Space/Gods: Mars, Moonshots and Masonry (UPDATED 1400 EST)

Check out the Telegraph's gallery of Apollo UFO imagery

OK, I've got a lot of ground to cover here - I'm going to try to cover some of the weirdness aspects of Apollo 11, as well as all of the varying theories and controversies over it. But I did want to hit this story. Some have claimed that the reason we've not returned to the Moon is that there are alien bases there, and we've been warned off. Sounds crazy, some might say.

But those who subscribe to that theory might find Buzz Aldrin's attitude about going back there quite interesting:

In an op-ed in The Washington Post on Thursday, Aldrin wrote that "a race to the moon is a dead end," and that "the moon is a lifeless, barren world, its stark desolation matched by its hostility to all living things.” Instead, Aldrin argues not only for a manned mission to Mars, but for a long-term program to build a human colony on the planet in order to research whether it once supported—or currently supports—life.

"Its hostility to all living things." Fascinating.

Aldrin had put forth his proposals at a Mars summit in Plymouth, England, a fact which definitely caught my attention. For some reason, Plymouth and Mars seem to be very intimately linked. I uncovered this strange connection back in December:

Nasa's Mars Reconnaissance Orbiter has finally spotted rocks on the Red Planet that bear carbonate minerals....

It turns out that this crucial mineral was discovered at the Nili Fossae, named for - you guessed it - The Nile River:

The results were presented Thursday at an American Geophysical Union meeting in San Francisco and will appear Friday in the journal Science.

Scientists planning the next Mars landing — the Mars Science Laboratory — initially considered Nili Fossae as a potential landing site, but it did not make the final cut.- AP

So this was announced on Thursday the 18th, which is the 388th anniversary of the landing of the Mayflower at Plymouth... And how were the sacrifices of those brave and dedicated Christian pilgrims commemorated?

That obelisk is in Plymouth, England but it has a cousin in Massachusetts. The cornerstone of that obelisk was laid in an elaborate ceremony, involving a Naval regatta and the President of the United States. Oh, I forgot to mention- it was an elaborate Masonic ceremony:

“In the name of the Most Worshipful Grand Lodge in the Commonwealth of Massachusetts I now proclaim that the corner stone of the structure to be here erected has this day been found square, level, and plumb, true and trusty, and laid according to the old customs by the Grand Master of Masons..."

The carefully planned ceremony had begun early in the morning of August 20, 1907 when the presidential yacht Mayflower, with President Theodore Roosevelt aboard, sailed into Provincetown Harbor around 10 o’clock. As it rounded Long Point and entered the harbor, it passed down a passage created by eight battleships composed of two squadrons.

And guess what else happened on August 2o? Well, in 1975 the Viking Mars Probe was launched.

How many of you think that the selection of Plymouth for this Mars Summit was coincidental? Yeah, me neither. Bonus factoid: Aleister Crowley was brought up in the Plymouth Brethren, who also brought us the Rapture craze and Dispensationalism.

Speaking of which, apparently for some "For some, the first Moon landing in 1969 was “almost a religious experience”

Forty years later, Debbie Rogers of Hingham vividly recalls the thrill of watching the Apollo 11 moon landing on July 20, 1969 – and not just because one of the astronauts, Edwin “Buzz” Aldrin, was a friend.

“It was almost a religious experience,” Rogers said this week.

Of course, the media was hitting those nefarious "conspiracy theorists" pretty hard this past week, "debunking" all of their dangerous theories about the Moon landings being faked. Yet all of the various news agencies spent so much time frothing at their collective mouths about it that it set my hidden agenda detector a-pinging.


CNN covered the story in a fairly impartial manner, and ABC correctly headlined its rebuttal story "Refuting the Most Popular Apollo Moon Landing Hoax Theories" rather than the presumptuous "debunking," but several other outlets offered debunkings, such as the so-called Mythbusters, who already have decided that that the theories can be "busted" even before they even gather any new evidence.

Now, there's a whole cottage industry of so-called skeptics whose behavior is remarkably similar to petulant adolescents and whose attitude towards contrary evidence is indistinguishable from the Iranian Ayatollahs. Whatever kind of "punk" attitude these people present to the public, the fact is that they are all essentially shills for the Establishment.

That being said, I was still extremely puzzled by all the attention paid the Moon hoax crowd, which even in the relatively marginal conspiracy theory world, is a pretty small constituency.

And just to add to the cognitive dissonance, we also hear stories that an iconic photograph from the Spanish Civil War was itself a hoax and that NASA erased the original Apollo tapes and used a Hollywood production house to restore copies. You don't need to be a conspiracy theorist to sense some weird psyop agenda at work here.

Now, let me go on record as believing the Apollo landings were real (they were too ritually important not to be), though perhaps not quite what we saw on TV. However, there's another possibility here that the media is not shoving down your throat- the landings were real but some of the photos and film from them were faked.



Why? Possibly because the real nature of and equipment used in the Apollo missions are highly sensitive and not meant for public consumption. There are theories out there that there are ancient artifacts on the Moon, exactly the kind that the Brookings Institute recommended be kept secret in 1958 in their report on UFOs to NASA. As as I said before, some researchers like Chris Everard believe that there are still active alien bases on the Moon.

By pushing the Apollo hoax theme to death and then letting all of the skeptic mediawhores throw their tantrums at the theorists, the media is effectively shutting down any other speculation on the Apollo missions and why they suddenly stopped. Two prominent astronauts- Edgar Mitchell and the late Gordon Cooper- are both on record as believing that UFOs are real. And Aldrin's cryptic comment about hostility to all life might be interpreted by some as a coded warning or at least a Freudian slip.

And after a lot of noise made about the Constellation missions when Barackobamun took office, there are reports coming in that the future of the program is in doubt. And now the Centaur rocket will be bombing the Moon in October, allegedly to gauge the presence of water crystals.


I wonder if that has anything to do with the strange explosions and flaming debris we've seen falling from the sky over the past few months or the fact that June began and ended with two jetliners mysteriously dropping into the sea. It surely doesn't have anything to do with this summer's blockbuster hit which features humankind drafted into a war between alien factions.

Which, come to think of it, is the basic storyline in the new Star Trek film as well.

UPDATE: Wow, those Apollo 11 chaps are riding the Mars-not-Moon meme hard today:

Two of the astronauts who took part in the first Moon landing 40 years ago have called for renewed efforts to send a manned mission to Mars. At a rare public reunion of the Apollo 11 crew, Buzz Aldrin and Michael Collins said Mars instead of the Moon should be the focus of exploration.

Those who believe that mankind has been warned away from the Moon won't be exactly dissuaded by Michael Collins' remarks today:

Mr Collins, who circled the Moon alone while Mr Armstrong and Mr Aldrin walked on it, said Mars was more interesting than the Moon.

"Sometimes I think I flew to the wrong place. Mars was always my favourite as a kid and it still is today."

He urged further exploration, saying: "I worry that the current emphasis on returning to the Moon will cause us to become ensnared in a technological briar patch needlessly delaying for decades the exploration of Mars - a much more worthwhile destination."

And also a hell of a lot farther away. What do these guys know about Mars that we don't?

Those who believe that the Apollo missions were faked to boost national morale won't be discouraged by Neil Armstrong's remarks either:

Neil Armstrong, the first man on the Moon, said the race to get to the Moon had been the ultimate peaceful contest. He said it was an "exceptional national investment" for the US and ex-USSR. Mr Armstrong told the audience: "It was the ultimate peaceful competition: USA vs USSR. "I'll not assert that it was a diversion which prevented a war, nevertheless it was a diversion."

And those who believe that the Cold War was itself a hoax meant to mask an ongoing globalist agenda won't be discouraged by these cryptic remarks by Armstrong:

"Eventually, it provided a mechanism for engendering co-operation between former adversaries. In that sense, among others, it was an exceptional national investment for both sides."

Both sides? I missed something- what cooperation was there in the Apollo program?

Apollo 17 skipper Gene Cernan offered a dissenting voice, of a sort:

"We need to go back to the Moon, we need to learn a little bit more about what we think we know already, we need to establish bases, put new telescopes there, get prepared to go to Mars. The ultimate goal, truly, is to go to Mars," he told journalists.

UPDATE: Remember those noctilucent clouds linked to both the Tunguska event and the space shuttle explosion? Well, it turns out they are becoming mysteriously more common:

“That’s a real concern and question,” said James Russell, an atmospheric scientist at Hampton University and the principal investigator of an ongoing NASA satellite mission to study the clouds. “Why are they getting more numerous? Why are they getting brighter? Why are they appearing at lower latitudes?”

