Monday, July 03, 2017

The Two Towers, or the Siren's Ultimate Prophecy (UPDATE)

So for the past few weeks we've been looking at how a constellation of connections, syncs and symbols surrounding the doomed romance of Elizabeth Fraser and Jeff Buckley all ultimately point back to the great myth of the love goddess and her shepherd boy consort. 

For what possible reason I can only speculate.

Somehow this story seems to revolve around "Song to the Siren," the totemic ballad about love and death Fraser made her signature, as well as the tragic young singer whose fate seems to have been foretold for a very, very long time. (And that ballad seems to have a growing death toll, incidentally).*

Lions were closely associated with Inanna and Ishtar

I thought I'd wrapped this all up for good a few years ago but Chris Cornell's death seemed to dredge something up. He was Jeff Buckley's close friend and surrogate and died on the banks of the Detroit River near Belle Isle, itself infused with ancient traditions remarkably similar to the Siren. (SEE UPDATE AT BOTTOM)

And sure enough, a reader informed me that a few hundred feet east of the MGM Grand Hotel where Chris Cornell died, a very interesting landmark is about to open:
Siren Hotel to open in Wurlitzer Building in November
The Siren Hotel in downtown Detroit's historic Wurlitzer Building will be ready for guests in November, following a $22 million build-out of the 14-story, 55,000-square-foot space. 
The hotel, at 1509 Broadway St., will feature 98 rooms and eight suites, along with seven food and beverage spaces, two retail shops and panoramic rooftop views, according to real estate developer ASH NYC, which owns and operates the hotel.   
The name is inspired by Sirens of ancient Greek mythology, a metaphoric beckoning of people back to a revitalizing Detroit. 

This really shouldn't surprise me anymore. 

After all, we've seen how nearly every significant detail in this story seems to correspond to another significant detail in the stories and history surrounding the goddess-consort myth. 

We've seen how the foreshadowings of how the story would ultimately end were written and delivered in the exact same manner that the ancient priestesses of Apollo would deliver their prophecies.

This only makes sense, because priestesses of Apollo used to prophesy in the temples of Atargatis, the Syrian love goddess who turned herself into the first mermaid after the death of her own shepherd-boy lover. Mermaids would come to be identified with Sirens in late antiquity.

But who cares, right? I mean, this is probably all either typical OCD-driven fan-blog projection or just some glitch in the Matrix, some random anomaly in the code. I mean, everything's ultimately connected to everything, right? Can't we all be brothers?

And plus, if any of this were real then someone else would have already noticed it, right?

Well, maybe someone did. Maybe some very powerful and influential people, in fact. Maybe those people wanted to rub off some of that magic on their own spells. Maybe they in fact did exactly that.

In the immortal words of Max Fenig, "Somebody's always paying attention."

Come feel the deep...


Something happened to Elizabeth Fraser when her lost love died. After their breakup Fraser was nearly despondent with what she herself called "grief" and "mourning." 

Like I said, she really loved this guy. Almost like "hide the bunny, Jeff" loved this guy. He seemed to have that effect on people.

She wrote and recorded a number of songs (at least seven, by my reckoning) for and about Buckley, produced a nakedly-confessional long-form music video as a love letter and dedicated an album to him. 

One of the songs she wrote - which became her best-known- was recorded the day Buckley died by drowning in Memphis' Wolf River Harbor.

But just as Aphrodite lost her beauty when her Adonis died and descended into the Underworld, Fraser thereafter seemed to shun the astonishing range that made her famous. She floated into the wispy, breathy reaches of her upper register, eschewing that lusty, meaty mezzo that made the best of her Cocteau Twins material so compelling. 

It was almost as if she had intentionally wanted to become a ghost of herself. She since confessed to succumbing to a long and crippling bout of depression.

She seemed to signal this when she sang, "Oh, what woman can sing without loving the primitive heart?" She did so on a 1996 EP that also contained perhaps her most startling take on the Siren mythos, "Flock of Soul." The chorus on that song - written as an entreaty to a former lover who also happens to be a singer-- goes like this: 

Come feel the deep
It's my little friend
Come feel the deep 
It's love in a flood 

The song, recorded in 1995, was released shortly after Jeff Buckley and girlfriend Joan Wasser nearly drowned during a midnight swim in Gold Coast, Australia.


After leaving the Cocteau Twins, Fraser found her services were called upon by some very famous directors.

Alan Rickman (best known as Severus Snape in the Harry Potter films) hired her to sing the theme song to his directorial debut, The Winter Guest, starring another future Harry Potter alum, Emma Thompson (who, incidentally, brings on the apocalypse in I Am Legend).

Irish director Neil Jordan then hired Fraser to sing the theme song for his film In Dreams. This surreal psychological thriller, starring Annette Bening and Robert Downey Jr, is entirely centered on drowning and rivers. 

No, seriously. From stem to stern. 

