William Henry on the Judgement Day Device

Crossposted from Reflections Journal.

I noticed this article about the Muslim view of the apocalypse The Huffington Post and it reminded me that I've been meaning to listen to two recent interviews with William Henry. From the article:

Muslim and Christian views of the Apocalypse are remarkably similar, albeit with a different ending.

. . .

Contemporary Muslim apocalyptists have even borrowed from their Christian counterparts, such as Hal Lindsay, Jerry Falwell and Pat Robertson, to discern the dates of the Antichrist's arrival, said David Cook, an expert on Islamic eschatology and associate professor at Rice University.

. . .

Some Muslims don't like the idea of Jesus playing the messianic hero, and have thus assigned a larger role to the Mahdi, said Cook. That belief is strong among Shiites, particularly the "Twelvers" in Iran, where President Mahmoud Ahmadinejad has often spoke of the Mahdi's return.

William Henry's research adds an important piece to the puzzle of apocalyptic prophecies: the Ark of the Covenant. Henry believes that all the players are seeking the ark, in hopes of harnessing its mythical power. Above is posted his recent interview on Red Ice Radio and his interview on Awake in the Dream can found here.

The whole thing is a study in the dangers of literalism. Supplemental reading and listening can be found here and here.

"And when he was demanded of the Pharisees, when the kingdom of God should come, he answered them and said, The kingdom of God cometh not with observation: Neither shall they say, Lo here! or, lo there! for, behold, the kingdom of God is within you." ~ Luke 17:20-21

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The Increasingly Blatant Symbolism of Doctor Who

Crossposted from Reflections Journal.

"There's no point in being grown up if you can't be childish sometimes." ~ Doctor Who

A while ago Stephen Fry made waves when he bemoaned the infantalizing nature of BBC programming and characterized Doctor Who as "not for adults." Perhaps Fry, for all his many talents and artistic sensibility, is one of those hardcore atheists who has no appreciation for the power of myth. Admittedly, I haven't spent a lot of time on the mythical underpinnings of the show, although I did explore one episode's point towards indigenous creation mythology here. 

I will also give Fry benefit of the doubt and assume his comments in 2010 pertained entirely to the pre-Matt Smith years. There is no question that with the massive production changes after David Tennant's departure, came a more interesting, and I dare say, more adult show. Smith, as an actor, has more depth and gravitas than Tennant. (Christopher Eccleston was also brilliant and I took his departure hard. I know. I know. David Tennant was the most beloved Doctor ever. Blah, blah, blah... whatever.)

Not only is the writing under Steven Moffat darker and edgier, there has been a peeling away of the veils that obscured the core mythos. It seems rather obvious in discussing a show that opens with a trip through a wormhole, that we're talking about alchemy/kundalini/stargate mythology. But with the recent Christmas episode, "The Snowmen," key archetypes were even more blatant than they were in the London Olympics. Even the advertising was provocative.

Note the Blue Pearl opening above the Doctor's head. William Henry explains a bit about the mystical experience of the Blue Pearl in Secret of Sion.

As I discussed in Starwalkers and the Dimension of the Blessed, traditional shamanic peoples around the world describe a Blue Pearl, an exquisite, enchanting blue light that is a mode of transport. It appears in a flash, without any provocation or thought, and opens like a lotus or a wormhole.

. . .

In fact, says Muktananda, it contains the whole universe It is the seed of the heart, the Supreme within us. It has been described as vibrant, electric blue, brilliant indigo, azure, cobalt, and cerulean.

. . .

Also known as the Pearl of Infinite Power, the Blue Pearl, Stone or Apple is actually how our soul travels to the inner realm and it is inside of a quantum egg or in an "interphasic state of existence" (it enables us to jump through time and cross great distances or even to use this skill locally.)

Hmmm... What does that sound like?

In "The Snowmen," the Doctor meets Clara, who susses out his hiding place... in the clouds. This she does by locating something akin to Jacob's ladder.

She ascends a spiral staircase.

And at the top she finds the TARDIS (Time And Relative Dimension In Space). So, she ascends a stairway to heaven where she encounters multidimensional awareness.

