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The Living Emblems Michael Maier's Atalanta Fugiens · The Occult Rejects

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  Speaker 1: You see, something's going to happen. What's going to happen?
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  Speaker 2: What I.
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  Speaker 1: Welcome back to the occult Rejects. Today we're diving into
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  Speaker 1: one of the most beautiful, mysterious, and influential books ever
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  Speaker 1: produced in the history of Western esotericism. It's a work
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  Speaker 1: that blends alchemy, mythology, philosophy, sacred symbolism, poetry, music, and
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  Speaker 1: art into a single experience. It's a book that refuses
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  Speaker 1: to be read in only one way. Instead, it asks
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  Speaker 1: you to look, listen, to contemplate, and perhaps even to
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  Speaker 1: transform alongside it. We're talking about Michael Myers at Atlantia Fugiens.
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  Speaker 1: If you spend any time studying alchemy, Rosicrucianism, Hermetic philosophy,
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  Speaker 1: or even the work of Carl Jung, chances are you
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  Speaker 1: have encountered one of Meyer's remarkable emblems without realizing where
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  Speaker 1: it came from. These images have appeared in countless books, lectures, documentaries,
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  Speaker 1: and discussions of Western esotericism, yet surprisingly few people have
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  Speaker 1: ever explored the work they belonged to or the mind
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  Speaker 1: that created them. This isn't simply an old alchemical text.
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  Speaker 1: It is one of the earliest multimedia books ever produced.
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  Speaker 1: Every chapter combines in a graved emblem, a Latin motto,
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  Speaker 1: an epigram, and extended philosophical commentary, and even a piece
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  Speaker 1: of music written as a three part few one hundred
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  Speaker 1: years ago before the Internet made us think in combination
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  Speaker 1: of image sound in text, Michael Meyer was inviting his
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  Speaker 1: readers to learn through all of those senses at once.
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  Speaker 1: The question is why was this simply an elaborate way
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  Speaker 1: to teach chemistry? Was it a coded rosicrucion text, this
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  Speaker 1: spiritual training manual, a memory system, a work of meditation?
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  Speaker 1: Or was it all those things at the same time?
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  Speaker 1: Those are exactly the questions we're going to wrestle with
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  Speaker 1: today and take a look at hopefully five of his
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  Speaker 1: emblems and joining me today to do that. We got
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  Speaker 1: my man magis in the media. What is going on, sir?
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  Speaker 2: How are you sup?
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  Speaker 1: Bro?
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  Speaker 2: I'm doing great. There's nothing better than on a beautiful
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  Speaker 2: Monday to be chilling here with the great Nikoville Coldery, Jecks,
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  Speaker 2: Don DeMarco. Yeah, I'm doing great. Let's fucking get it.
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  Speaker 2: It's fascinating about this. When he sent this over to me,
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  Speaker 2: I was all like, oh, I think it's exactly what
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  Speaker 2: you said. Oh, Michael Meyer, Okay, I've heard of this name.
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  Speaker 2: And then I was all like wait, and then you
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  Speaker 2: look up all the emblems that you sent over, and
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  Speaker 2: I was like, oh, we've seen this. You can if
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  Speaker 2: yeah again, if you know Carl Jung's work or anything
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  Speaker 2: throughout all the years, all of these emblems are in
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  Speaker 2: every manly p Hall book we've ever seen, you know
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  Speaker 2: what I mean?
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  Speaker 1: Oh yeah, yeah, so yeah, I've definitely seen some of
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  Speaker 1: them before, especially the squaring the circle and stuff.
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  Speaker 2: Yeah, the guy drawn on the thing.
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  Speaker 1: Yeah yeah, yeah, yep, yep, yep.
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  Speaker 2: Yeah. I know it's fascinating, it's beautiful.
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  Speaker 1: Oh yeah, but uh yeah, I have a full listeners.
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  Speaker 1: I have covered this this guy before in the past.