It also centers on the crossover between the world of dreams and symbols with consensus reality and features what can reasonably be called a kind of Siren character.

Here's the first verse to the song Fraser recorded for the soundtrack:

Waters cover me, wrap me where I sleep, 
Wash between us, 
Where you're dreaming, 
Where you wake tomorrow.

Given then-recent events one can't help but wonder what exactly is going on here, and why a woman so clearly devastated by a drowning death would agree to such a project.

(Oh before I forget, In Dreams also centers on the destruction of a town and Bening's character's husband is an airline pilot).


Then (Sir) Peter Jackson hired Fraser to sing on the soundtracks to the first two Lord of the Rings films. She sang "Lament for Gandalf" on the Fellowship of the Ring soundtrack and "Isengard Unleashed" and "Lament for Haldir" for the Two Towers soundtrack.

Both latter songs focus on the Battle of Helm's Deep, the climactic scene in The Two Towers where the sanctuary of the peoples of Rohan is attacked by an army of Uruk-Hai. Helm's Deep's walls are ultimately breached by a Uruk-Hai wielding a giant bomb.

"Isengard Unleashed" is also the title of a scene in The Two Towers that features Brad Dourif, who also appears in Blue Velvet, the film for which David Lynch tried to license Elizabeth Fraser's "Song to the Siren."

The first Rings movie opened two months after 9/11. There was some concern at the time about the Two Towers title and some discussion that it might be changed. There were also parallels drawn by some between 9/11 and the siege of Helm's Deep in The Two Towers. 

The fact that Fraser was chosen for two of the three laments in the film series ties quite snugly into our overarching mythic narrative. Laments are traditionally sung by women (as Conan would remind you) and are commonly associated with the love goddesses we've been looking at, which they sang for the shepherd lovers upon their deaths. (Remember that Gandalf the Grey also descended to the Underworld before being "reborn" in The Two Towers as Gandalf the White).

And appropriately, the ancient laments are filled with the same kinds of lyrical repetitions that Elizabeth Fraser's songs are, particularly the ones that we've looked at in the context of foreshadowing. For example that of Inana:

Let me utter the lament for you, the lament for you, the lament! 
Let me utter the lament for you, the lament for you, the lament! 
In the birthplace let me utter the lament for you, the lament! 
In the desert, O Dumuzid, let me utter the lament for you, the lament! 

And of course, Isis:

Come to your house, come to your house!
You of On, come to your house,
Your foes are not!
O good musician, come to your house!

Laments are also a particularly prominent form in Scottish music. And by any reasonable standard the songs Fraser wrote to Jeff Buckley for Rilkean Dreams are laments. Particularly when you read the almost-unbearably heartbreaking lines like these from 'Half-Gifts' which I mentioned before:

I still have a life, and it's a rich one even with mourning
Even with grief and sadness

I still care about this planet
I am still connected to nature and to my dreams for myself

I have my friends, my family
I have myself
I still have me

Interesting that she felt "grief" and "mourning" over their breakup, considering that these are terms most commonly associated with death.

'Rilkean Heart' and Rilkean Dreams are references to the poet Rainier Maria Rilke, whom the well-read Fraser compared Buckley to. And sure enough, Rilke is perhaps most famous for his own lament, The Sonnets to Orpheus, which he wrote when a young friend of the family died. 

Orpheus was a legendary musician and devotee of Apollo. He was killed by a raving pack of Maenads when he refused to worship Dionysus. His head and lyre floated down a river to the island of Lesbos where they were enshrined.

Jeff Buckley's body washed up three short blocks away from the Orpheum Theater. The next show there will be The Little Mermaid.

But the earliest known lament is the Sumerian Lamentation to Ur, believed to have been written when the Gutians, barbarians from the Central Asian steppes, destroyed the city in the 21st Century BCE.
The great storm howls above -- the people groan. The storm that annihilates the Land roars below -- the people groan. The evil wind, like a rushing torrent, cannot be restrained.

After the haze had lifted at noon, he made fires blaze. He locked up the day and the rising of the bright sun together with the good storm. In the Land he did not let the bright sun rise; it shone like the evening star.  
The scorching potsherds made the dust glow -- the people groan.  
The storm blazing like fire performed its task upon the people. The storm ordered by Enlil in hate, the storm which wears away the Land, covered Urim like a garment, was spread out over it like linen.

All of which takes us now into the Millennium Dome Show.