Nobody knows for sure, but most of the answers seem to point to human-caused global atmospheric change.

Of course they do. The media decided that before they even heard of the phenomenon. Never mind the fact that they were observed after shuttle launches or that 2009 is already a banner year for UFO sightings.

I'm sure there's no connection.

Walter Cronkite 1916-2009

Walter Cronkite was an American icon, whose reporting of the death of JFK made him an American institution. It was a bit before my time and probably a lot of yours, but he seemed to be at the center of the action for some crucial moments in what many would see as the loss of American innocence- the various assassinations in the 60s, Viet Nam and Watergate and all the rest of it.

Interesting conjunction of events, what with the 40th Anniversary of Apollo 11 next Mo(o)nday. Never having watched him- and not being particularly nostalgic for corporate monopoly media- I have nothing in particular to say about the man, other than his passing seems a bit of a coda to a vision of America that's long since been lost.

Nine Eleven Ten Thirteen: Addenda

Reader Horselover Phat chimes in with these astonishing X-Files factoids, vis a vis 9/11:

Just for openers...there is a span of exactly 3333 days between the first bombing of the WTC 1993 to the lights going out on the WTC memorial...those lights were on for a span of 33 days. Why are the premiere of "X-Files" and September 11, 2001, the same number of days apart as the birth dates of the two lead actors, David Duchovny and Gillian Anderson? Why was Gillian Anderson 33 years and 33 days old on September 11, 2001? Why were there 33 years and 33 days between David Duchovny's birth and the premiere of "X-Files"?

Maybe the answer is that The X-Files is the key to all of life's great mysteries. Or at least that the key to all of life's great mysteries lurk within The X-Files. Who knows? Syncs like this swarm like genetically-modified bees all over the show, believe me. Maybe they are there so you'll pay attention to what the show has to say, certainly in respect to the Mythology. Maybe there's something that was using that show as a conduit for deeper messages. Again, who knows?

Click on the Chris Carter/X-Files tag and catch up with past musings on the Mighty X and related programs. I still haven't posted my X-Egesis of the last movie, but I guarantee it will blow your minds. Fans complained the story wasn't about alien abduction and colonization? That's all that it was about.

There'll be plenty of Ten Thirteen material in my Moon Landing extravaganza, which will be posted sometime on Mo(o)nday, including a stunning Gus Grissom/HAARP connection hidden within a standalone's storyline.

More on XF/911 here and here.

Owls

I had mentioned in the comments section of my Mothman post that my mother was obsessed with owl imagery when I was growing up. An anonymous commenter mentioned something that I had forgotten; that in alien abduction literature, owl imagery is often implanted into abductee's memories as kind of diversionary screen image. I do remember reading about that in either Communion or Intruders.


Here's just a small sampling of the owl imagery I grew up surrounded by. That's me, in a corner of the dining room, probably sometime around 1972 or 1973. Most of the imagery was in the living room- there was a kind of alcove set into the wall that my dad used as a bar and then my mother used as a kind of shrine, with all kinds of owl figurines there. Later we put the TV there.

Now, I have no reason at all to believe that my mother was an alien abductee, but there is one particular story I remember her telling me. She said that just before I was born she put my sister down for naps and then would often take one herself. But she would have this recurring nightmare that a "witch" was on the porch and was trying to come into the house while my mother was asleep on the sofa.

That was the same exact spot I had the leprechaun hallucination you're all so sick of hearing about.

I sometimes wonder if the neighborhood was once an old Indian burial mound. A couple years back a dolphin beached itself in the river right down the street. A fresh water river, mind you.

But what the owl discussion really reminded me of was my dad's Mustang Mach I. One of these days I'm going to get me a Mustang. Maybe when the midlife crisis hits.


UPDATE: Obligatory Ten Thirteen reference.

Transformers, part 2: Ultraterrestrials

Angels=alien androids

John Keel's work has been floating around in my head in a oblique way, as I continue to process all of the Keelian weirdness that's gripping the world. In particular, I've been thinking about Keel's "ultraterrestrial" theory. Ken Korczak wrote about Keel's UT theory in an excellent column from 2006:

People who support the Ultraterrestrial theory, such as authors Jacques Vallee and John Keel, point out that supernatural beings seemingly superior to humans have been reported throughout history. In previous eras they were called gods, angels, ogres, fairies, brownies, little people, demons, and more.

The Bible is filled with references to supernatural creatures, including giants, “wheels” flying in the sky out of which incredible creatures emerge, and more.But references to flying disks were recorded centuries before the texts of the Bible. Cave drawing dating to 30,000 B.C. depict disks floating around in the sky, remarkably similar to modern UFO photographs.

In the wake of the monster success of the new Transformers film, I've been thinking more and more Bruce Rux's theories that stories about the so-called "Greys" seem to describe androids rather than EBE's. And of course, this ties back to what I wrote about here back in March, dealing with the Igigi of Sumerian mythology:

AAT scholar Jason Martell notes that the Anunaki had a servant class called the Igigi, whom he believes could actually be the Greys of UFO lore. These creatures have been described as a kind of wetware, biologically-engineered androids:

Today's modern UFO's and Alien Contacts being reported have a strong similarity to the Ancient descriptions of the "anunnaki" Android Beings. When we look at the descriptions of our modern "grey alien", we can clearly see that they do not look like us, or the anunnaki. Rather, they look like the ancient humanoid depictions of Figurines. The majority of Abduction cases usually have a similar story to them in that the Aliens abducting them will perform medical examination and sometimes experiments having to do with human reproduction.

Is it possible that the Greys were created by the anunnaki as "Watchers" to oversee their experiments here on earth?- xfacts.research

This makes a lot of sense. Maybe the Greys are not from somewhere else- they were left here to keep an eye on the Project when the Anunaki were called back home. This would explain why these types of beings are in the world's folklore and mythology.

Maybe we're not projecting a technological viewpoint on elves and fairies and leprechauns after all. Maybe the folklore is the filter on a reality we had no framework for before we had technology (or maybe the Greys like to play dress-up and mess with people's heads)

Food for thought, and ties into Charles Fort's theory in Book of the Damned (1919) that the world is a UT plantation:

Why not diplomatic relations established between the United States and Cyclorea—which, in our advanced astronomy, is the name of a remarkable wheel-shaped world or super-construction? Why not missionaries sent here openly to convert us from our barbarous prohibitions and other taboos, and to prepare the way for a good trade in ultra-bibles and super-whiskeys; fortunes made in selling us cast-off super-fineries, which we'd take to like an African chief to someone's old silk hat from New York or London?

Would we, if we could, educate and sophisticate pigs, geese, cattle?

Would it be wise to establish diplomatic relation with the hen that now functions, satisfied with mere sense of achievement by way of compensation?

I think we're property.

I should say we belong to something:

That once upon a time, this earth was No-man's Land, that other worlds explored and colonized here, and fought among themselves for possession, but that now it's owned by something:

That something owns this earth—all others warned off.

Hmm, not a cheery guy, that Charles Fort. Now hypothetically, if that is truly the case the owners wouldn't just leave us unattended while they were off doing their godly business elsewhere. Could all of the strange discs and orbs and all of the rest of it could be highly-advanced versions of the cameras and drones and satellites our earthbound overseers are putting up to keep an eye on their own subjects?

I mean, as above so below, right?

Well, who knows. Maybe all of the hardware that people have been seeing up there for tens of thousands of years is all a big misunderstanding. But the UT theory makes a lot more sense to me than a bunch of humanoids jetting to and fro from the Pleiades. And it certainly sheds a new light on the abduction literature as well.

One thing I will say, though. It's fascinating to me that the American and Jordanian militaries- as well as the Egyptian government- were so keen to cooperate with the production of this film. And it shouldn't surprise anyone that the military was also closely involved with the Stargate series as well.

Interesting times we live in.

TO BE CONTINUED

John Keel, the Mothman and Me

Things have been pretty hectic around here and it's all I can do to keep on top of the blog. So when John Keel died I didn't write about it, since I was processing what Keel's work meant to me. Most of this is through osmosis, since I've only read The Mothman Prophecies, which I loved. This was following repeated viewings of the deliriously unfaithful 2002 film adaptation, but the book hit me with a strange kind of numinosity. But you can't poke around the World of Weird without running into Keel time and again. and his work has certainly had its effect on me.