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  Speaker 1: I highly suggest to go check it out. It's a
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  Speaker 1: lot older, probably about a year and a half, maybe
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  Speaker 1: two years. Michael Meyer. I think it was probably a
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  Speaker 1: two episode thing. I covered some of his books. I
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  Speaker 1: did focus on this. I do think we might have
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  Speaker 1: even done a show with uh with Mario from Symbolic
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  Speaker 1: Studies on some of the emblems, maybe repeating maybe one
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  Speaker 1: or two of those here. But still it's a maggus,
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  Speaker 1: wasn't on the show then, and you know, I also
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  Speaker 1: just probably didn't add as much because there was more
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  Speaker 1: people than I'm you know whatever looking at it differently now. Yeah,
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  Speaker 1: and it's been a few years, so I think it's
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  Speaker 1: you know, well, worth bringing up again. Hopefully maybe even
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  Speaker 1: in the future if this goes well, we can get
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  Speaker 1: other rejects on and talk about other ones besides Michael Meyer.
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  Speaker 1: I do want to start touching on oh Man, I
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  Speaker 1: always forget this dude's name, heim rak Koonrath. I wanted
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  Speaker 1: to do his emblems. That's something that I have spoken
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  Speaker 1: to the rejects about and stuff, and hopefully maybe in
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  Speaker 1: a couple of weeks we will do that one. There's
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  Speaker 1: seven emblems I really like to touch on, and one
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  Speaker 1: of them does kind of I think, show a symbol
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  Speaker 1: that people normally know by a different illustrator, you know,
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  Speaker 1: but I think it'd be interesting to see it a
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  Speaker 1: little bit older. But yeah, before we I guess kind of,
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  Speaker 1: you know, before we start looking at the emblems themselves,
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  Speaker 1: I do think it's worth spending a few minutes getting
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  Speaker 1: to know a little bit about the man behind them.
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  Speaker 1: Michael Meyer was born in Germany in fifteen sixty eight,
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  Speaker 1: during one of the most intellectually explosive periods in European history.
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  Speaker 1: The Renaissance had revived interests in the writings of Plato, Hermes, Trismi, Gistus,
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  Speaker 1: the Neoplatonists, and class and countless countless classical authors. The
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  Speaker 1: Protestant Reformation had fractured the religious landscape of Europe, while
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  Speaker 1: new discoveries in astronomy, medicine, and natural philosophy were challenging
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  Speaker 1: ideas that had stood for centuries. It was an age
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  Speaker 1: in which science, religion, philosophy, and what we now call
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  Speaker 1: the occult had not yet been separated into distinct disciplines.
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  Speaker 1: Scholars often moved comfortably between medicine, astronomy, theology, music, mathematics,
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  Speaker 1: and alchemy, because all were understood as different paths toward
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  Speaker 1: understanding the same divine order. Meyer embodied that Renaissance ideal.
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  Speaker 1: He studied medicine, eventually earning a doctorate and became a
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  Speaker 1: respected physician. His reputation brought him to the court of
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  Speaker 1: the Holy Roman Emperor Rudolph the Second in Prague, perhaps
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  Speaker 1: the greatest center of alchemical and hermetic study in Europe
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  Speaker 1: at the time. Rudolph's court attracted astronomers, artists, natural philosophers,
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  Speaker 1: instrument makers, astrologers, physicians, and alchemists from across the continent,
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  Speaker 1: figures such as Johannes Kepler and Tycho Brahe worked there
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  Speaker 1: alongside individuals searching for the philosopher's stone to modernize. Those
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  Speaker 1: pursuits may seem contradictory, but in Rudolph's world, they were
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  Speaker 1: simply different approaches to uncovering the hidden laws governing nature.
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  Speaker 1: It was in this extraordinary intellectual environment that Michael Meyer
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  Speaker 1: developed many of the ideas that would define his career.
