QFS Journal Article
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QFS Journal Article
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Essays
on the Themes Evoked by Rock 'n' Roll
We have here sometimes talked of the spiritual ideas evoked by works of popular culture, the Matrix series being a case in point. I have, over the past few months, written a few experimental essays on the themes evoked by rock'n'roll classics, which may be of varying depth and style but anyhow were fun to write. It is always a question whether a particular meaning was intended by the author and indeed it is probable that a good number of the meanings I have read into the works were not originally meant. Still some of the works may be spontaneously channeled. Anyhow if these serve as a platform for illustrating an idea, even if not originally meant in this precise meaning, this gives an exercise in symbology and propagates the original impulse. Skating Away On The Thin Ice Of The New Day: Jethro Tull Stairway to Heaven: Page-Plant
Skating
Away On The Thin Ice Of The New Day This may be one of the most explicit tales of transformation to be expressed on the rock scene.
The year refers to time and the year one is the symbol of linear count starting. So when you were free, in the STO edenic state, before linear time, you didn't know what hit you, didn't stand a chance. And specially didn't stand a chance because of sex, the pot of gold of physicality, as the C's put it. And of course, if you then belonged to no one, then it follows that now you're property indeed, as in bred for humanity, so also a deliberately made genetic construct, the instrument of the fall with pants off. Not to mention sold, as a commodity serving anonymous manipulated society without choice. And well, it's a feeling to wake up to the fact, after a merry chase through lifetimes of manipulation into STS, to notice that the service to others intent which may have existed has been twisted into a parody upon entry to the funhouse.
The ice means the new phase shifted medium of 4D, the new configuration of matter, which is like ice emerging from water. Skating you can only do with ice, not with water, so it's a thing of catching the stance or way of 4D to proceed in there. Also skating is more effortless than running, like graceful adaptation to the medium. Then there's away, as in directed away from the old, yet without specific fixed expectation of direction or destination. Or maybe away is in the sense of continued action, as in "merrily skating away, for skating's sake." The new day is the Wave, the cycle coming around, The new day is the new day to emphasize that it's a cycle coming, not just an individual decision to go skating, because you can't make ice with just one mind, so it's about the window and the choice simultaneously. Thin is new and fragile, the path not often tread, which takes courage and faith.
So when you go, recognize the roles and the choice of each to go and to stay, non-judgementally. The next one is tough, live just one more day - is it in the sense of another day like the others or is it the last day, of which there is only one? Just one more day is more final than just another day, specially when followed by do the things they should have done, as in completion of karma. So it is an expression of light touch to convey the notion of the gig being up without pressing it, sort of leaving a door open for the casual listener to skip the plain point.
The wilderness is doubt of justification for departing from the dying world, the emptiness is the soul clarity of no ego, cleared to be empty to receive. Spinning may literally refer to spinning, as the Cassiopaeans and Pleiadians recommend it. Praying that the universal mind has written a role is reaching for the future that streams to the past, alignment with the archetype, not the winding paths of ego. The victory by yielding, not at random but in faith, another shedding of gravity binding to the shore. What's more cool or more courageous than the ultimate act of faith?
The matrix won't thank you. The bridge is one-way, it creaks behind, you can't turn back past a certain point and you're on your own. The ice is new and thin, you sink if you turn back, it comes off in splinters. The new day is the image of a morning landscape of of crystalline beauty, pure virgin white snow and ice, but here we have the opposite image of the red sunset where the old slowly sinks into darkness. Juxtaposition of simultaneous dawn and dusk, the 3 1/2 day of Revelations, a dividing line or the realm border between the two slides of reality.