Jacob's Ladder ~ William Blake
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Later in the episode Clara is invited into the TARDIS and given the key -- the ritual by which the Doctor initiates his companions into the mysteries of time-space travel.

The TARDIS has been given a bit of a redesign for the new season. And I can't help noticing that the circumpunct imagery has also become more blatant.

So the connection between wormhole physics that was always implied in the show was underscored with alchemical imagery in "The Snowmen." Other mystical and kundalini themes are hinted at but they are subtler and require, to some extent, stripping the context from the archetype. For instance, we are introduced to the concept of a "memory worm" which wipes memory from all who touch it.

The plot also centers around the mystical idea of reflective reality. "The snow reflects." A strange, new, memory snow patterns itself on the people, personalities, thoughts, emotions, and objectives, its exposed to, and takes on form.

I can't help wondering if the plot line was influenced by the, albeit deeply flawed, water experiment made famous in What the Bleep Do We Know? I say flawed because the results have not proved to be replicable and Masaru Emoto has been less than transparent about his research methods. All of which leads us back to that fundamental question? Does the world reflect our thoughts or our consciousness? Because they are not the same thing. But I've discussed this little problem of new age reductionism at far too great a length already.

"The Snowman" explored the metaphysics of the TARDIS but the physics has long been a subject of discussion.

Something clicked for me a while ago when I was watching The Science of Doctor Who, which explored some of the theoretical physics of the show with prominent physicists. Michio Kaku's offered his explanation for why the TARDIS is bigger on the inside.

People forget that the phone booth is not the TARDIS at all. It's the door.

The humor of the cloaking mechanism that got stuck in police box mode back in the '60s, when they were ubiquitous in London, has provided writers with many challenges and opportunities through the years. But whether it was conscious or unconscious on the part of the show's creators, I've long thought the cubic form of this "door" implied a tesseract, or hypercube. It appears that I may be onto something.

The explanation is that a TARDIS is "dimensionally transcendental", meaning that its exterior and interior exist in separate dimensions. In "The Robots of Death" (1977), the Fourth Doctor tried to explain this to his companion Leela, using the analogy of how a larger cube can appear to be able to fit inside a smaller one if the larger cube is farther away, yet immediately accessible at the same time (see Tesseract).

There have been many indications since Steven Moffat took the helm that Doctor Who is taking us into the heart of the mysteries. I thought at the time that "The Impossible Astronaut" was playing with Gnostic themes. Specifically the Silence suggested, to me, the Archons.

Let's see... They're an ancient alien order who've been controlling human history from time immemorial but no one can remember seeing them. And like the Archons, there are allusions to both the greys (look at them) and the "men in black" (they erase your memory). Men in black were most notably associated with the Archons -- as Smith, et al. -- in The Matrix trilogy, where they also notably distorted memory and cognition. For a little more background on the elusive Archons of Gnostic lore, see here.

I have tried a few times to write something more in depth regarding the archontic symbolism of the Silence but my head goes all mushy. Not surprising, I guess, given the subject matter. Bloody Archons. Perhaps I should take to crosshatching my forearms every time I contemplate the deeper allusions of the Silence and get derailed.

It began to dawn on me over the past few seasons of Doctor Who that the Doctor should not simply be viewed as a frequent savior and protector of humanity. Rather, he can be seen as a symbol of our human potential.

Amy: But you look human. The Doctor: No, you look Time Lord. We came first. ~ Doctor Who, "The Beast Below"

As we learned in "Human Nature," Time Lords have an ability to hide their expanded, Time Lord consciousness inside a fob watch and become human.  In so doing, they forget the bulk of their awareness. In that sense, we're all Time Lords.

Bear in mind that River Song, as we learned recently, is the child of two human parents but because she was conceived in the TARDIS she has many of the abilities of a Time Lord, including regeneration.

If we begin to look at the TARDIS, not as an alien space ship, but as a symbol for multidimensional awareness, we arrive at the essence of mystical thought. Each of us contains the universe. The microcosm contains the macrocosm. The inside is bigger than the outside.

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The Wizard of Wormholes

Crossposted from Reflections Journal.