The Millennium Dome Show- in what was promised to be the biggest dome in the world- was a yearlong production intended to initiate the titular landmark built on the banks of the River Thames as part of a project meant to reclaim the Greenwich Penisula, the same location for which Greenwich Mean Time is named. 
The Dome project was conceived, originally on a somewhat smaller scale, under John Major's Conservative government, as a Festival of Britain or World's Fair-type showcase to celebrate the third millennium. The incoming Labour government elected in 1997 under Tony Blair, greatly expanded the size, scope and funding of the project. It also significantly increased expectations of what would be delivered. 
Just before its opening Blair claimed the Dome would be "a triumph of confidence over cynicism, boldness over blandness, excellence over mediocrity". In the words of BBC correspondent Robert Orchard, "the Dome was to be highlighted as a glittering New Labour achievement in the next election manifesto".
The Dome project was designed to inaugurate a new era for Britain and establish it as a new world capital (which it has largely become). But the Dome was essentially a boondoggle, sitting vacant for years before it was reborn as the O2 Arena. 

Even so, the Dome Show was better received than the Dome itself and was designed by Mark Fisher, the maestro of the modern mass spectacle, having designed installations for everyone from Pink Floyd to U2 to Lady Gaga. Essentially, all of these quasi-ritualistic displays on the Super Bowl and the Grammies and the rest that we're so familiar with today are inspired by Mark Fisher.

Oh, before I forget: Fisher also designed the opening and closing ceremonies for the Beijing and London Olympics. 

For the Dome Show Fisher hired Peter Gabriel to compose the soundtrack. The backstory for the show itself is kind of, uh, interesting:
The Romeo-and-Juliet-like story told of a feud between the earth-people and the sky-people. A young boy from the sky and a young girl from the earth fell in love, but the feud between their people made it difficult for them to meet. 
So, I've gathered here that the Earth people learn to use metals and machines. Or something. They build an enormous tower as a fortress and declare war on the Sky People (calling Dr. Von Braun,  white courtesy telephone, please). 

An Earth-Girl falls in love with a Sky-Boy, but he's eventually captured and imprisoned in the tower. And is, uh, going to be dismembered. So the Earth-Girl leads an insurrection against the tower and it's blown up. 

By controlled demolition. 

SkyBoy in the Dome

As the song goes:

The sky people got hungry and their welfare was ignored
She let them in the tower and the bloody battle roared
Down came iron and the tower fell as well
The dark days were over and the sky people's hell

But don't worry; there's a happy ending.
Eventually the earth-people suffered a crushing defeat, which ultimately led them to unite with their sky enemies. At the end of the show, the lovers flew together into a better future.
Wow, interesting; what the fuck does any of this have to do with London and the Millennium?
The Millennium Show is steeped in the imagery of William Blake's great epic poem, The Marriage of Heaven and Hell, and features fire-breathing Mad Max-style contraptions doing battle with with the "earth people" and their huge dragonflies.
OK, The Marriage of Heaven and Hell and the Earth People and the Sky People. I get it. 

Well, not really.

Let's pretend I do. How is this "better" future brought about?
 In the end, said Ms Page, "a child is born symbolising hope. We think it is a modern, timeless story with a subversive edge. It's also a story where the girl gets the boy..." 
So the child is a hybrid, basically. Of an Earth girl and a Sky person. Quite literally a hybrid, since Peter Gabriel worked with a French cartoonist on a comic book meant to clarify the story, which attendees found confusing and hard to follow.

And boy howdy, the Sky-People look one hell of a lot like "demons of the air." It's kinda funny- Peter Gabriel got his start singing for Genesis and what we have here is a new spin on Genesis 6:4. 

Life's full of those quirky little ironies.

Anyhow, I guess we shouldn't be surprised when the hybrid flies off in a nest Gabriel compares to a flying saucer, both in interviews and in his lyrics.

Sitting up in a spaceship
Looking down at the earth
You wonder what they all struggling for
What's it all really worth
Making tomorrow today
Making tomorrow today

Oh, before I forget the Earth-Girl- who seems to be responsible for the destruction of the Tower- is named Sofia. As in this Sophia.  
She [Sophia] will cast them down into the abyss. They [the Archons] will be obliterated because of their wickedness. For they will come to be like volcanoes and consume one another until they perish at the hand of the prime parent. When he has destroyed them, he will turn against himself and destroy himself until he ceases to exist. And their heavens will fall one upon the next and their forces will be consumed by fire. Their eternal realms, too, will be overturned. And his heaven will fall and break in two.
On the Origin of the World, the Nag Hammadi library
Many scholars believe that Sophia was in fact a Gnostic adaptation of Isis, particularly her Hellenistic incarnation.

And guess what? The part of Sofiaº in the Dome Show is sung by Elizabeth Fraser.

Here are the first lyrics Fraser is given to sing:

I looked up at the tallest building.
Felt it falling down.
I could feel my balance shifting.
Everything was moving around.

These streets so fixed and solid.
Ah, shimmering haze.
And everything I relied on disappeared.

Now, the Rings producers took great care to ensure that the collapse of Sauron's tower at Mordor didn't look too much like the collapse of the Twin Towers. Since that hadn't happened yet when the Millennium Dome Show played, their producers weren't any such restrictions. 