So in that spirit, let me pay tribute to the late John Keel by pulling out some amusing Mothman syncs from my personal files. All of this kind of crept up on me when I was doing research on the topic when the 2002 film was released. I had only a passing familiarity with the topic before but found that in a semiotic sense at least, ol' Mothie and I seem to travel in similar circles.

Let's start with what is considered the first solid eyewitness account of the Point Pleasant Mothman from 1966:

November 14, 1966 - A gentleman by the name of Newell Partridge was home watching television one night around 10:30 P.M. when the TV picture turned to static and a loud whining noise started. Bandit, Newell Partridge's German Shepherd, was on the porch when he began howling towards the barn. Partridge shined his flash light towards the barn and picked up the glow of two red pulsating eyes like bike reflectors. The dog ran towards the eyes snarling and Newell went inside and locked his door. He was very shaken and terrified.

The next morning, Newell went outside to find Bandit, but all he saw of the dog were a lot of tracks that looked as if the dog had been chasing his tail, something the dog had never done before. Bandit was never seen again.

This story caught my eye back when I was researching all of this because Newell is a variation on Knowles, the partridge was traditionally a symbol of Christ, and I was born in 1966. And from then on Mothman connections would show up at pivotal points throughout my career, such as it is...

My first job in what you might call the entertainment business was working as a store manager and house artist for New England Comics. When I worked there it was just a hole in the wall in the Patriot Building in Quincy, across the street from the "Church of the Presidents," the Unitarian Church were John and John Quincy Adams were buried.


NEC started a publishing line a few years after I worked there and their cashcow was The Tick, created by future TV producer Ben Edlund. And, of course, The Tick's sidekick was a moth-man.


Edlund quit comics for the greener pastures of TV, landing a gig on Buffy, the Vampire Slayer (as well as co-writing the atrocity men call Titan AE with John "The Nines" August). After leaving Buffy, Edlund signed on the Fox series, Point Pleasant. However, this was a different Point Pleasant (set in Secret Sun stomping-ground New Jersey) and featured the brain-meltingly gorgeous Elisabeth Harnois as a Manga-eyed devil's daughter (Harnois also appeared in the Strangers with Candy movie and her next project is as an alien in Mars Needs Moms, an animated adaptation of Berkeley Breathed's 2007 children's book).

When I finally did my own comic series, Halo: An Angel's Story (published by Sirius), I was smart enough to get myself a lawyer at the time, the incredibly awesome Jeff Rose. One of Jeff's other clients was Doug Tennapel, creator of the Earthworm Jim video game. Doug actually did a movie called Mothman, released in 2000 but filmed (in Point Pleasant) around the time I was working on H:AAS.

I met Doug in 1997 at the San Diego Comicon when I was pitching my new comic series, Rivets & Ruby. Doug and his team were stunned when I showed them the pitch material because they had been working on a character almost identical to Rivets. I'm not sure if he ever saw the light of day. Doug also does comix for Top Shelf, who published Comic Book Artist when I was working on it.

As mentioned before, this string continued when Crossroads jerked me around for a few months with the H:AAS film project. Crossroads' ad superstar Mark Pellington later directed the film of The Mothman Prophecies, which is more an X-Files adaptation than a John Keel one (funnily enough, TMMP co-star Will Patton played an "Ox Knowles" on Ryan's Hope in one of his earliest roles). There are some scattered syncs thoughout the TMP movie but I won't bore you with those.

Anyhow, all of the Mothmany goodness came to a head with the publication of Our Gods Wear Spandex, since my editor (and friend) on that project, Brenda, is actually from Point Pleasant, WV and remembers not only the Mothman flap, but the Silver Bridge collapse quite well. Brenda also landed me the X-Files book gig, which of course has its own Mothman (and MIB) tie-in.

And the cherry on top of the Mothman sundae is the frequent guest appearances on this blog by the esteemed Loren Coleman, a good friend of Keel's and the inheritor of his neo-Fortean mantle.

So what does it all mean? Well, let's just say it's all grist for the mill and incorporating (or at least considering) some of Keel's theories has been a major boon to my own research. Keel is one of a generation of Forteans who became exasperated with the UFO phenomenon, since whoever's up there doesn't really care much about our theories about them. But a few theories Keel put out there have become increasingly important to my own speculations, which we'll be looking at in the future...



PS- Heh. Well, I just went upstairs to take a little break and picked up my copy of Bruce Rux's Architects of the Underworld and it opens up to page 153, which ends with this sentence "what are we to make of such creatures as the 'hairy dwarves' or the infamous Mothman?" Then as I came back into the office that little fella you see in that photo (taken with my crummy old cellphone) flew in with me. Synchromysticism on demand- you gotta love it...

Why is the Press Ignoring Hollywood's Alien Blitz?

One thing about the entertainment press- they love to spot trends. They love to take a few scattered films or books or records and lump them together as some new sort of cultural phenomenon. You hear the word "boom" thrown around a lot. So we've seen breathless articles in the past about the Latin pop boom (mostly because Ricky Martin had a couple Top 40 hits), the fantasy movie boom, the superhero movie boom, the independent movie boom, the vampire movie boom, the religious movie boom...you name it. More often than not, most of these booms turn out to be busts, or cover story mountains made out of marginally successful molehills.

Heh.

So why aren't we seeing any stories in the press about the alien movie boom? After all, this year we've seen or will see Star Trek, Race to Witch Mountain, Monsters vs Aliens, Transformers 2: Revenge of the Fallen, Alien Trespass, Knowing, Avatar, Battle for Terra, Planet 51, District Nine and Aliens in the Attic, as well as Battlestar Galactica, Stargate Atlantis, Fringe and a remake of V on television. I'm sure you guys will fill me in on any others I've overlooked.

At what point does this qualify as a boom?

I don't know about you but I haven't seen anything in the press pointing out Hollywood's unprecedented and inexplicable obsession with aliens this year, most especially films dealing with alien contact.

Or to be more specific, films dealing with human/alien coexistence.

I can understand why most media outlets are ignoring the hundreds of UFO sightings so far this year (and not just the lame, lights-in-the-night sightings) but why are the trend-spotters not paying attention to this absolute flood of alien/UFO-themed films?

And what's the impetus behind these films being released this year in the first place? It's really verging on overkill. It's certainly not like the mid 70s or the early 90s when the UFO meme was strongly resonating in the collective unconscious. Most people seem pretty blase about the topic, even if they are gobbling it up in droves at the movies.

Kinda makes you wonder, doesn't it?

PS- Check out part three of Tim Binnall's interview with Bruce Rux...

PPS- Aliens in the Attic star Ashley Tisdale hails from Deal, NJ, right in the shadow of the old Fort Monmouth of Project Diana fame.

PPPS- From IMDb's top-grossing films of 2009:

250,234,554		Up (2009)
246,331,182		Star Trek (2009)
200,077,255		Transformers: Revenge of the Fallen (2009)
195,984,055		Monsters vs Aliens (2009)

Must-See TV: Hangar 18 (MASSIVE UPDATE 7/9)

I'm catching up with work after my sick day so I thought I'd pass this old UFO classic that Bruce Rux chats with Tim Binnall about onto you all. From Wikipedia:

Hangar 18 involves a U.F.O. coverup following an incident aboard the space shuttle, whereas an unidentified object is hit by the satellite which the orbiter was tasked with launching into a higher orbit. The space collision kills a fellow astronaut who was in the bay at that time, however, the entire incident is witnessed by astronauts Price and Bancroff.

Upon returning to Earth, both men slowly investigate what they know happened in space — and which the government authorities try their best to hide. The damaged spacecraft however, has been recovered after it is observed making a controlled landing in the Arizona desert...

On board the craft, the technician team makes three discoveries. The first is an unknown woman who awakens in the back of an ambulance screaming (leading moviegoers to believe she may have been an abductee)...

Here's an interesting factoid for you X-Files and Transformers fans...

...symbols found on certain control panels are the same as symbols which reside here on Earth, albeit in ancient places.

Now, here's a fascinating bit of trivia for those of you sensing the story behind the story in some of my recent posts:

Hangar 18 was one of the very few American films to be shown in the Soviet Union, premiering on the 1st TV channel on the New Year night of 1982. Because of general unavailability of films with elements of science fiction and action genre, it achieved enormous popularity among Soviet youth.

Metalheads like Megadeth and Yngwie dug Hangar 18, too

UPDATE: I can't get that last factoid out of my head. Remember, 1982 was when the Cold War began to heat up again and the Soviet government was very much in the control of KGB hardliners like Yuri Andropov, who became Premier that year. I can understand their banning jingoistic American action films, but why exactly Hangar 18 passed muster is a mystery to me.