The world is a story in the present tense - there is only an illusion of time. Story itself implies a succession of steps. In another version it was 'do you get the feeling that the stories do their reeling in the present tense?' Reel, as in reel of tape, as in time loop? Or reeling as in reeling from shock? In the time loop of time which is not time, constantly shocked senseless? Does it get any better than this? And the stage is to the point too, since our culture so glorifies being on the stage or famous or in the public eye, so to break free you first leave the glitter of effects and games and scripts and roles, ego and plays. In other words, the observer position. And yet it 's a lonely position by stage standards. Or maybe it is so that some souls come into the observer position and are then drawn to seek comfort on the stage, making a compromise of the soul? Did Ian
Andersen write the song with approximately these contents in mind? Based
on the context, it's hard to think otherwise. On the other hand, this
would not catch the attention without some prior knowledge of the subject,
so it's a work in the tradition of truth in plain sight, as the ones Fulcanelli
uses for his discourse. Amazing density of meaning, the total opposite
of the extreme repetitive dilution the mass culture feeds us. And it's
doubly brilliant to deliver this kind of message without being threatening,
negative, preaching or screaming, STAYING CENTERED AND NOT GETTING MIRED
INTO THE EXISTENTIAL ANGST TRIP WE GET ON EVERY CHANNEL. And of course,
we notice the rather opposite uses of the same metaphors elsewhere on
the rock scene, as in thin ice of hot life, skating on razor blades, and
what have you, where 'away' becomes an idea of self destruction. Stairway to Heaven is an enigma of classic rock, a story on many allegorical levels, in the final count about choice and paths to spiritual transformation. The most casual observer could think that buying the stairway to heaven would refer to getting a fix on heroin, for example, but even though the hermeticist may have been no stranger to this, we rather suspect he was inspired to talk about something quite different. This work, exceptionally rich in symbols, introduces us to the continuous choice between the Right Hand Path of service to others and the Left Hand Path of service to self. The light and the dark can be most subtly intwined, taking ever new forms demanding ever new discernment and choice from the adept of either path. But why Stairway to Heaven? The stairway can obviously mean a succession of steps or levels, as one reaches a landing, the path continues in another heretofore unseen direction. Or the stairway could be the spiraling staircase of the DNA molecule, since we know from many metaphysical sources that activation of suppressed functions of DNA is key to bringing forth new capabilities and to finally transcending the limits of this world of physicality. The stairway also brings to mind the shamanic notion of world tree or axis mundi, or ladder, which the shaman uses to move between worlds. We find this idea in Jacobs ladder in the Old Testament, in the fairy tale of Jack and the Beanstalk, in Eliade's studies of shamanism and many others. And is it not coincidental that the folk tale character be named Jack, short for Jacob? Now how come buying then? One can't actualize one's potential without actualizing one's potential, and thus buying in the sense of the physical may at best procure advice, which may besides more likely benefit the vendor rather than the buyer. Here we come to the first intimation of the duality between the paths of seeking: In a certain sense, the seeker ends up giving all, but the all can be given in two different ways. The romantic prototype of the initiation to the dark side is the story of Faust selling his soul in exchange for genius and knowledge. Is then the payment due to the Right Hand Path the renunciation of life and seclusion into a monastery where one lives the life of a hermit? We think that while this is the path of some, the light can also be served in other ways. Gurdjieff in one of his lectures said that to work on oneself, one must pay with all one has, and pay in advance and in full. By this he meant that one shall let go of any preconceptions or beliefs or any comfort zone of habit and stand naked before transformation. This nakedness allows the soul to come forth and take its place, whereas in the dark side transaction the soul is a commodity fully prostituted to the mind's desires. But let the hermeticist sing:
Here the seeker begins her journey, thinking that all outside the strict confines of standard religion or materialism is esoteric wisdom. The seeker is a lady maybe to stress that the seeking is a process of intuition and spirit, which are traditionally female rather than male traits. Maybe this is also the Tarot archetype of the Fool merrily and confidently stepping off a cliff. The fool is sometimes pictured as the first, sometimes as the last card of the major arcana. If first, the Fool is the card right before the Magician. The Fool is innocent and in faith, hence lucky and protected. The magician lives of secret knowledge and may be controlling and paranoid. The knowledge of the magician is a step leading to further choice, for choice is always predicated on knowing about alternatives. And were the Fool to be the last, then this would underscrore that all ends as well as begins in mystery. But having come to New Age land, the lady finds that enlightenment is not sold over the counter, even if some may claim to the contrary. So the stores are closed but with a word she can get what she came for. Again, the unsuspecting could think this refers to buying drugs on the street, and maybe it does, still we see beyond the immediate. The word is asking for instruction, and must be pronounced, even if to oneself or the empty street, as a commitment to the path. It is the common adage that the teacher appears when the student is ready. At any rate, the word creates the path.