I've had The Wizard of Oz on my mind a lot lately, for some reason. When my daughter was little, she watched my video of the movie until I really got sick of it -- something I'd never thought possible. But lately I've been yearning to watch it. I'll need to get it on DVD... Anyway. I've been contemplating some of the metaphysical imagery that hadn't occurred to me previously. I should caveat that I've long been taken with some of the mythical themes.

That Dorothy is taking a shamanic journey into non-ordinary reality where she interacts with strange creatures and is assisted by guides seems obvious on its face. But there are some elements to that journey that deserve some analysis. This won't be a deep study. I may do that at some point. It's just some things that have been popping into my head of late.

Years ago, when I first read Clarissa Pinkola Estes's Women Who Run With the Wolves, it occurred to me that, in the movie, Dorothy also wore red shoes. In Estes's analysis of "The Red Shoes," our heroine who dances to her death under the spell of her magic shoes, is an orphan, like our Dorothy Gale. And the girl is raised by a somewhat overbearing and opinionated matriarch, who makes all the decisions for her orphan charge. While she acts out of love and compassion, she crushes the girl's soul, symbolized by the burning of the girl's own handmade, red shoes. The red, magical shoes she obtains later are a poor substitute for her now languishing, authentic wildness. Auntie Em is also loving, but overbearing. She is not terribly patient with Dorothy's emotional needs and drives. And she turns her beloved pet over to the local harridan. Dorothy's authentic self is being crushed, so like Estes's red shod heroine, she becomes reckless and impetuous, risking her own safety. These are interesting parallels that I've pondered when it comes to the underlying mythos of the film version of the story.

There are other mythical themes that have really just occurred to me over the past few days as this movie started ping-ponging around my head, despite the fact that I haven't watched or thought about it in some time.

Earlier today, a Facebook friend posted the above image. My first thought was that I can't seem to get away from this movie. My second thought was, is that a butterfly? I'd simply never noticed before that Glinda is wearing that classic symbol of transformation as a pendent.



I also hadn't noticed that the film contains some greater transformational themes. As discussed with regards to this year's Olympics, the rainbow is a symbol of alchemical transformation. And like the leprechaun whose mysterious gold waits at the end of rainbow, Dorothy finds a yellow brick road.

But the realization that has really captured my imagination of late, is that the Wizard of Oz is full of stargate imagery. Dorothy wishes upon a star and is transported by a vortex (wormhole) to a magical land over the rainbow.

There she traverses another great, spiraling vortex.

And having recovered her sense of personal power, she opens the stargate herself.

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The Alchemy of Puss in Boots

Crossposted from Reflections Journal.

I only just got around to seeing Puss in Boots with the family. It's a cute little film that could fairly be described as Shrek meets Zorro meets Desperado. And I have little doubt the boardroom discussion went about like that.

I was not, however, prepared for all the esoteric subtext in the movie. I do remember William Henry pointing out the stargate imagery in the Friskies commercial tie-in. Not that there's anything terribly new about fantastical imagery in children's stories -- including portals into magical lands. But it is kind of interesting that it's through a circular Stargate like opening. Having now seen the movie, I think it's at least arguable that the commercial is a thematic extension of the movie.

It had never occurred to me before that Jack and the Beanstalk is a kundalini metaphor. Now it all seems kind of obvious -- a magical vine that connects earth to heaven and leads to a winged creature that manufactures gold. No duh, huh?

But Puss in Boots ups the ante on that metaphor. Not only is the gold they discover in the shape of an egg, which connects it to core creation mythos. Puss's partner in crime is an egg, specifically Humpty Dumpty.

Humpty's lifelong ambition is to find and plant the magic beans of legend. So an egg is seeking golden eggs. And ultimately the base, mortal, and terribly fragile Humpty is transformed into the gold he is seeking.

And it really gets interesting when they plant the three beans and a tornado (vortex) rapidly forms overhead and connects to the freshly planted soil. Think of it as Shaktipat for beans.

Well, now, I guess we know how Jack's magic beanstalk was completed in a single night. I always found that part deeply mysterious -- kind of like Melusine's tower.