We've all heard the theories that the UFO business was just a Cold War psyop, meant to create hysteria back and forth across the Iron Curtain or that they were just experimental aircraft invented by the Nazis (the debunkers neglected to tell the cavemen that, though). I've even heard theories that Roswell was cooked up to fool the Soviets into thinking the US got its hands on alien technology.

If any of this was true, then why would the one US action movie the Soviets aired on state TV disseminate that exact same US/ET meme into the minds of impressionable young people? Surely, it would have also inspired UFO hysteria there too, causing security problems in the Soviet police state at a very dangerous time in world history.


But guess what? It wasn't just the Politburo that approved of Hangar 18, it also seems to have received the blessing of NAZCA NASA. The space agency allowed their name, logo and a model of the Space Shuttle to be used in the film. Remember they didn't extend the same courtesy to Stanley Kubrick for 2001: A Space Odyssey or for several other films, such as Red Planet.

It turns out NASA is quite picky as to which films they choose to become involved with. From a December 2008 article in the Cleveland Plain Dealer, written by John Mangels:

Sometimes the question of whether a scientific enterprise should cooperate with Hollywood comes up. NASA gets lots of requests - most often from documentary filmmakers - and tries to be as helpful as possible, said Bert Ulrich of the space agency's public affairs division.

NASA was happy to cooperate with Clint Eastwood's "Space Cowboys," which depicted three elderly astronauts returning to duty, and went along with the fanciful "Armageddon," where Bruce Willis and two teams of space shuttle astronauts save Earth from an asteroid.

NASA is protective of its famous round red-white-and-blue "meatball" logo, and only allows it to be used in movies whose plots are "feasible fiction," Ulrich said. "If somebody's doing a movie about aliens coming to Earth and attacking the agency, if it's 'out there,' we don't participate," Ulrich said.

That policy must have been devised after the filming of Hangar 18. But there was one particular would-be blockbuster which saw NASA and Hollywood reach an unprecedented level of coziness...

An action adventure due out in March 2000, "Mission to Mars" enjoys a closer partnership with the agency than any film in history, thanks to a new pact the agency has made with Hollywood. The "Space Act Agreement" allows filmmakers to consult astronauts, design experts and scientists – and even use NASA launch facilities – depending on the individual contract.

Jacobson went to NASA four years ago, even before Disney approved the film. Soon after that first meeting, he and the scriptwriters went to NASA’s Johnson Space Flight Center in Houston to meet with Mars experts.

The producer consulted famed astronauts Story Musgrave and Joe Allen, who worked with the actors to show them how an astronaut works in space. Kathleen Clark, NASA’s senior scientist for the International Space Station, helped the production team decide how the ISS might develop over time.

"We took the design of the International Space Station and then we added to it our own design," Jacobson said.- Space.com

Now, bear in mind that Mission to Mars makes Erich Von Daniken look like a biblical inerrantist in comparison. Very strange film for NASA to have worked so intimately on. But then again, similar in some ways to Hangar 18, isn't it?

New logo of Sunn Classic, unrelated to original company, but still...

Oh, by the way- being made by an independent studio (Sunn Classics, owned by Wilkinson Sword, based in Utah, of all places), this film may not have the best production values, but its script - particularly its methodical depiction of a ruthless political cover-up - is pretty sound. However, UFOs and AAT were a tough sell in the increasingly conservative America of 1980, which saw the religious right on the march, conducting not only book-burnings in the Bible Belt, but record, tape, VHS and Betamax burnings as well.

But the film certainly found an appreciative cult audience- and hit it big in Mother Russia. It just did poorly with those groups singled out by the Brookings UFO report in 1958....

But wait- it gets even stranger. There's a "Hangar 18" on the site of the Flight of Fear roller-coaster, which is located in two different amusement parks, King's Island in Ohio and King's Dominion in Doswell, Virginia, home of the recent UFO-slash-smoke ring brouhaha.

Now that's what I call Synchronicity!

Transformers: Ra vs. Apophis (Part 1)

Grabs courtesy of James Ratte at Accumulating Gravity

OK, I finally saw it. In optimal conditions, no pun intended. It was the 10 PM showing on July 4th, so we literally had the theater all to ourselves. Got a parking spot right outside the front door. The environment is usually very important to me when I'm watching a movie - and this was definitely a movie where I wanted to pay close attention - so the absence of NJ knuckleheads was appreciated.

SPOILER ALERT

Now, I didn't go into this film expecting a masterwork of modern cinema. I've seen all of the bad reviews, so my expectations were low. But the reviews haven't stopped people from swarming into the multiplexes, given that it's earned almost $300 million domestically and twice that worldwide. It's Crystal Skull all over again- everyone busts on it but can't help but see it. More on that later.

I understand a lot of the criticism this film is receiving and I'm not going to argue with it. I will say, however, that it seems to me Michael Bay was going for a live action Anime/Manga approach with this film, particularly with all the kineticism and hyper-goofiness and jerky transitions, as well as the multiplicity of characters running on and off screen without any introduction or exposition. This is the same kind of ADHD storytelling that makes most Anime completely incomprehensible to anyone born before 1990 or so. Perfectly appropriate to the subject matter (in theory, at least) but not necessarily to the live-action format.

The missus and I both agreed that the animation on the robots was truly awesome, and would have been a lot more effective had they kept their damn mouths shut. But they also would have been a lot more frightening, which may have kept younger kids away. But when the Transformers were fighting, the effect was pretty damn impressive.

The film really set off some subconscious bells and whistles. One of my earliest 'secret sun' dreams from my childhood actually had a giant robot stomping through my old neighborhood, and I caught some of that vibe throughout the film. But so much of this movie seemed plucked from my subconscious- and was filled with some pretty startling personal syncs here and there. More on that later, too.

Back to the complaints- I really didn't care for the sound design. Given their size, the Autobots should have had disturbingly mechanical voices drenched in reverb, particularly Optimus Prime. All of the voices were too cartoonish, and made zero sense in the environments these characters were living in. During the battles I also had a hard time keeping track of who was who. It would have been nice to see some color design on the Decepticons, since they all tended to look the same.


OK, enough of that. What about the symbolism? Well, it's as in-your-face as the rest of the movie is. A movie about fighting robots from outer space (especially one that starts out in New Jersey and ends up in Giza) is not going for subtlety. The whole plot revolves around this struggle between the Fallen and Optimus Prime, with a whole host of characters revolving around that. But the conceit of it all centered on resurrection, not only of the Fallen but Optimus himself.

Did I mention this all takes place at Giza?


The whole thing is a Jack Kirby Eternals comic come to life* with the Primes bearing a very strong resemblance to the Celestials, the only difference being that the Celestials would sooner incinerate your solar system than turn into a stupid truck, buddy. Certainly the Tomb of the Primes at Petra strongly resembles the Tomb of the Celestials in my beloved Eternals #1 . None of this should be surprising at all, given that a good chunk of the Transformers' original backstory was worked up at Marvel Comics in the early 80s.

So before we look at the ritual drama lurking just below the surface narrative, let's look at our cast of major characters and their mythic parallels. Of course, I'm going to give the game away (hell, I did with the post's title) but the devil is in the details, isn't it? Be advised that the roles jump around a bit in the film- exactly as they do in the ancient mythology.

• Sam Witwicky plays the part of Osiris (yes, Osiris) before his encounter with the Doctor, and plays the part of Horus thereafter.

Megan Fox, before all of the surgery

• Mikaela plays the part of Hathor in California, Isis in New Jersey and then Hathor again in Giza. Confused? Good.

• Leo Spitz plays the part of Thoth/Hermes.

• Alice (don't ask) plays the part of Nephthys in her role as seducer.

• Seymour Simmons plays the part of Anubis.

• Optimus plays the part of Ra in life, Osiris in death and Ra again when resurrected.

• Megatron plays the part of Set in his post-unification role as the destroyer of Osiris (Prime).

• Jetfire (or "Set-Fire," as I like to call him) plays the part of Set, the ally of Ra.

• Finally, the Fallen plays the part of Apophis, the great serpent who swallows the Sun.

The Fallen- note reptilian appearance and cobra-like hood

Got all that? Well, from there it's simple- The Fallen wants to consume the Sun to power the Decepticons and Optimus Prime and his gang aren't having any of that. Like Apophis, the Fallen is primeval being who exists only to destroy. He battles Optimus Prime, who like Ra is also one of the original gang of space gods. The battle hinges on the Matrix of Leadership, a totem that both revives Optimus and powers the Sun Harvester (and reminds us of the Udjat's role in the battle against Apophis).