Here the hermeticist makes the first explicit mention of the dual paths, and also informs us that their difference can be subtle and hard to discern, even from the inside. Indeed, the very same words can be used with a completely different intent. 'Love' is a case in point: Is it the love of 'if you love someone, set them free' or the love of obsessive, controlling jealousy? So here we have the proverbial writing on the wall, the portent of change. The brook or stream can refer to a spiritual lineage or school or just path of spiritual exploration in general. We will talk about trees later, for now let us just say a tree can represent the mind or whole person. The bird is a symbol of spirit or inspiration and informs the mind that all of its thoughts indeed can be misgiven. In other words, the mind lives in the matrix uillusion of the Maya and doesn't even know it, except for the bird of the soul telling it, but only at the point where the seeker approaches the stream. Misgiven could mean ill-informed. In the dictionary it is defined as suspicious, doubting, in fear. At a point, the mind feels all of these when treading the path of change.
Speaketh the hermeticist of the Voice and the Vision? Maybe he doeth. To the Egyptians, the west, being the cardinal point of the sunset, symbolized the afterlife. Still the hermeticist knows that death in the common sense does not answer the spirit’s crying for leaving, for it only initiates another round on the treadwheel of karma, another swim in the swirling sea of Samsara’s ever emerging and dissolving forms of physical illusion. So leaving is not self-destruction, it is mastering the lesson of the world. We also note that the Dhyani Buddha of the West is Amitabha, who embodies discriminating wisdom, which is the knowledge of the diversity of forms and paths and the final understanding of the unity of all, of which the hermeticist shall speak later. Further, the wisdom of Amitabha is the antidote for cravings and lusts, which further answers the seeker’s call for help overcoming the ties which bind him/her to the world which the spirit cries to leave. There is a Celtic air to the symbolism here, maybe due to the trees and the music. After all, the word druid means ‘tree speaker’ or ‘oak speaker’ and the oak tree was holy to the druids and structures of oak pillars have been found in Britain’s sacred sites. Ra likens the expanded being to a tree, with roots of mind reaching into the collective archetypal on one hand and the individual spiritual on the other. And the hermeticist sees the voices of those who stand looking? On the outer, this may refer to synestesia, i.e. seeing sounds and hearing colors, but there may be something deeper here. The Earth is known to be a point of considerable cosmic interest at this time, as it is getting ready to make its transition to 4th density. So our guides stand looking, as in gathering to watch the show where mankind plays on the stage of a cosmic drama directed from higher levels. The ones who stand looking are of two polarities, on one hand the 4D STS aliens known for abductions and alleged to conspire with governments for world domination, on the other the higher density STO beings who have throughout history promoted free will and shared knowledge. The voices of those who stand looking direct the prophets of ages and it is the seeker’s task to choose which voice to listen to, as the divine drama is played inside the individual.
Here the vision shifts to the veil being lifted and the Earth making a choice for the 4th density positive, or service to others. The whisper is the collective empowerment of mankind, the knowledge subtly delivered through channeling, for example, about the possibility and right to choose, or call the tune. The piper is a mixed symbol, maybe of the guiding – or misguiding - spirits, maybe also of the collective thoughtform of humanity. ‘If we all call the tune’ attests to the power of combined will to affect change, first on the astral, then in the physical. Many channeled sources speak of an exponential increase in intensity when merging minds and intent. The meaning of the Biblical story of the Tower of Babel is simply that people lost the ability to understand each other and thus to call the tune in unison, because true unison has been rare indeed ever since. It was an intervention of the negative forces to abridge free will, and we are here now to regain it and to call the tune, for the first time in this run of the loop of history. Reason here means just objective recognition of what is, without the overlay of ‘desire based imbalance’ as the Cassiopaeans put it. Only in clearly seeing what is can we choose which tune to call. The new day is clear, as the fourth density reality becomes the shared perception of those entering it, when the being transfers its sensory, mental and spiritual reality to that new realm, the veil of separation under which we’ve lived will be lifted. The forest refers to all the united trees of mind/body/spirit for the first time realizing they’ve been a forest all along. The forest is the collective consciousness of 4D humanity. The liberated laughter balances ‘standing long’ in the shadows of the old age dissolving. Stretching the metaphor, long could also be the elongation of the being, reaching along the vertical axis toward spirit.