The rapidly surging beanstalk hoists the three conspirators toward the clouds. It brutally overtakes them, dragging them almost against their will, and knocking Puss's hat off his head. That relentless, overwhelming, uncontrollable force should be familiar to anyone who has experienced a kundalini awakening.

The beanstalk unfurls into a giant spiral, like a classic spiral staircase... or DNA... or the serpents on the Staffs of Asclepius or Hermes. Mostly, it put me in mind of William Blake's stunning depiction of Jacob's Ladder.

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Olympics Close Goes For Alchemical Gold

Crossposted from Reflections Journal.

We've made it through the entire Olympics, both opening and closing ceremonies, without a false flag incident or alien invasion. This leaves the woo woo world with nothing to do but pick through the Illuminati and Masonic symbolism and speculate about how the elites are mocking us with their openly practiced death rituals. They're not entirely wrong. There was some interesting symbolism in the closing ceremony and, as in the opening, it was fairly well obscured by bad theater. But, again, all I saw were beautiful, recognizable, symbols of ascension. And as with the opening ceremony, if the viewer wasn't looking specifically at that nearly subliminal through-line, there wasn't one. The close was considerably less cluttered and confusing than the opening but it was equally high on spectacle and low on making sense.

They continued on with the theme of "Great Britain has produced many great musicians and wouldn't you like to hear them all in rapid succession but in no recognizable order." As a theme, a "Symphony of British Music" creates a less than coherent narrative. "Disco at the end of the wedding," another description offered by organizers, is even less helpful... unless you're considering the possibility that we are looking at a stream of alchemical symbols. A wedding is a marriage of opposites, or polarities -- a representation of the transcendence of duality and return to oneness. One notable example, attributed to the Rosicrucians, is The Chymical Wedding of Christian Rozenkreutz. Graham Hancock and Robert Bauval give a thorough analysis of the symbolism in The Master Game, concluding:

It seems to us beyond serious doubt that a great allegory of death, rebirth and spiritual transformation lies at the heart of the Chemical Wedding and that Adam McLean is right to compare the entire process to an ancient mystery initiation.

So was the closing ceremony celebrating a completed initiation into the mysteries? I'm inclined to say yes. The only other explanation is that a lot of highly respected talent collaborated on a giant mess with a few random symbols poking out by happenstance.

The most apt and unintentionally funny line came from commentator Bob Costas, at the very beginning, as he described the opening sequence. Narrated by Michael Caine footage from The Italian Job c. 1969, a yellow car explodes and out pops a slightly chubby Batman with his sidekick Robin, as Costas put it, "for whatever reason." That sums up the closing ceremony quite well. "For whatever reason a bunch of stuff happens" would be a very fair tagline. The baffling choices start right there. Why the thoroughly American, DC Comics heroes Batman and Robin?

In point of fact, the sequence itself is a very British, very inside joke. This leaves out Costas and probably most non-Brits watching the spectacle. It's taken directly from a sitcom called Only Fools and Horses, in which the characters Costas correctly identified as Del Boy and Rodney run into some car trouble.

If we are looking at an ascension narrative, it rolls out right here, at the start, with some oblique references to gold. Whether this is alchemical gold,  Olympic gold, or simply a fluke, I still can't say with absolute certainty. But bear with me for a moment as I follow the weird tangents. Only Fools and Horses still runs on a British oldies network called simply Gold. It's logo is a variation on the circumpunct which among other things is the symbol for gold.

The Caine movie The Italian Job, which seems so oddly juxtaposed with Batman and Robin, is about a gold heist involving the iconic town of Turin where the shroud believed by some to be the remnant of a resurrected Christ is kept. It also bears mentioning, perhaps, that Del Boy and Rodney's car is a sunny, golden yellow.