The crucial player in the drama is Jetfire, a Decepticon who changes sides and joins the Autobots. This mirrors Set's role (which prefigures the expulsion of the Hyksos, whose primary god was Set) in the battle againt Apophis, albeit a bit retroactively. The voice actor who portrays Jetfire is British, which is usually Hollywood's shorthand for "gay bad guy," but gives him a working-class British accent, which usually signals a good guy.


Sam is Osiris who is seduced by Alice (an android working for Megatron) but is then ritually embalmed (the Doctor tries to pluck his brains out through his nose in the Egyptian style) and then rises again as Horus, who is trying to resurrect the fallen Osiris Prime (who is killed by Megatron). Orion's Belt is a key plot point in the story, as are the pyramids themselves.

Sam and Mikaela in front of a UFO Egyptian thingy

Mikaela flies to New Jersey to be with Sam just as Hathor left Dendera to be with Horus at Edfu and we see them confess their love at Giza (and in between there's the obligatory seduction by an imposter). Leo is the information gatherer like Thoth and Seymour runs a meat shop reminding us of Anubis and his role in the dressing of the dead and the weighing of the organs on the Scales of Justice. He also protects the Giza necropolis by ordering the air strikes.

OK, OK, just your average monomyth, hero's journey, whatever, go back to sleep. But this Aphopis thing is grabbing my attention, especially since the Apophis asteroid was first spotted 5 years and 5 days before Revenge of the Fallen opened in the US. Add to that the killer asteroid movie Michael Bay did a few years back. And there is all of that "17,000 BC" stuff in there which follows the X-Files' mytharc in more ways than I previously realized. And lo and behold this is Spielberg's second AAT blockbuster in as many years.

What's up with that?

TO BE CONTINUED

* I don't know if Kirby was aware of the Transformers, but if he was I'm sure he would have been kicking himself for not thinking it up himself. I'm sure there are dozens of similar concepts in his comics that I'm not recalling at the moment - and there was an animation concept for Ruby Spears called "Cary Becomes a Car."

U2 call upon ISiS (UPDATED)

Don't forget the posts on U2 ("Utu") and Harpocrates and U2 and Mithras.



UPDATE: Well, well- here are the closing ceremonies of the 1992 Barcelona Olympics, featuring a flying, metallic "ship of light." Not quite a "flying saucer," but close enough, Bono. Check out Citius' link to the '92 opening ceremonies, where Hercules creates the Meditterrenean (with the help of the Sun) and a mock naval battle is staged, with one of Chthulu's cousins on the receiving end of the tridents.

Astronaut Theology: Pets (UPDATED 7/3 - 1017 UST)

When you start to look for evidence of a subliminal alien agenda at work in the media, you begin to find it in the most unlikely places.

Last year we looked at this extreme strangeness, where a "UFO" landed at the closing ceremonies of the 1984 Olympics. I'm not exactly sure what the point of it all was, and I'm not sure a lot of the visiting athletes- many of whom come from extremely conservative traditional societies- appreciated it either.

So that was the in-your-face symbolism. Most people laughed it off and chalked it up to the Hollywood angle, probably not thinking that the announcer framed the ceremony in magical terms, immediately calling to mind a mass-scale version of the Amalantrah Working for those well-versed in their occult history.

But for my money, the closing ceremony from Sydney is a lot more disturbing, and even more tinged with some of the deep, hidden esoteric symbolism we've been trying to decipher around these parts.

The exoteric presentation is your typical Olympic pomp- you have the usual militarism and one-worldism on full display - not to mention the obelisk and the Eternal Flame - all presided over by the precocious little Aryan girl singing "We'll Be One," which offers up praises to unity and submission. Leni Reifenstahl must have been gnashing her dentures with envy. I'm not sure if little Nikki wrote the lyrics herself or if they're simply translated from the original German, but the syntax throughout is very strange:

When nations join to be a better world, So let's reach up to the stars, Together we'll get hope and joy, To walk the world

Reach up to the stars for what? The only reason I ask is that that gigantic Olympic torch looks a little more like a prop from the '84 Olympics in some of the angles, where Nikki sings her heart-warming paean to the dissolution of borders and national sovereignty. Check it out around the three-minute mark. And the whole bit where Nikki is raised into the air reminds me a lot of the Mithraic liturgy, if not something a bit more sinister. Make sure you make it to the end- there's an interesting little surprise waiting.

And call me crazy if you like, but the entire display can't help but remind me of this old Alt-Rock classic...

...particularly in light of all the color guard routines and the athleticism and such. Watch both videos together and see if they don't start to blend together in your imagination. They certainly do in mine.

Nikki sings to the Atlantean ruins

Nikki made a go of it as a pop star in the wake of the Olympics, and made a few interesting videos. One of which has an explicit alien/UFO angle, one is set to clips from Disney's Jungle Book, and yet another not only features an explicit Atlantis subplot, but also has her snuggling with a suspiciously Lovecraftian cephalopod.

After a break from recording that saw her star in an Australian production of The Wizard of Oz, she's back and all grown up and looking and sounding suspiciously like Britney Spears in her brand new single, "Devilicious." Quite a comedown from her Olympic days.

UPDATE: Yikes! Lunatrope points us to this wackiness - Christine Anu (ANU!) performing in front of an obelisk that transforms into a solar phallus. Wow.

UPDATE 7/3: Holy crap! Thrace points out that just before the three minute mark a piano chimes in with the five-tone alien signal from Close Encounters of the Third Kind! Listen closely starting around 2:45 or so. Not having been to Australia, I can't say I understand the connection with aliens and Oz...oh, wait. Never mind.

Remember that the Olympics were originally created to honor (and to make sacrifices to) the gods of Greece, so why should we surprised if today they still pay tribute to strange, superior creatures in the sky? Mr. Panda notes in the comments that "Maybe they're like an audition for joining the galactic order. "Look how advanced we are space people."

Which is another way of saying, "we'll make great pets."

And didn't anyone note the weird flyover at the end of the "We'll Be One" video?

UPDATE 1o17 UST: Let's not forget that Sydney hosted another bizarre spectacle on New Year's Eve as well.

UPDATE 1945 UST: More of the same, this time from Beijing.

So, who's seen Transformers 2?

We're tried to go last night but there was literally a line wrapped around the block. Anyone have a review, or a particularly juicy batch of syncs? Let us know, especially if there are any Secret Sun riffs being played.

The Russian Roswell

The Tunguska event on June 30, 1908 has come to be known as the "Russian Roswell," with almost as many wild theories circulating about it as about the 1947 incident. Like this one:

Dr. Yuri Labvin, president of the Tunguska Spatial Phenomenon Foundation, insists that an alien spacecraft sacrificed itself to prevent a gigantic meteor from slamming into the planet above Siberia on June 30, 1908.

Most scientists think the blast was caused by a meteorite exploding several miles above the surface. But Labvin thinks quartz slabs with strange markings found at the site are remnants of an alien control panel, which fell to the ground after the UFO slammed into the giant rock.

Of course, scientists scoff at this kind of thing but still have no definitive theories as to what caused it, only their own speculations. The latest speculation is making the rounds today, as we see in the Space.com headline, "Space Shuttle and Strange Clouds Key to Mysterious 1908 Explosion:"

New evidence from an unlikely source -- water vapor in the exhaust plumes of space shuttles launched a century later -- points to a comet. The potential solution comes courtesy some strange clouds that scientists have only recently begun to understand.

Noctilucent clouds are brilliant, and visible only at night. Made of ice particles, they are Earth's highest clouds...in fact, space shuttle launches have been found to cause or enhance the formation of noctilucent clouds.

The article goes on to add that scientists have been able to observe these clouds during a shuttle mission:

Noctilucent clouds were tied to the launch of Endeavour (STS-118) on Aug. 8, 2007. And high-altitude clouds were detected over Antarctica shortly after the fateful launch of Columbia, which along with its crew was lost during re-entry. Columbia's plume was 650 miles long and 2 miles wide and reached Antarctica in three days.

OK, help me out here, I'm not a scientist. We're being told here that the Tunguska event was the result of a comet and not an exploding spaceship.

And what are we being offered as the observable evidence of this theory?

An exploding spaceship.