And holy shit, does the collapse of the Millennium Tower (@ 7:35) look one devil of a lot like the collapse of the North Tower.

And by a sheer fluke of happenstance there are actually two towers involved in the Millenniun Dome Show- one placed inside another. Note also the tower here is meant to resemble the Tower of Babel, or the Ziggurat of Babylon, Ishtar's city.

So let's be perfectly clear about this: the main event at the Millennium Dome, set to run the entire year and ring in the new age and herald a new era of glory for London and the UK, was a story about a war between Earth people and Sky-people climaxing in the demolition of a skyscraper. 

After which peace is reached when a Sky-boy and an Earth-girl bear a hybrid child (named OVO, or Egg) who then floats off in a what is essentially a flying saucer (again with the flying saucers).

The British people paid millions of pounds for all of this and it was all overseen by none other than Tony Blair himself.  This was not just some Vegas Cirque De Soleil revue. This was an official production of the British Government. The world's foremost producer of mass spectacle was hired to put all this on and he in turn hired Peter Gabriel to produce the soundtrack.

And Gabriel in turn hires Elizabeth Fraser to play his Sophia-Isis. 

London's Sophia-Isis. On the Thames, also called "The Isis" (No, seriously. It is)

Of all the singers in the world he could have chosen - of all the stars who would have loved to land that part- he picks the very eccentric former singer from a very weird cult band who had their heyday some ten years before. (Fraser also looked quite gaunt and seemed a bit, um,  off when interviewed for a documentary on the project. But the Muses do so love their broken vessels).

The OVOs are not what they seem

Now if Gabriel hired Fraser for one of his solo LPs, no one would bat an eye. Gabriel had been chasing that sweet, sweet, sweet Kate Bush dragon since the buxom Babooshka rocked his world when she was barely legal.† And Gabriel subsequently "worked with" several other singers including Laurie Anderson, Sinead O'Connor and Paula Cole. 

But this was clearly not just a solo project and this was clearly not just another gig. The symbolism here couldn't possibly be more potent. Isis and England go back a long ways, certainly back to the first Queen Elizabeth.  

And chew on this bubblegum for a minute: what are the odds a singer would be randomly chosen to contribute to the soundtracks of not one but two separate and very high-profile productions climaxing with the destruction of a tower within a short span of time of the most notorious tower-destruction since Babel?

If the odds don't seem too vanishingly small to you, then factor in all the other overkill syncs and symbols surrounding this extremely unlikely figure.

I should also remind you here that Peter Gabriel is a graduate of Charterhouse, one of the most exclusive schools in the world and an institution whose list of alumni reads like a who's who of the British Elite. He's also very tightly woven into the highest echelons of the Globalist hierarchy and has been for a very long time.

So I'm not saying Elizabeth Fraser was handpicked to be rubbed all over some bizarre, apocalyptic, elite ritual cycle because someone finally happened to notice that something very unusual happened to be, shall we say, interested in her.

Or maybe I am. I'm not sure. 

I'll have to get back to you on that.

Incidentally, this is the visual David Lynch flashes onscreen when we first hear Elizabeth Fraser sing 'Song to the Siren ' in Lost Highway. Just putting that one up on the ol' bulletin board there.

Now, I'd love to be done with all of this but I have a strong feeling it's not yet done with me. So in the meantime I'll let the great Bruce Rux have the last word:

Mysticism and Intelligence circles often overlap.  Psychic spies have been employed throughout history, in many different kingdoms of the world.  The CIA, MI-6 and NKVD employ them quite a bit.

Sometimes the Spooks employ the occult deliberately, for their own obscure reasons.

Musical groups, singers, actors, directors, producers, all kinds of entertainment industry people, are as often clandestine spies as people in the news business.  So it's always possible some deliberate machinations are at work behind the scenes.  

This Fraser/Buckley business is one of those that seems to go beyond that, though.  It's like the Intelligence boys go around trying to peer behind Isis' veil, only to find she's ahead of them. Some "bloody-handed dabblers" go poking-around, only to find there's already something in the shadows poking back..

Either way, a subtle form of dance is at play.  Artists can be modern shamans, knowingly or not.  They can tap into something much broader and deeper than they know.

I suspect that's what is at work  here.  The gods had their dance with Buckley and Fraser and their lot: A few perceptive people noticed.

UPDATE: A new Little Mermaid movie. About "the Mermaid of the Mississippi."  Her name is Elizabeth. I'm not kidding. Co-starring Shirley MacLaine.

CORRECTION: There are three Little Mermaid movies now on the way. Plus The Lure, about two mermaids who become New Wave singers. In the early 80s. Because who doesn't immediately think "Early 80s New Wave singers" when they hear the word "mermaid?"

UPDATE: Throughout this conversation we've seen how "Wolf in the Breast" and "Road, River and Rail" eerily foreshadow Jeff Buckley's death. But what about "Frou Frou Foxes in Midsummer Fires?" How does that play into this drama, if at all?