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  Speaker 1: Although remembered primarily as an alchemist today, Meyer was much
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  Speaker 1: more than someone searching for gold. Like many serious alchemical
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  Speaker 1: philosophers of his era, he believed that the laboratory reflected
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  Speaker 1: deeper truths about nature, humanity, and the soul. The transformation
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  Speaker 1: of metals was never just about metallurgy. It survived as
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  Speaker 1: a model for understanding purification, growth, balance, and the purification
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  Speaker 1: of both matter and the human being. Meyer was also
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  Speaker 1: closely associated with the Rosicrucian movement that emerged in the
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  Speaker 1: early seventeenth century. Whether he was formerly a member remains
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  Speaker 1: debated by historians, but he very much defended the Rosicrucian
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  Speaker 1: manifestos and shared many of their ideals, that wisdom was
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  Speaker 1: scattered throughout throughout ancient traditions, that nature itself was a
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  Speaker 1: sacred book waiting to be read, and that true knowledge
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  Speaker 1: required moral and spiritual transformation rather than intellectual achievement alone.
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  Speaker 1: And then in sixteen seventeen, Meyer published what many consider
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  Speaker 1: his masterpiece at Atlanta, Fujians, calling it a book Harley
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  Speaker 1: does a Justice. It contains fifty emblems. Every emblem begins
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  Speaker 1: with a striking engraving rich and mythological, biblical, and alchemical symbolism.
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  Speaker 1: Each is paired with a short Latin motto, followed by
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  Speaker 1: a poetic epigram and extended philosophical discourse explaining or sometimes
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  Speaker 1: deliberately obscuring the image, and finally, a three part musical
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  Speaker 1: fugue intended to be performed rather than merely read. No
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  Speaker 1: other alchemical work combines these elements quite like this. Rather
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  Speaker 1: than presenting them presenting straightforward instructions, Meyer forces the reader
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  Speaker 1: into active participation. You cannot simply skim these pages. You
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  Speaker 1: have to compare the image with the text. Notice recurring symbols,
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  Speaker 1: recognize mythological references, reflect on biblical passages, and even hear
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  Speaker 1: how the music interacts with the ideas. The reader becomes
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  Speaker 1: a participant in the work rather than a passive observer.
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  Speaker 1: That may be the book's greatest lesson the emblems and
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  Speaker 1: not merely illustrations explaining alchemy. The exercises in perception you
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  Speaker 1: train the imagination, strengthen memory, sharpen symbolic things thinking, and
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  Speaker 1: encourage the reader to see relationships between ideas that would
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  Speaker 1: otherwise remain hidden, whether one approaches them as spiritual allegory,
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  Speaker 1: practical alchemy, psychology, mythology, or medic philosophy. The process of
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  Speaker 1: contemplating the emblems is itself part of what Meyer appears
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  Speaker 1: to have intended. Perhaps that's why Atlanta Atlanta Fugians has
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  Speaker 1: never really disappeared. Its imagery influenced generations of alchemists. Rosicrucians
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  Speaker 1: preserved and studied it. Carl Jung later drew from works
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  Speaker 1: like Mayors while developing his ideas about archetypes and individuation.
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  Speaker 1: Historians continue to study it as one of the greatest
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  Speaker 1: emblem books ever produced, while practicing magicians still meditate on
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  Speaker 1: its symbols in search of insights that words alone cannot provide.
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  Speaker 1: More than four hundred years after its publication, the book
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  Speaker 1: continues to ask the same question of every reader. Can
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  Speaker 1: you see beyond the picture? And uh, yeah, that's enough
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  Speaker 1: that I mean for now. There's a lot that I
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  Speaker 1: said in there that I do think I would like
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  Speaker 1: to even maybe touch on before we even get into
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  Speaker 1: the emblems. I mean I said a lot right there.
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  Speaker 1: There's a rosicrucionism. There's even I think, uh even looking
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  Speaker 1: at how me and Brandon and even Kaiva have been
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  Speaker 1: talking about recently, and I even think touches in with
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  Speaker 1: a lot of things they've even been talking about. You know,
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  Speaker 1: you can start and you know, and I do believe
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  Speaker 1: that you start looking at these images and start thinking
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  Speaker 1: about certain things and the music. You know, you start
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  Speaker 1: to stimulate these senses. You know, could you be actually
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  Speaker 1: imprinting something on yourself, you know, or hours that part
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  Speaker 1: of the relationship, you know, is that why it seems
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  Speaker 1: so impactful is because it actually is like you know,
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  Speaker 1: your ears, your eyes, you know, and all this other stuff.