It’s here that the drums kick in and the music takes a more intense, if also ominous air, symbolizing the intensifying experience of choice following the introductory vision. The vision fades and the seer wonders at what he saw from the relative future. Bustle in the hedgerow? A stir in a fence of trees or shrubs? The bustle could refer to spirit attachments which one clears away from one’ s perimeter. This could on the flip side also be a haunting brought about by magic out of control. This is the part which in reverse allegedly contains a Satanic reference. The spring clean could refer to sharpening one’s choice before the transit, the blooming of spring of 4th density, as it were.Yes there are two paths you can go by but in the long run There's still time to change the road you're on The hermeticist comes right out and says it, directly referring to the left and right hand paths, which both lead to the 4th density graduation when followed with commitment. Ra tells us that the ones most lost at this time are the recent entries into our present world of 3rd density individuated existence, because they have made neither choice. For ‘older’ souls, the choice becomes increasingly clear as the graduation day approaches. As the choice matures, more spiritual knowledge becomes understood, which in itself is neither STS nor STO, but is necessary for choosing one or the other. In specific, the more will and the more knowledge the being has developed, the better it is able to choose, and thus also to turn from the dark to the light . The light can also be turned to the dark, of course, through promises of personal glory or specialness. Thus as the capacity to choose increases, the choices presented become more and more subtle. The more one is aligned to the light, the more the dark gets clever at faking the light. Likewise, the dark master can choose the light having become disillusioned by being ultimately only the tool of the next more powerful. In the story of Melarepa, the young black magician becomes the greatest yogi of Tibet, once he changes his path having realized his mother just used his powers to avenge herself and that in spite of his success at his art his life was devoid of meaning. It’s worth a note that in the story nobody ‘saves’ Milarepa. He decides himself to seek instruction from Marpa and to qualify goes through years of ordeals, of his own will, to eventually become a great teacher of the Dharma. In the final sense, the lessons of 3rd density, where the true nature of things is veiled, are complete when one has broken through the veil and firmly chosen either path. The refinement of the path takes place in the vastly different conditions of 4th density where the spiritual alignment is readily discernable.
This is the test of the spirit to affirm the choice. The shadow piper, the temptation into the knowledge of the dark side is calling the lady who is confused. Here in the best tradition the hermeticist leaves us many possible interpretations of the symbol of the wind. After all only a choice made in the presence of alternatives is a choice of spiritual import . Thus the dark initiate is only useful to the dark if he has in some sense consented. The wind blowing can be the internal storm preceding decision, also necessary for clearing the mind of its old patterns, after all the air element refers to the mental. The hermeticist is challenging the lady, maybe saying that the path is not well founded. Yet the whispering wind can be the spirit gently guiding the mind, and thus a valid path when one follows through with it.
This is where the grand heavy rock finale starts, underscoring the final revelation of the two paths. Here the lady has emerged from her test by the dark aspect of the piper. The hermeticist speaks of the dark initiates walking into the sunset of the soul, where the shadows lengthen as the darkness grows nigh. The hermeticist also tacitly acknowledges that bidding for power or knowledge with the dark diminishes the soul and lengthens the shadow, either in terms of assimilation into the dark hierarchy or in terms of karma. Having retained her original foolhardy purity, the lady having traversed the test of the knowledge and of the doubt and confusion, is illumined and appears lighting the landscape of the dusk of the Age. She represents the Fool become enlightened and reminds the dark initiate of free will. Also gold could be the alchemical gold of personal transformation.