The loveliest and most uplifting message came from John Lennon. The sequence is a center of gravity in a largely disjointed and superficial seeming spectacle. In a project overseen by Yoko Ono, footage of Lennon singing "Imagine" was remastered and the resulting, very crisp print was played as part of an etherial musical number. A giant John Lennon edifice was puzzled together before our eyes. Then it was disassembled, dispersed, and finally white balloons ascended the heavens. Anyone who's ever done the Easter Sunday balloon ritual at church should recognize the symbolism of spirit rejoining God. John Lennon became one with everything before our very eyes while singing a message of peace and unity. I actually teared up a little and John Lennon isn't even my favorite Beatle.

That was a pretty hard act to follow and that such a sorry job fell to George Michael seemed a tad unfair. Sadly, he looked less animated than a dead John Lennon. But he poured himself into some leather pants and put on a game face. The message was clear: FREEDOM. And that's what the language of ascension is all about -- freedom from the illusory world in which we are all trapped in a cycle of unconscious deaths and rebirths. Not to put too fine a point on it, Michael wore a giant skull belt buckle and around his neck hung a slim silver cross -- death and ascension.

A performance of "Pinball Wizard" from Tommy was certainly rife with circumpunct imagery. If you were watching the screen, you saw the concentric circles grow out of a single point of light and then morph into the octagonal structure of the Union Jack.

From there it was an homage to gold... I mean David Bowie. Well, Bowie was used as the jumping off point for a celebration of Britain's contribution to fashion. And all the models were dressed in, you guessed it, gold.

Next we were treated to the dragon (kundalini) imagery of Annie Lenox arriving on a flaming, Viking ship. She sang "Little Bird" about the self as a fallen bird with a dream of ascension.

I walk along the city streets
So dark with rage and fear
And I...
I wish that I could be that bird
And fly away from here
I wish I had the wings to fly away from here

. . .

They always said that you knew best
But this little bird's fallen out of that nest now
I've got a feeling that it might have been blessed
So I've just got to put these wings to test

And after Lenox's gorgeous portrayal of the fire serpent, a performance of Pink Floyd's "Wish You Were Here" ended with a recreation of it's iconic cover which depicts a man on fire. Subtle.

And in case you think Pink Floyd wasn't working with some serious alchemical imagery, here's a round-up of some album art.

From there things became increasingly psychedelic. Well, entheogens are one way to pierce the veil. Although, I think the primary lesson in this sequence was that Russell Brand should never, ever sing. If you can't warble out a tune as simple as "Pure Imagination" at least as well Gene Wilder, don't. As for the Britishness, follow the bouncing ball. Willy Wonka & the Chocolate Factory was based on Charlie and the Chocolate Factory which was written by British author -- and spy/playboy -- Roald Dahl. Yes. The famous children's author was a real life James Bond. He also wrote the screenplay for You Only Live Twice. I guess he'd know, having spent a good bit of his life On Her Majesty's Secret Service. Sooooo British.

Brand also belted out a sad rendition of  "I Am the Walrus" from Magical Mystery Tour -- pure rainbow covered psychedelia and my childhood favorite.

Next, commentator Ryan Seacrest gave voice to our collective bafflement over the... um... giant octopus as it morphed out of Brand's psychedelic bus.

As you watch this, try and make sense out of the octopus in the center. Your guess is as good as mine?

I don't know... Cthulhu? No. Lovecraft was American.

The suggestion from deep in the woo is that it represented the Rothschilds, but like the vampire squid that is Goldman Sachs, I don't really think that's how they self-identify. I suppose they could just be mocking us all... with their diabolical partner in crime DJ Fatboy Slim. I'm still more inclined to call it absurd, meaningless spectacle. I don't know. Is there some deep symbolism to the octopus? It has eight limbs like the Union Jack it's splayed out on, and octagonal symbolism seems to abound here. I'm quite sure I'm missing something... Probably something to do with the ordering of chaos in the deep, primordial waters -- much like the divine creatrix energy of spider. The whole show saw repeated images of spoked wheels -- the underlying structure of a web -- from the Union Jack itself to the London Eye (Ferris wheel), to umbrellas.

