popular music and ETs, Luckman observes that:
'Soon to occupy part of the premises is a state-of-the-art Science Fiction Experience museum separately bankrolled by Allen to the tune of $20million. Flying saucers and aliens from the 1950s era of classic films and television shows will take their place alongside props from Hollywood's latest multi-million dollar sci-fi epics. Captain Kirk's original command chair from the Star Trek TV series will again bask in the spotlight. A Jimi Hendrix museum will be sharing space with flying saucers and extraterrestrials from out-of-this-world movies like The Day The Earth Stood Still and Earth vs. the Flying Saucers. Is somebody up there trying to tell us something?'
For more on these subjects, keep watching this space... Literally.
Thursday, 5 July 2007
Now please, if you will, admire this artistic synch- discovered by a contributor to the Crop Circle Connector. She connects the above with this, an illustration by Helen Oxenbury, for a new publication of Alice's Adventures in Wonderland.
That little girl in the blue dress, Alice? Rather older, of course, but she does rather remind me of Madeleine, in her Everton shirt.
And both images, the glyph and the illustration, recall the eerie drawing made by one Sara Payne, shortly before her tragic death on July 1 2000. My friend Ellis Taylor, presently in Australia, was one of the first researchers to examine this. His pioneering article can be read here.
This resonance between Madeleline and Sara could yet prove telling, as in both cases there is an occult aspect- possibly suggesting a frame-up. Sara's painting would appear, to the unprejudiced eye, to depict a masonic initiation; and the marks of that same loyal brotherhood have been all over the Madeleine story- particularly if we factor in its resonance with the fire at the Cutty Sark. Add the Alice factor- written by Lewis Carroll, who some criminologists have identified as Jack the Ripper- Masonic crimes if ever there were any- and ('synchro-mystically', at least) we have a triple-hit.
But I never did buy all that synchro-mystical stuff, anyways...
This Carroll-Ripper story is one I sense I will be returning to, at some point, in an as yet unknown context. Until then, friends, let's voyage a little further down that rabbit hole together...
UPDATE: Todd Campbell, author/blogger at Through The Looking Glass, has discovered a further echo of the West Kennett glyph: in a Disney film whose title could hardly be any more apt. Here's the image. The film? Atlantis: The Lost Empire...
UPDATE: Steven Wilner, webmaster of Labyrinth of the Psychonaut, has found another foreshadowing of the West Kennet crop symbol in the movie Poltergeist III. For details, click here. Poltergeist, like Superman, is a movie franchise bedevilled by an alleged curse. From Wikipedia:
'The superstition derives from the fact that four cast members died in a relatively short span of time (six years) between the release of the first film and the release of the third, with one dying during production of the second film. Two of them died at young ages, 12 and 22: Dominique Dunne, who played the oldest sibling Dana in the first movie, who died after being choked by a jealous boyfriend in 1982; and Heather O'Rourke, 1the 2-year-old actress who played Carol Anne in all three Poltergeist movies, who died in 1988 bacterial toxins invaded her bloodstream. (During the fight Dominique Dunne had with her boyfriend that ended in her death, the rumour goes that her housemate turned up the Poltergeist soundtrack to drown out the yelling outside.)
'In Conspicuous Compassion author Patrick West argues that wearing coloured ribbons, strapping red noses onto the front of your car, signing internet petitions, and carrying banners saying 'Not In My Name' are part of a culture of ostentatious caring which is about feeling good, not doing good. The three Cs of modern life - compassion, caring and crying in public - show not how altruistic we have become, but how selfish...'
Also more at http://www.answers.com/topic/missing-white-woman-syndrome
Wednesday, 4 July 2007
'Herefordshire Council has found a section of laid stone surface dating from the early Bronze Age, the only discovery of its kind in Europe... The surface appears to be made of fired pieces of stone laid out in the shape of a serpent. Part of the surface will be intersected by a new road but, fortunately, not destroyed; the new road will be laid over the Bronze Age surface and the rest investigated.
'Archaeologists believe this major find may have no parallels in Europe, with the closest similar artefact being the 2,000-year-old serpent mounds of the Ohio river valley in America.'
David, I trust Andrew Collins will be interested in the above? Any reaction?
More at http://www.24dash.com/localgovernment/23195.htm