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  Speaker 1: You know. So there's a lot of stuff I think,
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  Speaker 1: you know, if you want to find the maybe we
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  Speaker 1: could even talk about a little bit before we even
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  Speaker 1: get to the yeah, no rose Cucianism. Actually, if you
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  Speaker 1: don't mind me asking, Oh.
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  Speaker 2: It's a good yeah, great, it's a good place to start. Actually,
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  Speaker 2: So with ros Criuctism, I'm of the ilk that Roschritianism
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  Speaker 2: was in actual order, but the rosen Krutz himself is it.
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  Speaker 2: The whole story is a complete nutter of mythology and
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  Speaker 2: legend to stimulate protect the lost word. Not a Freemasonry,
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  Speaker 2: but the Freemasons use it as well, and it goes
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  Speaker 2: through this Adam ship through the ages. So it's to
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  Speaker 2: help hold and protect the secret teachings of all ages really,
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  Speaker 2: as Manly P. Hill talks about, and the names change,
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  Speaker 2: but the secrets that it's trying to unfold, which is
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  Speaker 2: the development of the human into as Nietzche says, the
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  Speaker 2: ubermnt or trying the alchemical principles of the Western esoteric
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  Speaker 2: mystery schools. So the rosicrucnives just one another to me
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  Speaker 2: an incarnation of these ancient esoteric teachings that have come
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  Speaker 2: to us from all the way I would state, into
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  Speaker 2: from Babylonians, Marian magic and whatever happened before that. And
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  Speaker 2: so For me, it's again, it's an institution from those
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  Speaker 2: you know, thirteen, fourteen, fifteen hundreds that then held certain
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  Speaker 2: secrets throughout the Inquisition in those time frames and initiated
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  Speaker 2: men into higher levels of consciousness to help protect these secrets,
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  Speaker 2: both of the individual and the civilization. That's how that's personally.
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  Speaker 2: It's like we get caught up in the names, you know,
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  Speaker 2: and then the story of it was a cruns and
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  Speaker 2: how yeah shout out to freighter r C. Yeah, some say,
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  Speaker 2: we'll see how I'm agatinin soon.
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  Speaker 1: I was just telling Brandon Frada actually, I was like, yo,
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  Speaker 1: I should get him on to talk about the Lesser
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  Speaker 1: Banishing Ritual of the Pentagram, because Brandon was telling me,
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  Speaker 1: I didn't know that you have tons of information on channel.
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  Speaker 1: So yeah, if you're listening, frad to hit me up.
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  Speaker 1: I'd love to get you on if you want to
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  Speaker 1: talk about that on the show.
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  Speaker 2: Yeah yeah, yeah, you definit and they should. I was, yeah,
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  Speaker 2: I was pumping you up here right before, we were
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  Speaker 2: chatting about your brilliant, uh Lesser Ritual of the Pentagram
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  Speaker 2: shows that you've been doing, especially the one back in
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  Speaker 2: the day, the three and a half hour long one.
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  Speaker 2: I've been a long time listener for it, not to
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  Speaker 2: you know, the jazzy up too much, but then to
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  Speaker 2: go back even to the kind of the kind of
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  Speaker 2: that's beautiful, great, that's fucking perfect. I just love these
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  Speaker 2: institutions that have had, that have held these ancient secret
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  Speaker 2: teachings for such a long time, and they're so beautiful
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  Speaker 2: and it's fascinating. It's how I think they they just
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  Speaker 2: make sure that we all have the secret knowledge through
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  Speaker 2: time and it doesn't get lost to the ages to
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  Speaker 2: you know, these different anti anti life ideologies, you know.