In the final count the answers are within, in listening to one’s inner guidance which will identify the path to follow. The tune resurfaces here, it could be Krishna playing on his flute in the timeless future of the heaven worlds, inviting the soul to shed the wearisome travels in the vale of duality. From the context, we get that the tune is the soul’s innate drive to progress, to connect to the stream representing its path of greatest realization. On the path lies the realization of the oneness of all, or the Law of One, as Ra puts it. Still, here too, in line with the general theme of the song, we realize that the Law of One is neutral, blinks at neither the light nor the dark, and has two applications: The realization of the path of service to self embraces all in order to impose unity with the self, to expand the perimeter in order to draw all under the power of the dark adept in a sort of forced unity. Serving the self through serving others appears as inefficient and foolish, when the goal is the aggrandizement of the individual and maintaining a fundamental separateness. The path of service to others recognizes the divinity in all creation, not exclusively in the self. Thus to serve the self by limiting or at the expense of others does not serve the real, expanded self at all. The unity of the infinite creation is seen as a natural fact, and the adept of the STO path is a co-creative participant in God’s trip to self knowledge via creation. The accent is on expansion and unity in the endless variety of created manifestation, not on manipulation or imposition of a single truth. The last line of the finale spells out the mastery, to be a rock and not to roll, referring to the alchemical philosopher stone. Note that here the rock is not an external object, it is the adept which creates the rock within. Turning the lead to gold is a metaphor of inner transformation through running the intense experience of the 3rd density of choice, the Earth experience, through the refiner’s fire. Gurdjeff speaks of crystallization as the result of work on the self, and the rock which the hermeticist becomes is the result of this. Mouravieff similarly speaks of fusing the iron filings of the personality into a solid single block via "fusion of the magnetic center." Not rolling means that the adept is no longer subject to the shifting winds of the world and is firmly set on the chosen path. There is no end to the journey, but progress past the confusing dualities of the hall of mirrors requires crystallizing the choice.
The tension breaks and the song returns to its peaceful beginning. This symbolizes the essentially impersonal and archetypal nature of the journey. The lady and the hermeticist went on their way, and a new lady enters the seeking, renewing the cycle. We know from history that Jimmy Page used to own Aleister Crowley’s former mansion and was no stranger to his writings. Many interpretations of this song have been made, including various reversals, and we invite the interested to search the Internet for these. We haven’t here talked of the history of the manor or other aspects well covered by others but rather sought to approach the universal through the symbolism of the song. Whichever the hermeticist’s result in his seeking was, we thank him for providing this platform for discussing the subject of the Age. The lyrics
below are from the live version on Shadows and Light from 1980. A friend
once said that what’s special in the version on Shadows and Light
is that it was done at a time when the Woodstock festival had already
become a nostalgic icon, seen like a quintessential beacon from the past,
a marker
The conversation by the roadside captures something of the energy of undefined seeking, a sense of something taking shape right below the level of conscious expression, an infusion of inspiration waiting to take shape. The flower children joining up on the highwayside in a sort of ad hoc partnership for sharing a pilgrimage to the defining moment of rock’n’roll and free love takes its place in the gallery of the age, maybe there is a constellation in the sky waiting to be named after this. Why not, the ancients projected their archetypal stories on the firmament, in a dual meaning of asserting that some images live forever and on the other hand that these images also come from the skies, in the sense of a cosmic pattern of destiny, as above, so below. Of course, there’s the cog in something turning, as in part of a mosaic both old and new, fluidly seeking its shape, there’s the rising consciousness of the Age of Aquarius as in the time of man. There’s the return to the land and rock’n’roll as the unifying banner, the attractor hanging in the corridors of spacetime pointing the way to the nodal point, the switchyard of destinies represented by the Wave.
All epics at heart explore the contrast of light and dark, love and fear, creation and destruction. The Vietnam war was in full swing in 1969, as a counterpoint to what popular myth recalls as the hot summer of love. Since the previous year Mao in China had been carrying out his purges under the name of cultural revolution. Still, we remember the 60’s as a point of no return, not because of war, purge and body count, which is the standard fare of history, but because of awakening, the psychedelic movement, the idea of physical and spiritual freedom as a personally immediate possibility, which were all unprecedented as mass phenomena. Joni gives it the perfect playful, creative expression in having the dark angular shape of the B52 turn into the rounded, multicolored butterfly fluttering about above the nation of hippies having a ball. This is one of the more graphic illustrations of ‘you create your own reality’ on the rock scene.