This is almost more shocking than the other two-- it corresponds exactly to Chris Cornell's death.

"Frou-Frou" is a term taken from French fashion lingo and relates specifically to high fashion. Chris Cornell's restaurant was across the street from the Four Seasons, near the heart of the Paris high-end boutique district on the Champs Elysees.

Foxes is self-explanatory, but Midsummer Fires take place on St. John's Day. From the Wiki:
Bonfires were lit to protect against evil spirits which were believed to roam freely when the sun was turning southward again. In later years, witches were also thought to be on their way to meetings with other powerful beings.
St. John's Church is right across the street from the Fox Theater. 

Foxes were sacrificed in Midsummer fires.

Then there is the site of Siren Hotel, Elizabeth Street and the fact that the first MGM Grand Hotel was in Las Vegas. Then there's this:

North-northeast of the MGM Grand is Fraser, Michigan. North-northeast of the mouth of the Wolf River Harb0r is, of course, Frayser, Tennessee. And both deaths have strong symbolic links to Las Vegas.

And we also have another consanquinity to "Her honey mouth (prophecy) has got the old fool gold (rock star death), In the gold dust rush (banks of a river) I only genuflect (St. John's Church). "

So I guess it doesn't seem so strange at all that I suspected Chris Cornell's death was somehow connected to the Siren enigma.

You know, when I first heard The Pink Opaque I was convinced that it was some angelic heralding of the Apocalypse. Now I'm beginning to think I wasn't far wrong.

• Heath Ledger and James Gandolfini both died two years after appearing in films with "Song to the Siren" on the soundtrack.

º Sky-Boy is played by the former lead singer of The Blue Nile. Cute, eh?

† Bush and Fraser are often compared and had their own mutual admiration society going. Also, Fraser's other contribution to It'll End in Tears (besides 'Song to the Siren') was Roy Harper's 'Another Day', which Peter Gabriel and Kate Bush sang in 1979 for a Christmas special. 

Kate Bush's "Running Up that Hill", which rather cheekily borrows the old Cocteau beat, was featured in the symbol-drenched 2012 Olympic closing ceremonies.


  1. Chris your work is great, very thoughtful. Watch a Polish movie called The Lure if you have time, please. It encapsulates everything you've been talking about with the Siren/Mermaid tropes. I think it might just be the timing as I had read all your cocteau articles in one hit but the syncs were astonishing. All the best.

    1. Damn. Thanks, Anony. There are also three Little Mermaid films on the way.

  2. It figures that this weird mystery play would tie itself into LOTR somehow. Excellent work, my man. Just don't burn yourself out! I've been down similar roads. It can be exhausting.

    1. How could it not, with all those elves and fairy folk parading around, right? Seems practically inevitable.

  3. The direct and specific sync regarding the soon-to-open Siren hotel in Detroit is amazing! But it also points to how slippery the whole phenomenon is, because the ASH NYC development firm may have been intending to reference Motown Divas like Diana Ross, yet they get entangled in the timing of this strange Celtic-flavored tale. In the "Secret Commonwealths" chapter of this blog, you touch on the childhood of Elizabeth Fraser and speculate on the origins of her vocal gifts and transformation. I feel that its noteworthy that its very difficult to get much background information on Fraser, and the same goes for Chris Cornell. Cornell's father is/was? a pharmacist who Chris once simply dismissed as a 'drunk'. I don't know man, all these allegedly abusive and certainly elusive parents who happen to be connected to wealthy and influential children/artists just doesn't seem to totally add up. You'd think there would be at least one or two "feel good" puff pieces where Edward F. Boyle says he's so proud of his son who made it big with Soundgarden. The web of connections here starts to remind me of the shadowy Laurel Canyon rock community that the late Dave McGowan wrote about not too long ago.

    1. You have a very good point on those parents. I mean, do you really suppose that just any broke person with some artistic talent can make it? I live quite close to a town that has so many of those penniless artists, many of them quite talented, and I can tell you, I don't believe for a moment that the very rare ones that make it don't have some sort of special gift, and I don't mean necessarily something that anybody would notice, such as evident talent. Yes, Fraser can do some amazing singing. And so can many, many other women. So what else did Fraser have?

    2. I went into as much as I could on her background in "Secret Commonweaths", but there really isn't a lot of information out there. There are some interesting glimmers but really nothing to hang your hat on. I don't know about the ones who "make it"- most of them seem to do so by making terrible compromises- and I'm not sure Fraser ever "made it" in the conventional sense of the term. But she did indeed have a rare gift and is also an incredible composer of melody. What she had was rare enough for some of the most influential people in the music business to stop and take notice, even if that never translated to mainstream stardom. I listened to a LOT of music and grew up with a professional singer for a mother but the first time I heard The Pink Opaque I was convinced it was nothing less than an angelic harbinger of the Apocalypse. Which, of course, it may well turn out to be.