AstroGnostic: You're Not Who You Think You Are

I've been getting these weird emails from Genebase telling me about these people whose DNA profile most closely matches my own (the Y-chromosome, at least). Strangely, their names are all almost stereotypically Irish, first and last. It's been an odd experience, although my once-hidden Irish heritage was slowly unveiled over the years, first by my paternal grandmother (at my wedding, no less), and then as family members worked out genealogies, and finally when I did the DNA profile.

I'm sure this will mean nothing to most of you, but the point here is that I grew up believing (and being told by my aforementioned Nana) that the Knowles family were a bunch of stolid Mayflower WASP holdouts in a sea of Irish Catholic usurpers. But it turns out we were not who we thought we were. It sounds insane in retrospect, but these things used to matter in New England.

There's also a deeper meaning here: so much of what I spend my time puzzling over has to do with our genome. To get these strange genetic messages contradicting the family mythology I grew up with can't help but seem like a synchronistic microcosm of the bigger issues at hand. Especially when those issues- DNA, genetics, human identity- are becoming such a fraught issue as we blindly stumble to a posthuman future.

Maybe that's the ultimate message of this blog: "You're not who you think you are."

That's also the conceit of The Nines, starring the Irish-Canadian hearthrob Ryan Reyonolds. The film is 200 proof astroGnosticism, though you may not see that in the trailer and I won't give the film's ending away. But if you're a regular reader of this blog I can't possibly recommend it highly enough. Its unrelenting immersion into mundane reality is as meticulous as its metaphysics are whacked out. Which is a good a description as any of where my head is at most of the time.

The film is written and directed by John August, who's Tim Burton's favorite screenwriter. Given the direction my research has been pulling me, it's worth mentioning that John August's first feature film was Go, which centered on a hallucinogenic drug deal. August explains that he came up with the idea for The Nines when he began to dissociate while acting as showrunner for an aborted TV series. Me being a huge fan of Go (Katie Holmes at her pre-Xenu cutest), I wonder if he had some kind of augmentation for that process.

Since I am an obsessive nutcase, I'd been watching the film over and over the past couple weeks, picking out syncs that are mainly of a personal nature. It's one of those films in which searching for hidden meanings is redundant, since the entire film is about hidden meaning. But I had an interesting experience at the doctor's office on Thursday when I saw the new Entertainment Weekly, which had Reynolds doing a strange spin on The Nines, with four covers picturing him in three different roles. Quite the coincidence, I thought.

The Nines is built around the Leibniz* aphorism, "This is the best of all possible worlds." It's divided into three distinct chapters, "The Prisoner," "Reality Television" and "Knowing." The three different roles Reynolds plays are a dippy actor under house arrest, a gay TV writer featured on an Project Greenlight-type documentary, and an earnest husband/father who finds himself in an encounter with the hippie-chick from hell. Reynolds is brilliant in all three roles, as are co-star Melissa McCarthy, the hauntingly-precocious Elle Fanning, and most especially, the virtuoso character actress, Hope Davis.

It's in the second chapter that Davis- and The Nines- scares the shit out of me. Davis plays Susan Howard, the d-girl (development executive, a post usually filled by women) from hell. August's dialogue is so scintillatingly perfect it could only be written verbatim from painful memory.

I met too many Susan Howards in the advertising racket, fast-talking lib-art grads who are constantly second-guessing everything, because they've bullshitted their way into jobs they're completely at sea in. They use all of the latest SWPL jargon and will play the nurturer role to the hilt, but will pin the blame for all of their f*ckups on you, even when they don't have to. Davis becomes Susan Howard...no, that's not right. She becomes all of the Susan Howards to ever walk the face of the earth. All of my LA readers will know exactly what I mean.

Some longtime readers might remember I had my own Hollywood adventure ten years ago, when I got a lot of interest in a graphic novel I'd written for Sirius Entertainment called Halo: An Angel's Story (this was way before the Halo videogame). The first bite came from Crossroads Films, a production house that specializes in advertising but dabbles in indie film. They called me in December of 1996 and it seemed like Project Greenlight city. I was told that they wanted me to write a treatment and then a screenplay and they'd start looking at actors and directors in January. They told me I would need an agent and I should replace my lawyer with someone specializing in film. Everything was smiles and handshakes and looking forward to working with you's.

I was assigned to report to a producer there (let's just call her "Susan Howard") and for reasons I think I've repressed it all got totally screwed up (my lawyer said Susan did something she wasn't supposed to but being an idiot I had no idea what the hell he was talking about) and I was unceremoniously kicked to the curb, just like Ryan Reynolds in The Nines. There's no feeling of rejection quite like the one the movie industry can hand you, which is why that chapter is particularly painful to me. But I had other bites (which all made that first experience seem like ice cream in the park) and Crossroads later hooked me up with a lot of storyboarding work, so no harm, no foul.


But here's where it gets weird. One of Crossroads' top ad directors is Mark Pellington (born 3/17, we also have friends in common), director of The Mothman Prophecies. His first feature film was Arlington Road, which co-starred none other than Susan Howard herself, Hope Davis (it also co-stars Joan Cusack, sister of John "Horus" Cusack, Superstar).

And weirdest of all, Arlington Road opens with a harrowing scene of a boy who's been maimed by a bomb. The boy is played by Mason Gamble...

...who I was just hanging around with at Esalen. The gyre is constantly widening, isn't it, Bob?

Now, I'm constantly struggling against becoming the Carlos Castaneda wannabe I once was, but I wonder if August has had some serious experience with psychedelics. And the kind of stress he was under not only generates the kind of dissociation he portrays in the film, but often very weird syncs. Like the Mothmen, the syncs notice you noticing them and tend to follow you around.

But for some reason, the syncs we see inside films like The Nines or The Number 23 never seem to be as arresting as the syncs we see in the Synchrosphere, or in our own lives. Movies are great at generating Synchronicity, but not usually as good at portraying it.

I think there's a reason for it, two reasons, actually. First, the brutal pace of film and TV writing and rewriting and production tend to keep you in your illusory self, reliant on your reptilian brain. Second, as we see August portray so painfully in The Nines, the Susan Howards of the world look at metaphysics the way an Ostrogoth looked at a fine Roman salon in the Fifth Century.

UPDATE: Loren Coleman picks up the ball and runs with it, as only he can.

UPDATE II: OK, this is interesting. The Elle Fanning character in The Nines is named Noelle ("Christmas"), which is the spelling of Katie Holmes' middle name.

* Another Nine sync- Leibniz and I share a birthday.

Astronaut Theology: I'm sorry, what was I just saying?

I was just saying this:

The US defense budget is larger than every other country on Earth combined. It was in the US that computers and microchips and transistors and all of the rest of it appeared almost overnight after...well, after the Roswell incident, whatever that was. Who are we preparing to fight? The Chinese, who manufacture everything for our Wal-Marts? The Russians, whose space program we've essentially merged with? The Arabs, who have little else but oil to sell to the world and fifth-rate militaries? All of them are keeping our warfare economy afloat.

Nothing makes sense anymore, if you follow conventional wisdom. The world economy is in recession, but we're spending billions - maybe trillions - on space hardware (and extremely sophisticated electronics for consumer use). And when you really stop to think about it, we've no real evidence that the defense budget is actually preparing us for war with Russia or China.

Now read this BBC story:

Russia and Nato have agreed to resume co-operation on security issues, after nearly a year of difficult relations.

The deal came at a meeting in Greece of foreign ministers from the two sides.

Ties deteriorated sharply in 2008 after Russia's brief conflict with Georgia. Nato chief Jaap de Hoop Scheffer said differences over the issue remained.

But he said Nato and Russia would nonetheless resume co-operation on issues such as Afghanistan, drug trafficking and piracy.

OK, fair enough. But what the hell kind of logo is that NATO-Russia Council? Note how both the NATO star and the Russian two-headed eagle are distinctly subordinate to the big blue ball there. And I'm not getting the star map connection to either Russia or NATO.


But I'm sure as hell getting an interesting connection here...

UPDATE: More extremely strange symbolism in Russia here and here.

Remembering George Carlin

The older I get, the more sense George Carlin makes. We lost him this week last year, and boy, we could use a dozen or so more where he came from. Carlin's genius was in deconstruction- he took apart all of the bullshit we tell ourselves to get through the day and threw it back in our faces. He carved up our pretensions like a turkey on Thanksgiving. I think about his methodology all of the time and I hope that a new generation of big-hearted cynics discover his work and blow all of the Dane Cooks of the world off of the stage forever.