To some semblance of a garden“We are stardust” ties the whole message together on all the levels. On the external, from astrophysics we know that matter, including our bodies, results from hydrogen fusing into heavier elements in supernovas and that the current guess for the age of the universe is some 14 billion years. Carbon is the central structural element of terrestrial biology. We see meaning way beyond these external facts in the words of the lady, however. Being stardust does not only link humanity and Earth nature together, but also links these into their cosmic heritage. “We
are golden, we just got caught in a devil’s bargain” summarizes
the story of man, transcending the guilt trip of standard religion and
the denial of materialism. Golden is the color of the sixth density higher
self, the spiritual crux of Earth development, the far future distillation
of the one experiencing itself as the many. We are spiritual beings, we
are prime creator having a human experience, not because we are bad, fallen
or unworthy as such but because we at a deeper, preincarnational level
went The devil’s bargain Is taking the trip into the far country of incarnation on Earth, into a physical existence of service to self. The fine print on the contract just was that the sea of Samsara would catch us into a cycle of karma and that extrication from it would not be so simple. The garden is the Edenic realm before taking the trip into the service to self world of dog eat dog which is the default character of the matrix where we live. Now the prodigal son’s trip to binge away his spiritual inheritance in the land of sex, drugs and rock’n’roll, war and so forth is not bad as such, on the contrary when he finally remembers who he is, having gone broke, maybe he picks himself up and heads for the cosmic Woodstock of graduation into the 4th density positive. In the end, this is a universal, trans-personal story of the planet’s experience in the light of one marker of history.NotesAccording to various channeled sources of our time, the ‘devil’ is a composite character of 4th density service to self beings, AKA aliens, which have taken the souls incarnated into mankind for a multi-incarnational ride through the meat grinder to provide the masters with loosh, I.e. psychic energy released from intense emotional experience, mostly painful. The Same sources state that the cycle is about to end, relating to the often mentioned date of 2012. Thus we are headed for a historical moment of descent into confusion before a major shift in the fundamental nature of being itself and a possible breaking free from the repeats of history. We know that in the conspiracy theory world the 1960’s are painted as the devil’s own plan of societal engineering, mass manipulation, cover-up, setup and mind control. We think they toss the baby out with the bathwater. How much more in the dark would we be without the 60’s experiment, even though many got taken for a ride, as usual. The light and dark follow each other closely in all quarters. This is one
of the big stories of the West, a shared fundamental of Judaism, Christianity
and Islam. Whatever was or was not recorded about the events in the dim
past of the Middle East casts a long and dark shadow to this day. It’s
a cornerstone of the Matrix. The Christian Gnostics, whose last openly
functioning congregations were exterminated by the inquisition in the
11th and 12th centuries CE, believed in two gods: The malevolent archon
of darkness who was responsible for the physical world and the Old Testament,
and the benevolent god who was behind the New Testament and was in charge
of the heaven above the physical world. In other words, Abraham, Moses
and the other patriarchs of the Old Testament got taken for a ride by
YHWH, also known as Yahweh or Jehovah, who taught So the lesson Leonard Cohen tells us about is when YHWH told Abraham to sacrifice his only son, Isaac, to him. How’s that for a bid by ‘the Lord of this world’?
So the father figure comes in the door, exalted, eyes shining, voice distant and sets out with his son. As above, so below. Abraham got a visit by the same guy in whose name blood still stains the desert sands and so… He walked on down the hall… and came to the room where his son lived… Son? Yes father? I must do what I’ve been told – Son, I will kill you. [paraphrasing The End, The Doors]
The victim goes the more assuredly to slaughter if he walks by himself and is given some wine and kindness. Still he sees the bird, omen whose sign he can’t determine. And just as his father is hypnotically bound by the Dark Lord, so is the son by his father. He feels a dark expectation of the exaltation of the blood ritual, to the Dark Master, unto death. He knew I would not hide underscores the binding of the spell, something akin to the hypnotic fascination with which the snake binds its victim before it strikes.
And when the father binds his son as the offering and raises his ax to kill him, YHWH reappears, satisfied that his guy is his own, and calls off the plan, and gives Abraham a ram to kill instead. This is called Stockholm syndrome. When the guy who has held you hostage and threatened to have you kill your own son, after he’s first made you pimp your wife, Sarah, changes his mind, you’re just completely sold and think he is the loving God. Now YHWH is no dummy nor is he human, and it may be Abraham had no great choice in the matter of his life, for YHWH does not like being disobeyed. On the other hand, it had to be Abraham who would do the deed, YHWH would not just come around in a UFO and walk in through the wall and slice up Isaac for his blood, because Isaac’s blood was not the point. At least drinking Isaac’s blood was not the point, it would be Isaac’s bloodline in future generations who’d give the blood, over and over. So Isaac had to live. And Abraham had to be made to almost kill his son, so that unquestioning obedience is made clear once and for all, so it gets passed on. And to add insult to injury, YHWH comes out looking good and merciful. So tempted, by a demon or a god?