I have to give mad props to the exquisite Eric Idle who alone seemed to grasp that he was in something far more absurd than Monty Python and had a bit of fun with the Bollywood act that inexplicably hijacked his performance of "Always Look on the Bright Side of Life" -- a song which Idle sings suspended on a cross in the crucifixion scene of Life of Brian. There is some discussion in the deep woo about the python/serpent connection. Considering that the whole thing has been rife with kundalini imagery, there could be something to that. It could allude to the serpent (in this case python) on a pole. It could also point to the Pythia, the oracle of Gaia, at Delphi. For added fun, look at how much gold is in that sequence. Mont Piton, by the way is a volcanic mountain on the island nation of Mauritius, which was under British rule until 1968.

If the Brazilian sequence seemed out of place in the thoroughly British spectacle, it did at least tie in thematically. It was all volcanoes, mountains, goddesses, and, once again, dragons. But you had to look close. The vocalist was Maria Monte (mountain) and she actually appears emerging from a mountain of spinning umbrellas and singing like a siren on the rocks. Pelé, the famous Brazilian footballer who put in an appearance, shares the name with the Hawaiian goddess of fire and volcanoes and with active volcanoes in Martinique and on Jupiter. Also performing was Seu Jorge. St. George is the patron saint of England and he was most famous for slaying a dragon. So, I guess my point is that the fire serpent imagery kept coming even through that oddly out of place, not terribly British, interlude. And the capoeira was fun.

Missing from the US broadcast, perhaps over a rights dispute, was Kate Bush's "Running Up That Hill" complete with pyramid. Here's a description:

One of the highights featured a stepped pyramid created out of 303 white boxes to Kate Bush’s Running Up That Hill, and when the song got to, "If I could make a deal with God" all the dancers were in full prostration on the floor.

In numerology, the O counts for zero, so in other words, the white boxes making up the pyramid represented the number 33, the most significant number for any Freemasonic ritual and the highest order that can be achieved.

As I have suggested previously, the number 33 is not arbitrary. It's the number of vertebrae in the average spine and its use in Masonry points to the ascent of kundalini toward the pineal gland, aka, the "all seeing eye."

If there remains a question that the closing ceremony was an esoteric ritual, the conclusion should put it to rest. The extinguishing of the Olympic flame was quite simply exquisite. The flames -- one for each participating country -- fanned out to form a primordial mound from which emerged a flaming phoenix. The phoenix is a later iteration of the Bennu bird of Egyptian myth, born from the abyss with the Benben stone, which is described alternately as a mound, a tetrahedron, and a pyramid. According to Graham Hancock in Heaven's Mirror, the Benben stone "provided the model, and was in fact the name used by the ancient Egyptians, for the capstones (pyramidions) of all pyramids and for the tips (but not the shafts) of all obelisks." He continues:

The model for the phoenix of the later Greeks, the Bennu was another manifestation of Atum, this time in the form of a grey heron that was said to have appeared at the moment of creation, perched atop a pillar on the Primeval Mound. It is important to note, as Egyptologist R. T. Rundle Clark has pointed out, that the rising of the mound and the appearance of the phoenix were not viewed as consecutive events but rather as 'parallel statements, two aspects of the supreme creative moment'.

In the texts that moment is epitomized as the victory of light and the spirit over darkness and death and specifically as 'that breath of life which emerged from the throat of the Bennu bird, in whom Atum appeared in the primeval nought.' In Rundle Clark's eloquent evocation of this scene:

One has to imagine a perch extending out of the waters of the Abyss. On it rests a grey heron, the herald of all things to come. It opens its beak and breaks the silence of the primeval night with the call of life and destiny.

Hmm... That's so evocative of the song by the dragoness Annie Lennox.

So the Olympics closes where it began, with the primordial mound of creation, now having completed a transformation and resurrection into full flight. Much of it wasn't even subtle. It was a celebration of the primal goddess in her fire serpent, kundalini, aspect, reconnecting us to the divine unity.

But if the Olympics ceremonies were a paean to the mother goddess, NBC's coverage kicked her in the teeth. Much about their monopoly on the games has been criticized. That they parceled out the big events during prime time, while trying and failing to maintain a media blackout on the results of the un-aired events, wasn't even the worst of their crimes. It was their endless trivializing of women athletes. They weren't alone in this but as the network with its hands on the coverage valve in the US, the responsibility for that tone rests primarily with them. And their contempt for women was on full display. Their grossest misstep had to be pulled from their website due to outrage. This was the appropriately titled "Bodies in Motion" video. I say appropriately because, ever so typically, women were completely reduced to their bodies.