This UFO bit is classic, but this extremely NSFW bit on the Gulf War is one of the greatest revelations you will ever hear. I'm sure I'm preaching to the converted with most of you, but if you aren't familiar with Carlin's flamethrower wit, take some time to check out his videos on YouTube. Especially his bits on politics.

When motion pictures were first invented, some theorists said that death had been conquered- at least some kind of immortality could be achieved on celluloid. George Carlin left an enormous body of work that is available at your fingertips in the Digital Age, and in that way he will live forever. Genius never truly dies.

Sync Log: Michael Jackson

(Note: I had intended to post the second part of the John Cusack story today-
I've added onto the original post- scroll down for the full posting).

When I heard Michael Jackson had died, this page from Nexus #4 suddenly popped into my head, out of nowhere. But it was appropriate, because I wouldn't shed any tears for Michael Jackson, only for his family and fans - and his victims.

The story, called "The Ziggurat," is about with a floating pyramid that's powered by an alien sun. It was written by Mike Baron and drawn by Steve Rude.

I then went online to find out details about the Jackson incident and heard that the supervising LAFD paramedic on the scene was named Steve Ruda.

Tears aside, I thought this was as good a eulogy as any for the role Michael Jackson played in the golden age of American pop...

John Cusack, Superstar: 2012 and the Age of Horus (CONCLUDED 6/26)

Well, the full trailer for 2012 is here. And as to be expected from a Roland Emmerich film, it's chock-full of mass destruction and genocide. The guy certainly has a knack for it, doesn't he?

Apocalyptic film seems to have an added appeal during times of malaise like this one- it's the ultimate fantasy of the global reset button. Of course, no one watching pictures themselves amongst the piles of dead the dogs are picking at, they see the blood and fire through the eyes of the stars (John Cusack in this case, re-teamed with Martian Child co-star Amanda Peet) reaching that brand new day on the other side of it- the "Morning After" Maureen McGovern warbled about all those years ago.

So, what is this 2012 thing all about? I never heard about it until Jose Arguelles and the Harmonic Convergence hit the news. My gut tells me it's going to come and go just like Y2K, even if it was prophesied as the date of the final invasion in the X-Files mythos (which Peet is part of herself now, being the Mythos' latest Nephthys stand-in). But my gut's been wrong plenty of times before and certainly weirdness is on the march as never before.

Maybe December 21, 2012 will be the dawning of the Age of Horus, popularized by Aleister Crowley in The Book of the Law. After all, that new age doesn't necessarily need to coincide with the Age of Aquarius, which no one can seem to decide the start of. And these times certainly feel more Crowleyean than Aquarian, don't they?

Maybe the presence of John Cusack is the giveaway here. Because for reasons as yet unknown to me, Cusack has played characters bearing startling symbolic similarities to Horus and/or Osiris in more than a few films.


The man's career has been a rich and full one, mining that inborn Irish charm for fun and profit. And then there are the symbols, most importantly the ones we looked all those months ago in the context of Pushing Tin, which also featured Ka-Hathor-Ein/Eloah-Isis Blanchett, Billy Bob (Crown of) Thornton, and Angelina Jolie, the Megan Fox of the 90s.

The opening credits featured this stunning image, with Ali/A Li floating enigmatically over the bisected twin towers. A lot of wags commented that 9/11 was like a Roland Emmerich film come to life, so the symmetry is quite compelling here. But we only scratched the surface all those months ago, so in our next installment, we'll go back and pick out a few more compelling details that might illuminate Cusack's overall symbolic role in this collective fever dream that is manifesting in our culture...


PART II: WELCOME TO HIS SKY

Horus was originally known as "Lord of the Sky"

To recap: John Cusack and his Martian Child co-star Amanda Peet are the leads in Roland Emmerich's latest genocide-fest, 2012. The date most famously comes to us from the Mayan calendar, which is especially fascinating to Graham Hancock as well as people involved in AAT research.

Horus decapitated Isis during his battles with Set

I've been watching John Cusack's career for at least 10 years, ever since seeing Pushing Tin, which at plays like a note-for-note allegory of the old Osiris-Horus myths. Let me just say that not knowing the writers or producers of this film, I can't speak to their motivations. But let me also say this: I find it almost impossible to believe that the symbolism in Pushing Tin is not intentional. On someone's part, at least. Knowing what we know about Hollywood, the person credited for a screenplay is not always the true author of the final product.

What exactly the meaning of it all is a matter of pure speculation. Well, maybe not quite so pure- the evidence is certainly building up around these parts, it's just that it's leading in some pretty strange directions.

OK, we've looked at some of the interesting Osiris symbolism in Pushing Tin, so let's backtrack and look at the mythic narrative parallels. Anyone familiar with the film and the myth will be stunned to discover how closely the two hit the same exact plot points:

OK, Nick Falzone (Cusack) is in a rivalry with Russell Bell (Billy Bob Thornton). Nick meets Bell's sexpot wife Mary (Angelina Jolie) at a family cookout and then runs into her while she is weeping at a supermarket.

Here we see what Mary is shopping for- vodka and lettuce. Alcohol was identified with Isis, Hathor and Nephthys in Ancient Egypt. But for our purposes here we should remember that Isis was "the Lady of Beer," since Nephthys dressed as Isis to seduce Osiris (himself also identified with alcohol). The lettuce must be for Russell, since it was the favorite food of Set.

Interesting statement here - a double entendre? From the grocery store, Nick and Mary set out to a very festive Italian restaurant, which parallels the drunken party where Nephthys and Osiris hooked up.

There, Mary and Nick get drunk together and the viewer gets an eyeful of the elemental eroticism that made Angelina Jolie a superstar. As she suggestively plies her full, wet lips with her forefinger, Mary tells Nick that she grows plants. Here is our smoking gun. From Plutarch:

“Whenever, then, the Nile overflows and with abounding waters spreads far away to those who dwell in the outermost regions, they call this the union of Osiris with Nephthys, which is proved by the upspringing of the plants.”

Nick's little death amongst the stars

So right on cue, Nick then follows Mary home where she invites him in for a little "union." Nick's shirt is another interesting detail here.

The dying-rising Osiris amongst the stars

Remember that Osiris is a space-dwelling god, and damn, if that shirt doesn't look like a starry night sky. Remember, the sky belongs to Nick- he tells us so in as many words.

The hits just keep coming- Nick returns from his tryst with Mary and Connie his wife Connie (Cate Blanchett) holds up her drawing of JFK. Killing of the Divine King, anyone? It's Osiris' tryst with Nephthys that brings about his assassination, and here we see recent history's most famous slain king.

How about that?

In the mythology, Set tricks Osiris by inviting him to a dinner party. And sure enough we see the Bells and the Falzones return to the restaurant where Nick and Mary hooked up. Russell dazzles the crowd with "Muskrat Love" (of all songs) and even Mary is seduced by his inexplicable charms.

Here's the very next scene: Nick meets Mary on the banks of the Hudson, where she tells Nick she confessed to Russell about their tryst. The river is self-explanatory, but the rain reminds us that Osiris was identified with all forms of moving water.

Inside the car, Nick refers to being murdered by Russell adding a cryptic reference to eyes. This could either refer to Russell's riveting stare or to the fact that Set had a thing for plucking out eyeballs....

Soonafter there is a death in the family. Now, is this the funeral of Connie's father or of her husband? Nick also inexplicably changes his hairstyle just at the point in the symbolic narrative where he transforms from Osiris to Horus. His struggles with Russell now erupt into open warfare.

Like in this scene, where Nick and Russell wrestle for dominance while ATC is emptied during a bomb scare. Note they are wrestling over Russell's feather- the Ostrich feather was the symbol of Osiris' role of judge, as we see in his mitre.

Nick is forced out of his job and sits at home wearing dark glasses. On an ordinary symbolic level, this speaks to his blindness- he can no longer see the planes in his mind's eye. On a deeper level, this reminds us again that Set tore out the eyes of Horus during their battles. Russell has taken his position as top controller just as Set took the throne of Osiris away from Horus.

So the culmination of their battle takes place on a runway, a nice metaphor for the Nile. Afterwards, Russell and Nick lie together and share a laugh, not unlike Set and Horus during their own contendings. Note the wound beneath Nick's right eye.

WHO ARE THE REAL AIR TRAFFIC CONTROLLERS?

So yet again, ancient symbolism and high tech colliding on the silver screen. What could possibly be the connection? We've seen this strange pull that all of the Egyptian iconography has had on people involved in the arts and sciences (and politics), particularly those most intimately involved with ultra-high technology. It seems counter-intuitive, doesn't it? The connection of a sky god and an air traffic controller is especially fascinating here. To a point...