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  Speaker 2: And so I think this is a doing to go
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  Speaker 2: then to the symbols of from like the Rosa Crucians,
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  Speaker 2: you know, the Golden Dawn, the masonry, all the way
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  Speaker 2: back into even like the Assassins and the templars, all
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  Speaker 2: the way back to the Neo Platonists and the Hermeticists,
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  Speaker 2: and you just continue to go back each one of
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  Speaker 2: these things. We're doing exactly what I think Michael Mayer
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  Speaker 2: is doing in his Atlanta few works, and that is
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  Speaker 2: having these sacred emblems and as you meditate upon them
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  Speaker 2: like you would any high level sigil to Mendala or
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  Speaker 2: any of these pieces of work. They it changes you
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  Speaker 2: because you're taking in the archetypes of the collective unconscious.
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  Speaker 2: It's so it's doing exactly what you're talking about. It
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  Speaker 2: is actually brainwashing you when you're putting yourself in the
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  Speaker 2: correct state of mind to contemplate the secrets within each
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  Speaker 2: image kind of like up it's like his own. It's
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  Speaker 2: not Tarot, but it's kind of like the major arcana
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  Speaker 2: in a certain way. He's taking you through the process
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  Speaker 2: of alchemy through each emblem.
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  Speaker 1: Yeah. Yeah, and that's even you know, it's another thing
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  Speaker 1: too that I thought was very interesting about this, and
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  Speaker 1: when you're talking about like, you know, the like taking
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  Speaker 1: you through a story. I even wondered this about uh
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  Speaker 1: Heinrich Kohonroth.
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  Speaker 2: Yeah, I was just looking at it's Christian alchemy because.
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  Speaker 1: The images in his book Heimrak Kuhonroth's images in his
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  Speaker 1: books don't go in the same order. There was two
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  Speaker 1: of them at Bindy Key Library. So I was able
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  Speaker 1: to because I read online that supposedly, you know, the
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  Speaker 1: thing is is that they wonder if you have to
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  Speaker 1: put the emblems in the right order, because you know,
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  Speaker 1: there's supposedly the books aren't the same. Yeah, Binikey Library
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  Speaker 1: had two of them, so I was able to photograph
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  Speaker 1: both of them side by side and the same picture improved. Yes,
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  Speaker 1: they actually don't go in the same order. They are
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  Speaker 1: different in these books, and they have questioned which would
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  Speaker 1: really suck and these fifty emblems if you actually got
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  Speaker 1: to rearrange them too.
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  Speaker 2: That's fantastic. I like that a lot because that's very
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  Speaker 2: similar to when you read a lephis Levy's a ritual
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  Speaker 2: of Dogma or right, It's like you're like, I continually
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  Speaker 2: have high magic sitting next to me, and I will
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  Speaker 2: state this translated by Johnamane Greer, it's this is a
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  Speaker 2: brilliant take. It's doing the same thing I find out.
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  Speaker 2: I think that you know, we have to hide this
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  Speaker 2: the certain secrets from the profane, and because of that's
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  Speaker 2: how our consciousness protects itself. Is so then once you
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  Speaker 2: go through the study and research and the practice the meditation,
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  Speaker 2: and you start to unfold the mythological story, the mythopoetic story,
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  Speaker 2: it does imprint itself upon your nervous system, in your
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  Speaker 2: unconscious so then you can go through the anamnesis, the
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  Speaker 2: platonic remembering. As we wash our you know, wash ourselves
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  Speaker 2: through the river of Laithe and and and to forget.
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  Speaker 2: And then when we remember it's this story of going
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  Speaker 2: through the river of Nymsen, we must we must have
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  Speaker 2: that that those those moments, otherwise it's too much, too soon,
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  Speaker 2: too fast, and all of a sudden, you're fucking like you're,
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  Speaker 2: you know, a burning man, fucking burnout, who's like, I
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  Speaker 2: got all the secrets of the teachings, bro, just follow
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  Speaker 2: me to the one, you know. It's like that, It's
• 16:56
  Speaker 2: like what that means nothing to me? You know, like
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  Speaker 2: that's useful us, Nick, you should so, I know we're
• 17:02
  Speaker 2: going to do a whole show on the Henry Koonrith.
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  Speaker 2: But I find this image I put in here interesting.
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  Speaker 2: Can we pull it up?
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  Speaker 1: Sure?