The video, titled "Bodies In Motion," depicts select female Olympic athletes in slow motion. The first two shots are of one woman taking off her shorts and another licking her lips. The women selected are overwhelmingly white, thin and wearing uniforms that are varying degrees of revealing, and the footage is set to what Jezebel's Erin Gloria Ryan describes as "soft core porn music." The mashup, which was originally posted on NBCOlympics.com, NBC's official Olympics website, elicited a swift wave of criticism from media outlets such as Jezebel and ThinkProgress. The video has since been taken down (the full clip can still be viewed on Jezebel), but the criticism raises larger questions about NBC's coverage of female athletes.

The video is simply hideous. The camera lingers endlessly on women's body parts, panning slowly up to show faces last and almost incidentally. When faces are the focus, it's only because they're too close to their breasts or because there's something arguably provocative going on with their mouths. It's a celebration of all the T&A taking home its weight in gold medals.

All across the media spectrum, women were measured for everything but their athletic accomplishments. Runner Lolo Jones was savaged in a New York Times column for posing nude and for saying publicly that she is a 30 year old virgin. Her nude modeling was, in fact, part of an elegant  spread in ESPN Magazine with both male and female athletes that even included paralympians. The photo is not particularly sexual. It is beautiful. And, anyway, who cares?! It's just so typical. Women are too sexual or not sexy enough. We're sluts. We're weirdly virginal. The one thing we never are is good enough.

Writes Sarah L. Jackson of the appalling coverage of female athletes like Jones:

During the women’s road race on Sunday, commentators continually referred to the competitors as “girls” despite the fact that the top finishers for the U.S. were Shelley Olds, 32, Evelyn Stevens, 28, and a former Lehaman Brothers associate, and Kristin Armstrong, 39, and competing in her third Olympics. That adult women, at the top of their craft, with full lives and countless accomplishments continue to be referred to as “girls” in sports coverage is minimizing to say the least.

. . .

In perhaps the creepiest Olympic sexism, London Mayor Boris Johnson wrote in an editorial earlier in the week that the popularity of women’s beach volleyball at the Olympics could be attributed to the “semi-naked women” who were “glistening like wet otters.” Wet otters?

. . .

Mary Elizabeth Williams at Salon has also noted NBC’s “obsession” with motherhood in this year’s Olympic coverage. It seems no commentator can talk about female Olympians who have given birth without reserving most of their praise and discussion for that fact. To top it off, Proctor & Gamble’s “Thank You, Mom” Olympic campaign wants us to spend a lot of time thinking about and being moved by the fact that Olympic athletes have supportive mothers. As Williams puts it, hey, “Suck it dads!” This media obsession with motherhood has some serious implications besides narrowing world-class athletes down to the value of their uteruses (or the one’s they came out of). It also demonstrates the way women athletes are constantly framed by judgments of their sexuality and femininity; something male athletes are simply not subjected to.

Almost completely ignored by NBC was the first American gold medalist in judo. This drove my martial artist husband crazy because judo was one of the few events he cared to see. They never showed the match, only the winner's tearful victory hugs. The judoka in question was Kayla Harrison. But Harrison is more than an Olympic champion. She is a sex abuse survivor who took her power back, put her abusive judo coach in prison, came out publicly in response to the Penn State scandal right before the Olympics, and then went on to win the gold. She is a woman of tremendous courage and strength who ascended from as painful an abyss as one can find herself in.

Kayla Harrison's athletic brilliance was not interesting enough to be broadcast by NBC. That breasts jiggle when women run, however, was so endlessly fascinating that it needed to be shown in slow motion with a bow-chick-a-bow-bow soundtrack.