I mean, I love mythology and all, but all of this symbology seems rather archaic in this day and age. It also can get more than a little tedious, unless there is some compelling meaning behind it all. And certainly with Pushing Tin the meaning of it all has always escaped me.

Until yeterday, that is.

Let's take a look at a little visual detail in the film, something that I never really paid attention to until yesterday, strangely enough, even though I've watched this film over a dozen times...

Look at this very strange establishing shot. Tucked away on the lower left is the Bell's house, where Mary is seducing Nick, just as Nephthys seduced Osiris. Maybe the key to it all is here as well- the key to this inexplicable obsession with ancient mythology, to this incessant linking of ancient symbols to ultra-high tech (and flight, especially) that we see over and over and over beneath the surface in big-budget Hollywood films (though with the new Transformers film, the linking is now in your face).

With Diane ("Path of the Moon Goddess") Lane. That dog has star quality...

We're not done with John Cusack by a long shot- we've still barely scratched Serendipity and The Martian Child, but perhaps Pushing Tin gives us a clue to why he's been chosen to be the hero (again, a word derived from Horus) for Hollywood's big 2012 blowout.

But just a clue, mind you.

Astronaut Theology: Transforming the World (UPDATED)

Let's recap: NASA is launching moon probes and alien hunters, Fox News is showing UFO footage released by the Mexican military. Europe has a space freighter ready to go. We haven't had any strange, fiery debris falling mysteriously from the sky recently, but it's only a matter of time until the next event, certainly. Moon bases are in the planning stages, and a new film called Moon is being released to familiarize audiences with that coming reality. Never mind the research being done on warp-drive technology at NASA.

What's happening on the ground? We have an ineffectual new President who seems to be in office purely for some strange ritual purpose the rest of us can only guess at. All across the world, economies are being battered and millions put out of work. It was only a mere ten years ago a permanent prosperity was being predicted.

We are looking at the possibility of a stunning revolution taking place in Persia, one of the world's oldest civilizations, presently caught in the deathgrip of a cabal of insane Theocrats. There's a continuing American occupation going on across the border, which may or may not have something to do with contacting unknown entities once present at the dawn of civilization.

The US defense budget is larger than every other country on Earth combined. It was in the US that computers and microchips and transistors and all of the rest of it appeared almost overnight after...well, after the Roswell incident, whatever that was. Who are we preparing to fight? The Chinese, who manufacture everything for our Wal-Marts? The Russians, whose space program we've essentially merged with? The Arabs, who have little else but oil to sell to the world and fifth-rate militaries? All of them are keeping our warfare economy afloat.

Nothing makes sense anymore, if you follow conventional wisdom. The world economy is in recession, but we're spending billions - maybe trillions - on space hardware (and extremely sophisticated electronics for consumer use). And when you really stop to think about it, we've no real evidence that the defense budget is actually preparing us for war with Russia or China.

Timothy Good- as well as others- have told us that the US was essentially at war with UFOs in the 40s and 50s. This was front page news all over the world: Roswell, the Battle of Los Angeles, the Invasion of Washington. Lucky for the government, an army of cranks came out of the woodwork telling ridiculous stories about anal probes and blonde-haired Aryan queens from Venus. Along with them were an even larger army of debunkers, using every psychological warfare gimmick in the book to harass and ridicule anyone who took a second look at some of the incidents that defied easy explanation.

The pace of technology is now quickening exponentially, almost as if someone was losing patience the doubling of it every 18 months. Now, don't forget that before Roswell you had a gradually but slowly increasing curve of technology following the Industrial Revolution. You had wireless radio and television in the 20s and 30s, and computers, first Babbage's Difference Engine and then ENIAC during the 40s. But these things were enormous and cumbersome and less powerful than the digital calculators you see embedded in ball point pens.

Before that, technology had been essentially static for thousands of years, at least since the Roman Era. The printing press was not the breakthrough it seemed- even before Chinese block printing, you had lithographic printing blocks in Sumer.

Strangely enough, when technology truly became the center of the human story in the 19th Century, a whole host of weirdos started talking about contact with alien tutors (most commonly known as the "Secret Chiefs"), who were guiding this process. Crazy, right? After all, most of the literature these people produced was a bunch of babble, cobbled together from various esoteric sources.

But at the same time, you have this strange collision of fringe beliefs and ultra-high technology. In other words, weird beliefs are a dime a dozen but when you start to see extraordinary results arise from them, it's worth paying attention. You have all of this bleeding into the media sphere, which we look at here all of the time. And recently we had the two political parties fighting over control of the Sirius glyph (Sirius being the center of the occult universe) and the winner being initiated as the reincarnation of an ancient Egyptian king in the customary setting of a tomb on prime time news. Weirdos like us blow our stacks in shock while the rest of the world shrugs. Just like they shrug at the busy, busy skies overhead.

So what is this new world order all about? Regular readers know I only have questions. But I can't help thinking about this new Transformers movie, which presents this scenario of Earth being caught in the middle of an ancient grudge match between alien machine intelligences. We have this Sam character, coincidentally played by Shia LaBoeuf who just happened to appear in the X-Files episode produced just before the one that his new movie is ripping off. I hate to keep harping on that, but that simply cannot be coincidence as we understand it.

UPDATE: No, I don't think it is- I think my original theory that someone involved in the writing of that movie reads this blog might be a better explanation, especially given the Egyptian links between Transformers and The X-Files are my interpretation and not part of the surface narrative.

The giveaway may be that the Transformers film opens in 17,000 BC.

Some determinists desperately want to assign human agency to these kinds of coincidences, but the more they metastisize the harder that gets. And I'm willing to bet that a lot of you out there have cataloged your personal synchs to the point that you realize that there's no way some secret cabal are orchestrating them. At least not one that we can understand.

UPDATE II: As I wrote in a comments section, I hope regular readers of this blog will begin to start synching their own lives, so you can see the latticework of connection that defies external agency.

And it's at that point that things get interesting. I can only speak for myself, but I've always thought something is going on that we just can't grasp. I know all of the common theories, but I find them all light on evidence and long on vitriol. Maybe we're being prepared for something we can imagine but can't begin to grasp. And maybe that has to do with the unimaginably huge US defense budget, and those busy skies overhead.

UPDATE: Check out the Hidden Agendas for a massive video presentation by UFO researcher Robert Dean.

Secret Solstice (UPDATED!)

Oh reverse-engineered alien Technology, you are the blogger's friend. Saturday was not the Solstice, but don't tell our friends on the West Coast that. I would think the fact that the Solstice was on a Sunday would be irresistible, but it might also have terrified any remaining Sun worshippers of the officially-sanctioned variety in the environs out of their wits. As if the sight of tens of thousands of folks on the street dancing and carousing and carrying on in ways indistinguishable from ancient Solar cults would not. Note: if you look closely you can see a suspiciously Lovecraftian cephalopod there.

Speaking of ancient Solar cults, Gus Grissom made an inexplicable appearance in Santa Barbara...

Fremont's parade suffered in comparison to Santa Barbara's, since the feeble Washington sun is no match for its Californian cousin, not to mention all of the lithe, Pilates-addicted California girls. But they made up for the deficit with their elaborate, pseudo-Aztec costumery. As far as I know, there weren't any hearts ripped out of chests at the parade's end and offered up to the Sun to delay the Earth's final destruction.

Well, in place of that, we had the nudist bicyclists providing the horror...

Our English friends gathered around Stonehenge for their Solstice blowout, apparently a record turnout. I guess it helps when the head of your state church is himself a Druid. Not sure what connection congas have to ancient Celtic culture, but everyone looks suitably inebriated.

I was in Phila(e)delphia yesterday and saw posters for their own Solstice festival, but the idea still seems pretty isolated to hippie/boho enclaves. It's all good fun but I'm not sure I see these kinds of festivals piercing the Heartland. Too much of a hippie, weirdo tinge to it all. Americans still prefer their Sun worship rituals to be dressed in more familiar religious garb.

Which we'll look at in great detail here on the September Equinox....

UPDATE: Kozmikon Tommy points us to NAZCA NASA's "astronomy picture of the day"- The Solstice Sun rising over the Parthenon.


UPDATE II: Stargurl gives us this scoop- the theme of the Fremont parade was "Phoenix Rising," and "Also Sprach Zarathustra" was the musical overture. Check out her amazing post on Phoenix syncs here. Go to The Satellite for Phoenix-a-licious synchitude.