Are we brothers? The slave master likes to have different classes of slaves, so the slaves compete among themselves at pleasing the master, rather than all rebelling against him. And so it is with the matrix, on with the body count, so nobody gets to look at who’s pulling the strings. Well, the
same YHWH is a major partner in the Matrix and in a sense lies at the
root of Judaism, Christianity and Islam, so no surprise here.Still, Isaac
saw through the haze of the Matrix a couple of times, on the way up the
mountain and later when asking ‘brother according to whose plan?’
There is no choice for the soldier, he does what he must or can. He acts based on programs and circumstance. The mercy on the soldier’s uniform is the symbol of power over life or death, the game is not about killing per se, it is about conscious use of power. Another reference in brother could be Isaac’s half brother Ishmail, the father of the Arabs according to the Old Testament. So for the student of absolute power behind the scenes, YHWH is a prime example, the father of them all, if you ask him. It’s in the Bible. And the ones who pointed out this obvious thing got burnt at the stake by the same guy’s servants, the inquisitors. So here we see the complex legacy of domination and judgement and bitterness and doubt in action. By this and a few other strategic, surgical strikes and by perpetuating stories about these in scripture, YHWH got a lasting name for his iron fist and a trail of blood to follow it generation after generation. And the supreme irony is that by the same Biblical tradition the Arabs and Jews are both children of Abraham, who is the patriarch at the root of the three big monotheistic religions. And it’s the followers of these who have through the centuries fought and persecuted each other ultimately based on how YHWH bid with their shared patriarch when he symbolically set the tune. Machiavelli doesn’t have a prayer against a god. The song carries a serene air of stillness of a warm summer night, with the undefinable presence of destiny floating above the scene of secrets exchanged in hushed voices. There is the quiet, intense, convincing drama of life changing truth and realization bridging from the everyday into the eternal.
It’s an archetypal meeting of vagabonds, with a sense of instant rapport and of coming home. The love is found outside the personal or immediate, he’s always been her lover, a destiny beyond the physical, reaching the causal level from the personal. He is looking for the mystery of her, yet misses the point, feels a distance which not even the peaceful, enchanted night by the river can bridge. The river can be the flow of time or life, steady, yet ever changing, also the living water of spirit. She is associated with the flow, maybe he comes from the desert or far countries, speaks a different language, as if there were little in common. She sees the unity and lets the river answer that all is united beyond time, thus their separateness is illusion and in truth they are lovers beyond time and space.
The sea is the sea of Samsara and a sailor is anyone incarnating into the physical, leaving the port to be faraway and cut off from the spiritual home. But then the sea is also the symbol of potential and adventure, the wide open space where the water and sky meet. Being a sailor, also for Jesus, represents incarnation. Jesus watched from the cross, allegorically on the shore, at the edge of the sea where the life in the physical symbolized also by water is receding. Now only those drowning have an interest in the shore, yet all sailors sooner or later hit the big storm or shipwreck, one life or another. So quite without judgement, we’ll sail as long as we will, until weary or drowning, on the sea which stretches as far and long as our quest will go. The Buddha says that for those swimming in the sea of Samsara only the sea is real. ‘He sank beneath your wisdom like a stone’ could mean that the wisdom of the spirit, which is about leaving the sea, makes no sense for the wisdom of the sea, where it sinks like a stone, not of value to the sailor who is just concerned with staying afloat. So it could be that by dying to the world one is born to the spirit. Maybe the wisdom which sinks beneath the sea’s wisdom is comprehended and received by the heart, not the intellect, which the mysteries comprehends not.