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  Speaker 2: And we can. Then I just want to briefly go
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  Speaker 2: over the beauty of this of this image right here,
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  Speaker 2: because it's.
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  Speaker 1: Doing it that's Occult Research Institute right.
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  Speaker 2: Oh, it's on there, Okay, nice, next time, I will
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  Speaker 2: next time, I will. But I like what it says
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  Speaker 2: under here because this is something very similarly that I've
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  Speaker 2: seen through my own mostly done on like ritual and
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  Speaker 2: entheogenic usage in my early years. But this kind of
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  Speaker 2: image is like it says underneath the quote, this is
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  Speaker 2: the portal of the amphitheater of the only true and
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  Speaker 2: eternal wisdom, a narrow one, indeed, but sufficiently august and
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  Speaker 2: consecrated to Jehovah. To this portal, assent is made by
• 17:46
  Speaker 2: a mystic, indisturbtedly prologetic flight of steps set before it
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  Speaker 2: is shown in the picture. It consists of seven theosophic
• 17:55
  Speaker 2: or rather philosophic steps of the Doctrine of the Faithful Stone.
• 17:58
  Speaker 2: After ascending the steps, the path is along the way
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  Speaker 2: of God, the Father, either directly by inspiration or by
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  Speaker 2: various mediate means. And then it kind of goes on
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  Speaker 2: to talk about how the contemplating upon these things, investigating
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  Speaker 2: it in its Christiano cabalistic, the veno magical, physical, chemical manner,
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  Speaker 2: the nature of wisdom, goodness, and the power of the
• 18:20
  Speaker 2: Creator to the end of that did not die sophistically,
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  Speaker 2: but lives theosophically. And so to me, when we're looking
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  Speaker 2: at these things, it's doing exactly upon the mind, now
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  Speaker 2: upon the intellect. It's like placing it amongst a field
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  Speaker 2: where you can align harmonically with these things that it
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  Speaker 2: can open up new levels of experience, and I think
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  Speaker 2: in our normal life it's like going through an initiation
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  Speaker 2: because it's representing the path of initiation at stealth itself
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  Speaker 2: very similarly to the steps of freemasonry. As you're going
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  Speaker 2: through each degree, it's like rising in these steps. To
• 18:53
  Speaker 2: finally just becoming a master mason, you must arise the
• 18:57
  Speaker 2: shafts into the Assyrian temple rights and die and be reborn.
• 19:01
  Speaker 2: There's the very very similarly to this image. It makes
• 19:04
  Speaker 2: me feel that way because not only is it a
• 19:06
  Speaker 2: cave with all these beautiful words and things that you're learning,
• 19:09
  Speaker 2: like God imprinting it on your soul, it also looks
• 19:11
  Speaker 2: like a it's like a burning portal. Right, It's like,
• 19:14
  Speaker 2: what is that burning portal? It's the apocalypse of your
• 19:17
  Speaker 2: life and then you're reconstituted a new man when you're done,
• 19:20
  Speaker 2: it's mine. It's it's purely mind blowing, and so it's
• 19:23
  Speaker 2: beautiful of what these things we're gonna get to here
• 19:25
  Speaker 2: next are are doing as well. So I just want
• 19:28
  Speaker 2: to pull that up. I thought that was great.
• 19:29
  Speaker 1: Yeah, his images are amazing. There's like some of the
• 19:33
  Speaker 1: images from his book, it's just like, I mean, you
• 19:36
  Speaker 1: could like literally like just spend so much time just
• 19:39
  Speaker 1: going bit by bit. There's so much detail, like these
• 19:42
  Speaker 1: little people and yeah, towns and everything around it. It's
• 19:45
  Speaker 1: just like who knows what's uh like, what's like what's
• 19:51
  Speaker 1: not supposed to be a cult symbolism? And what is?
• 19:53
  Speaker 1: You know? It is all those little people like even
• 19:55
  Speaker 1: mean something, you.
• 19:56
  Speaker 2: Know, no, And I think it does each person on
• 19:58
  Speaker 2: a different step. I like what it says above it.