    3. Considering that Chris Cornell probably committed suicide and Elizabeth Fraser has has at least three nervous breakdowns requiring hospitalization I think it's safe to say the abuse histories add up.

    4. Thanks for replying Chris. I certainly didn't mean to suggest that these artists didn't suffer abuse. I was more like wondering if there were some degree of MK-OFTEN type occult shenanigans going on with these artists' handlers and producers. The reality of artistic suffering is fairly commonplace, but with Fraser and Cornell, there seems to be an added layer of symbolic sacrifice, as if someone somewhere is attempting to appease some type of creative force.

    5. It could very well be. As I said in the new post there was some speculation at the time that the Cocteau Twins were practicing witchcraft on the public, which sounds absolutely ludicrous until you read the lyrics to Garlands and Lullabies. But remember that these individuals also seemed to be drawn to very powerful forces that have been with us a very long time. Soundgarden drew its primary inspiration from bands like Black Sabbath, Led Zeppelin and Killing Joke, all of whom drew heavily on very ancient powers in their work, by their own admission. Note that Fraser refused to sing Song to the Siren for 12 years for reasons she did not make entirely clear. Jeff Buckley was entirely cavalier with a woman who anyone could see (or hear) was clearly in communion with something we don't understand anymore. Chris Cornell infused his lyrics with some very potent themes and symbols. And all three (four, now that Heath Ledger is tied right into all this) had a lot of issues with drugs. There's a reason ritual magicians are especially concerned with protection.

  4. On Orpheus, on the comic Sandman there is a reference to his story, and actually Morpheus is the one who kill his head... And in Sandman too there is a reference to the SkyBoys war, witnessed by some "crazy person" in the "endless nights" volume, in the Delirium/Delight arch. I think Sandman is very clever portraying the ways myths really works.

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  6. Oddly enough, it was a Peter Gabriel song (Digging in the Dirt) that came on the radio of my car in the early 90s, as I was burying my cat, which had been run over the night before that put me on the path to noticing synchronicities and WTF moments in my life.
    Gabriel has since become one of my favourite musos and Gabriel my favourite angel (I carry a Gabriel angel medallion in my car, which to me is like a St.Christopher medal most Catholics have when travelling).
    And regarding -
    "He's also very tightly woven into the highest echelons of the Globalist hierarchy and has been for a very long time."
    I looked up The Elders (organization) on Wikipedia and noticed ironically enough that there is two Towers in the group of donors, who also make up The Elders' Advisory Council.
    Amy Towers (The Nduna Foundation), Jeff Towers (Jeffrey Towers and Associates).

    1. I used to be a very big Peter Gabriel fan. But the Globalism stuff really turned me off. Which is a shame. His holier than thou act is a little hard to swallow given what a notorious swordsman he is too.

    2. I have always been a bit suspicious of Peter Gabriel's plutocratic leanings, especially when he started becoming more politically active and his music seemed to be a good vehicle for certain agendas. I recall your earlier post a few years back about how the rise of the New Age movements and their proponents were gaining ground ideologically. In comparing your thoughts then, I find it extremely interesting how nested these ideas seem to be now in light of that detailed observation you made years ago. Particularly how these things are playing out through the lives of the popular artists and how accurately these energies manifest. Reference:

  7. All this stuff about mermaids reminds me of "The fisherman and his soul" by Oscar Wilde. In it, the mermaid doesn't have a soul, and the fisherman in love with her is determined to lose his soul in order to marry her. The way he accomplishes this is by losing his shadow. Am I on the right track here? If so, any evidence of any of these people failing to cast a shadow sometimes?

    1. Excellent question. One thing I have to say about Elizabeth Fraser is how her appearance constantly seemed to be in a state of flux. Sure, there's hair and makeup but I was studying photos of her and the basic shape and features of her face seemed to be morphing all the time, back and forth.

  8. Chris
    If you can find a moment for it, a link to the source of your Bruce Rux excerpt would be much appreciated. Google is notably narrow with its BR search returns.

    1. That's from a private email. Bruce and I are pals.

    2. Thanks for the clarification, which spares me further futile searching.

    3. I recently re-read Architects of the Underworld. As is often the case with classics, I was amply rewarded for the effort with greater clarity and even understanding. If your not that into UFO's; the first part; which gives a history of modern sightings of UFO's could be a little offputting as well written as it is. But persistence is amply rewarded as he puts them into historical context and provides a remarkable primer on the various pantheons of the Old Gods. Not long after the Secret Sun became a presence on Facebook; Chris put me onto the book, in order to put an end to my need to try and pin them down with a family tree type of academic presentation. In that, the endeavour was both a great success and a great pleasure, and I am forever grateful.

  9. After reading this article I had to have a look at the new Little Mermaid with Shirley MacLaine film trailer, a little girl born on land who has the heart of a mermaid (hybrid) named Elizabeth! Wow! I am looking forward to seeing this film.