Such is our sorry state of affairs when it comes to the appreciation of female power. No wonder the symbols of the divine feminine have to be hidden. But the fire serpent -- so demonized in Western culture -- was on full, if terribly misunderstood, display at the Olympics this year. For all the paranoid fear around these symbols, it was exactly what William Henry and Chad Stuemke forecast -- a thinly veiled narrative on the path through the stargate. It even ended with a song about returning to the stars.

No doubt, the woo woo world heard Take That's performance of "Rule the World" as still more confirmation that the Illuminati is laughing at us poor peasants. But that would miss the point. Fans of the movie version of Neil Gaiman's Stardust will recognize it from the denouement, played as our hero marries his immortal beloved, achieves the (celestial) crown, and sheds his mortal identity to become a star. It all seems kind of obvious now doesn't it? Here's a little video montage. Have fun counting the symbols.

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William Henry on Olympic Strangeness

Crossposted from Reflections Journal.

Wenlock and Mandeville: Mascots for 2012 London Olympics

I will be the first to admit that I don't pay much attention to the Olympic Games. When I was a kid, I liked the figure skating but even that doesn't hold my attention anymore. No sports fan I, but more than that, I've completely lost interest in group-think. I find the collective, water-cooler nature of the experience off-putting. At the same time I realize that that's the major draw for a lot of people, hence the group-think. This year, though, I think perhaps I should pay more attention because it seems like something unprecedented is being directed at the collective mind. Or so I've learned from William Henry.

Henry's interview with Chad Stuemke is fascinating. The symbolism associated with the upcoming games in Great Britain is positively heavy-handed. So much so that Iran has threatened to pull out because of charges of a Zionist conspiracy. They've also apparently blocked the website. It would seem that by pulling the logo apart and readjusting the angles a bit, we come up with something that looks sort of like the word Zion. So conspiracy theories abound.

William Henry, however, has a somewhat different take, which speaks to one of the reasons I love his work. Henry's new book Secret of Sion is an examination of the mythical significance of Sion/Zion. He posits that it points to plane of existence associated with ascension, the seraphim, and the legendary rainbow body. And both he and Stuemke see the imagery associated with the 2012 Olympics as redolent with those themes. And, now that they say it, it's kind of hard to miss. This page on Stuemke's website gives a good rundown.

The promo video which introduces Wenlock and Mandeville -- the "one eyed rainbow riding aliens" -- alludes to alchemical transmutation. They start as molten, golden steel. They harden into lumps of dull, grey, base metal. After being sculpted into their weird, little alien forms, they are transformed by a rainbow from heaven into iridescent, golden beings. They ascend on rainbows promising to return to London in 2012. A cake celebrating the builder's retirement is a circumpunct, albeit, missing a slice. I believe I've mentioned my obsession with that form one or ten times. The video is just full of suns and spheres and eyes.

Henry and Stuemke discuss at length two different ways to view the apparently conscious use of all this symbolism: Illuminati conspiracy or spiritually guided consciousness event. As I've said before, I don't do the paranoia. When I look at all these symbols that so much of the woo-woo world says are the secret government flaunting their power and engaging in public rituals to keep us docile, I see the opposite. I see symbols of illumination designed to awaken humanity. How much of that is conscious and how much of it is artists, architects, and world leaders plucking archetypes from the subconscious I can't say. But when I look at a collection of symbols as blatant as these, it's hard to call it anything but deliberate.

Personally, I think what has become of the word Zion is a tragedy. Like so much of this symbolism, its meaning has been inverted. This is not a commentary on the Palestinian-Israeli crisis. I don't do those. It's more a reaction to the reaction and the way fear and paranoia distort and stupefy. As I've said before, if there's a conspiracy associated with these symbols, it's a psych op to make us fear rather than embrace them. It is positively Orwellian the way Zion has come to represent war instead of peace. These symbols are powerful. We need to reclaim them and give them their rightful place in our consciousness.

I'm with Henry's wife Claire, whom he interviews here to speak in her capacity as a native Brit:

When are we going to have some leaders that say, "Let's make this world a better place." We know what we know. We've got the ancient knowledge. It's about time that it was put on the top table and all this symbolism and hidden knowledge and art that's been showing us the way for years and years and years; for eons. It's about time we all wake up from the dream and make this world a better place.

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