We can also see the love story as in internal, symbolic process, where the lovers are the separated mind and soul seeking reunion. The soul takes the mind for a walk in the overlooked recesses of the internal, subconscious world, now illuminated by the sun which pours down like honey. So the soul, while ragged and half crazy is glorified in the golden rays and reveals the heroes and children, which are overlooked parts of the self. The walk with the soul is a process of healing, of facing the aspects of self one has relegated to the slum by the riverside. Still, it is by walking through this terrain that the integration takes place and leads to the river, which is the spiritual clensing stream. The mirror is the boundary of two worlds, from matter to spirit, and it is traversed by facing one’s own reflection. Here, Suzanne, symbolizing the eternal possibility of the union of mind and soul holds the mirror for the pilgrim to pass through to transformation. To travel blind symbolizes not requiring a visual or other sensory proof of the rightness or safety of the path, going into the unknown. When sensory evidence is not present, the faith and the heart’s longing are left. for she’s touched your perfect body with her mind. The perfect body is the symbol of what one may become, of what exists in potential after answering the call of the soul. Every end is a beginning. Jim looks at L.A. and the world around him and draws a line of separation, a defining gesture where he sets himself on the path of the dark initiation. This song was on the first album of the Doors, which is only appropriate, as their journey starts with a split from the common and seeks transcendence on a fast track of separation. So when Jim turns his back to the past, he catches a prophetic glimpse of the world behind, around and before him. And at the center of the vision is the snake, cold, unperturbed, progressing under the stars, devouring consciousness. Jim was always fascinated by the unblinking eyes and the menacing stillness of reptiles, by facing death. Jim may have partly channeled the text, and may have received a preview of futures of Earth, like the ones later given by many sources, a story of planetary shift preceded by a fall to chaos.
Does Jim say good bye to Pamela, or to the world? Does he look at a tidal wave of change that will rip the old and new apart? Inevitable dissolution is at the start, then split and dissociation.
This may be the positive side of the vision, shadowed by a sort of foreboding, like a fear of the new, where there is no longer any reference point, thus insane, lost and in need, of anybody’s hand. Maybe even the snake’s hand.Is Jim talking about 4th density Earth, as in limuitless and free, but psychedelically incomprehensible, an acid trip suddenly fallen on everyone at the same time? Or is he talking about the tripping generation of the mid 60’s, adrift, needing direction, insane, for the first to take, of innocent as children, of good will but waiting… for the snake.
The threat of the ages moves into view, the snake to hypnotize the children waiting for the rain. Is the king’s highway just El Camino Real running along the West Coast or is it the snake’s route of entry from the dimension of Apocalypse? The gold mine is Hollywood, the weird scenes the going of the entertainment industry, but still more the mind control of the masses projected from the gold mine. It is as if all gathered at a meeting point with the snake, in the West, all came in body or at least in mind, riding the snake to a Celebration of the Lizard, a weird frame in the slide show of time.
Is it just a blue bus or the river of blue light from the UFO abduction stories? Or a mind control trigger? Anyway, Jim and company are taken on a ride, the snake gives them a lift, and the next scene is:
He is initiated into the snake’s realm, he sacrifices his family. The mask from the ancient gallery is clearly a ritual element, the time of sunrise is the time of executions. The drawn out sequence and the articulate sharpness of Jim’s voice stands in sharp contrast to the dreamy feel of the blue bus ride, emerging from the trance, he has a mission. Now Jim was the son of a Navy admiral, and according to biographies hated his authoritarian father and utterly despised and loathe his brother. Conspiracy theorists will say that mind control experiments were common in military families, and that Jim was actually a manufactured, mind controlled product, not a creative rebel. Either way, he cuts to the heart of the matter and confirms his statement of separation by ritually killing his father and raping his mother.
The climax of the sex and murder receding, Jimm is in the other mode, back in the dreamy world of the blue bus, and he calls his girl to join the ride, join the statement of simultaneous hypnotic subjugation by the driver and the power to kill. Service to self is about power, power of the dark master, the mysterious snake and the driver on the killer, and the power of the killer on the victim, each separated to their compartments by the finality of the act.
More finality and separation, setting free the only friend, whether by death or otherwise, where the dark initiate finds there is no more joining, where the choice is made, where the romantic illusion of soft lies is broken through. Service to self is serious business, no more laughter, only the lonely focus on one over others. No more suicide, no more sex unto the small death of dreamy, exhausted satisfaction after nights of abandon. The STS aspirant only loves taking and does it for control.
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