    I also did not realise there was an LOTR connection to Elizabeth Fraser, but somehow I'm not surprised by this either.

    Thank you for continuing on with this. I too am now totally captivated by this story as you reveal it.

    1. My pleasure, Sue. It's certainly something I never anticipated finding myself back into again.

  10. While reading this installment, I was called to check out and see what I could of Fraser's horoscope, having noted the birthdate of Buckley in a previous installment. A few interesting things emerged:

    1. Noting Buckley's birth while the Sun was in the last face tropical Scorpio, I was reminded that the great river of the Milky Way flows in between Scorpio and the following sign of Sagittarius. While not part of the ecliptic, the Serpent Bearer is also here, placing him nice and neat on the Milky Way (which I just default to as a snake by this point. Gordon White has his hands in that.) This proximity of Scorpio and Sagittarius to the Snake-River is of great interest to me due to my own stars, so when you brought it up, a light went off. Oh, and the Scorpio = Mars = Wolf equation in connection with a river here does not escape me...

    The sign of Scorpio itself can be understood as Aaron raising the serpent, linking us into narratives of poisons and cures (pharmakons), but also energy work and kundalini. Was/Is Buckley at work raising some Milky Way-River-Snake energy? Seems like he was "captivating"...trussssssst in me...jussssst in me ;-)

    2. Like Buckley, we don't have a time for Fraser's birth, but a peek at the ephemeris reveals an exact conjunction of the Sun and Venus at 4 degrees tropical Virgo as she entered this world. That means that Venus is "cazimi": in the "heart of the Sun." That's the strongest place in the entire horoscope for a planet to possibly occupy. It's hell to get there, since a planet has to burn up and "die" to get there, but once in the heart, well, metaphors for the powerful light attained here fail me. And here's Fraser born as the mo(u)rning star reaches the heart of the Sun, living the story of Aphrodite in the strongest way cosmically possible. Virgo is the sign of Venus' "fall," one of the most difficult places in the whole Wheel for her to occupy. I wonder at how much that amps up an already heartbreaking narrative of grief and loss? It's as if the Siren (Venus) left her kingdom of Pisces and somehow got stuck as far away from it as possible in her isolation of Virgo, now having to adapt to some alien way of being and filled with longing for "home."

    Oh, Buckley was also born when Venus was with the Sun, but it's not an exact conjunction. It's in that burning up phase before reaching the heart. A planet burning up has signification for death in the old texts, and I've seen that play out all too eerily during Venus' most recent retrograde period in Aries. Scorpio is also another sign of Venus' detriment and fall, so I'm noticing here that these two both have "crappy Venuses" from an astrological point of view. They're living out her hardest, saddest narratives on some grand stage (the same "all-the-world's-a-stage" we are, of course, maybe just at a difference in scale?).

    3. In LOTR, Helm's Deep = Virgo. Rohan = Mercury, ruler of both Gemini and Virgo. Mercury sings, signifies speech, song, rhyme, and it's he who Apollo (aka, musical time) plays! I had no idea she sang on the score, so when you wrote that I about shit myself. I'm writing the astro-theology of LOTR currently, so this is all lining up and setting things off for me like crazy!

    PS. Thank you thank you thank you for your work here!

    1. Wonderful. Thank you very much for all of this. More grist for the data mill, to be sure.

    2. good stuff indeed Jared.

  11. I agree with Gene above. If we're going to go about making connections let's look at the other connections. It would be useful to know the family tree of the main players in this story. It counts and to overlook it would be a shame.

    Also, I sort of get the enticement of theTwin Peaks/Lynch tie in to this but I leave off there. The entertainment industry tries to project storylines for culture to follow but I find the nature of the business means they're always a step behind. The story is playing out somewhere else most likely.

    Don't get me wrong. I've always loved Lynch's genius. He's a big practitioner of TM though which I find is worthy of discussion when dissecting his work.

    1. Again, I did as much as I could, particularly in Secret Commonwealths. But there isn't a huge amount of information out there. This isn't Rihanna we're talking about here.

    2. Curious you mention Rihanna as Fraser's melody on Wax and Wane, the delivery of the chorus in particular, the chorus of Plain Tiger, and all of Sultitan Itan wouldn't sound out of place projected by the pop-cullt-idol good girl gone bad embodied by (the likes du jour of) Rihanna, also her first name is Robyn.

    3. Apologies, I meant to add that 'As a teenager, Rihanna was in the army cadets and actually reached the rank of corporal. She was a self-proclaimed tomboy, and joined the cadets to show guys she was tough.' MKUltra all over the place here, and through her father she's of Irish descent.

    4. One last sync (or two), Riri has an underboob tattoo of Isis inked in honour of her late grandma, Clara “Dolly” Brathwaite. (Her father (and his Irish in Barbados forefathers) we/are known as 'redlegs' due to their fair skin burning on the tropical shang-Ri-la).


  12. mermaid also to represent the actual hybrid age (pisces and aquarius)


  13. tbh I think early 80's New Wave singers when I think of mermaids... but that might just be courtesy of the movie Splash, which made a memorable impact on a young Dammerung.

  14. "Building the towers belongs to the sky
    When the whole thing comes crashing down don't ask me why..."
    - Chris Cornell, Limo Wreck

  15. Amazing explication and detective work And disturbing. Makes me wonder what event the Swiss Tunnel dramatic enactment was meant to "usher" in.

  16. That's interesting that Heath Leger was in the movie 'Candy' where 'Song to the Siren' is listed twice on the soundtrack CD, songs #1 & #13 and that in the You Tube I watched of the song, his girlfriend in the movie is watching a spilled jar of honey flow from the coffee table and on to the floor -
    Not only that, but Heath was born in (and his ashes thrown in the ocean off the coast of) the Australian state of Western Australia, which is known as the black swan state, because the black swan is on the flag of that state (plus I think that's where the black swans originated...well they are native to Australia anyway).
    And ironically, you could say Ledger's death was a "black swan" event.

  17. This reminded me of that movie Sky Captain and the World of Tomorrow, and what do you know, it ticks a bunch of boxes. The overarching story is that this mad scientist created a legion of robots to carry out a plan to load up animals and the DNA to create new humans into a rocket to start life on a new planet, destroying Earth in the process. Gwyneth Paltrow plays an 'Earth girl' journalist trying to follow the story, and Jude Law is a 'Sky boy' who is called upon when the robots attack New York. The rocket eventually launches, but Paltrow and Law manage to destroy it before it destroys Earth. So we have:

    - scientist making a "deal with the devil" which gives him the technology to carry out the apocalypse
    - Earth girl and Sky boy, who had previously been lovers but were separated
    - Tower-like symbol exploding
    - Two vials carrying DNA for a "new Adam and eve"
    - Earth girl sabotaging the tower with the help of the Sky people

    Funny thing is, though the movie came out in 2004, the director had been working on it since at least 7 or 8 years prior

    - Bruno

  18. The unfolding (like initiation?) never seems to end. Fascinating bits about Peter Gabriel too, never knew about Charterhouse or the whole globalist connection. I loved his first few solo albums (self-titled) & his soundtrack work for "Birdie" & "Passion", not so much the later stuff. But speaking of globalist connections, I did find an interesting interview where he mentions an un-named but presumably important (judging by the description) fan in residence at SRI (yeah THAT SRI)& what they tried to get the proverbial ball rolling on:


    "So we've only been talking for a short amount of time and we've already talked about native Ethiopian and Apache civilization and I guess that anyone who has even a passing knowledge about you, knows that you have these interests in ancient and distant cultures but at the same time you're also interested in very cutting edge technology and this isn't a new thing. Didn't it look at one point in the late 1970s that you were going to be the first professional musician in space?

    PG: Yeah, that was a strange story. I had these fan letters from a guy involved in the Stanford Research Institute, who used to run lots of interesting programmes. One of them involved experiments with extra sensory perception [ESP] when the US Government were worried that the Russians were attempting to "will" people to death and to discover secrets by remote viewing. So they thought they'd better spend some money on ESP research. This guy said you'd really like my boss Peter Schwartz, who was then involved in running a thing called the Global Business Network. He was a trained astrophysicist who had become a research consultant. NASA had this programme to produce a film to try and popularize the idea of the Space Shuttle and space travel, and all of this was being funded by a very wealthy Iranian. They were going to train two teams and the team who made it would include a writer, a musician, a poet and a painter and we were going to go up in the Shuttle and then write, sing or paint about our experiences. He asked if I would be interested, and I said, 'Yeah.' Who wouldn't be? But then when the Shah was deposed in Iran this guy's money was seized and the project was shelved. So my dreams of becoming Britain's first astronaut came to a crashing halt."

    That Peter Schwartz guy of Global Business Network fame he name-checks is also VERY interesting, speaking of globalists & their aims:

    1. Pete's alright in my books and I think he is following his heart.
      I don't give a f#ck of what organizations he may seem to be involved with.
      I think his heart is in the right place...and so is he.

  19. Running up that hill... Took me 30 years to figure out that the video is about "cloud-busting" as performed by occultist / sex guru / mad scientist / one-time Freud disciple Wilhelm Reich. Whose legacy is a can of worms in its own right.

    Mainstream media accounts of how Kate Bush pursued Donald Sutherland to play Reich in the video - ostensibly because she was so touched by a boy's love for his father - are plain laughable yet peddled to this day.

    Incidentally (?), Kate played the son. Just a warm, fuzzy story, I'm sure, not linked at all to the gnostic symbolism that drips from so many od her videos and album covers.