• 20:02
  Speaker 2: It says for for hence remain oe profane at the portal,
• 20:06
  Speaker 2: because because once you step through it, your life is
• 20:10
  Speaker 2: forever changed and you are no longer the profane. You
• 20:13
  Speaker 2: have been initiated into the adam ship of ages. It
• 20:18
  Speaker 2: seems like an infinite portal, and each one of these
• 20:20
  Speaker 2: things is almost representing that fire that it takes upon
• 20:22
  Speaker 2: the initiat walking up these steps. It's it's it's just
• 20:25
  Speaker 2: gorgeous and this is what we've lost. It's like, who's
• 20:29
  Speaker 2: making art like this anymore? I can't even tell you
• 20:32
  Speaker 2: that I think Alex Gray is even doing things like this,
• 20:34
  Speaker 2: you know, because this is something so intricate with the Renaissance,
• 20:39
  Speaker 2: like miss like the detail, you know what I mean
• 20:43
  Speaker 2: to really put things in here, so you actually have
• 20:47
  Speaker 2: to let it envelop you like completely, you know.
• 20:52
  Speaker 1: What's really interesting And I've looked into it and I
• 20:55
  Speaker 1: thought about trying to maybe cover them. I don't know
• 20:57
  Speaker 1: if it's like it's probably enough about it all of them.
• 21:00
  Speaker 1: But like, even when it comes to a lot of
• 21:02
  Speaker 1: these engravings, some of them are done by like the
• 21:04
  Speaker 1: same like three or four people like groups. Yeah, like
• 21:09
  Speaker 1: like a lot of the people didn't necessarily do their
• 21:11
  Speaker 1: own engravings for their books. I wish I could write
• 21:14
  Speaker 1: there's a few of them that that I noticed, we're
• 21:17
  Speaker 1: even done by the same person. And it's like, you know,
• 21:19
  Speaker 1: like for me, like I'm wondering, does even the engraver
• 21:23
  Speaker 1: have an understanding too who's making the image? Are you
• 21:27
  Speaker 1: going solely on like every like it's like, you know,
• 21:31
  Speaker 1: how much details got to be laid to even make
• 21:33
  Speaker 1: this image so much? Does the engraver have like something
• 21:36
  Speaker 1: in that as well? Or do they under or do
• 21:38
  Speaker 1: they understand what they're making as well? Like were they
• 21:40
  Speaker 1: occultist and yeah, just over because they were just the engraver.
• 21:45
  Speaker 2: You know, Yeah, no, I like that. It's it seems
• 21:49
  Speaker 2: like a lot of the masters of the last one
• 21:53
  Speaker 2: hundred years even had proteges, right, So that's where you
• 21:57
  Speaker 2: get this whole master protege walking up the steps of
• 22:01
  Speaker 2: the adept into becoming the initiated master is a very
• 22:04
  Speaker 2: is It's actually goes back to the you know, high
• 22:06
  Speaker 2: removif and the building of Solomon's Temple where a lot
• 22:09
  Speaker 2: of the mythology comes of that, or the masson the
• 22:12
  Speaker 2: masons as they move forward. You have the master mason
• 22:16
  Speaker 2: is the guy who had the whole blueprints to the
• 22:18
  Speaker 2: whole thing, and then the lower levels had bits and
• 22:21
  Speaker 2: pieces as they work their way up to being their
• 22:24
  Speaker 2: own master builder. So it's an allegory and a metaphor
• 22:28
  Speaker 2: for something that is actually enacted in operative masonry. So
• 22:32
  Speaker 2: I can only imagine, you know, the mythopoetic. Brandon really
• 22:36
  Speaker 2: wants it to be, like, oh, I hope all the
• 22:40
  Speaker 2: engravers were some kind of level of initiator. They kind
• 22:42
  Speaker 2: of have to be, you know, you kind of have.
• 22:47
  Speaker 2: But then again, William Blake and and you know Blake
• 22:50
  Speaker 2: with all his beauty and writings and all his engravings
• 22:53
  Speaker 2: that he did, his wife mastered his hand and what
• 22:59
  Speaker 2: did a lot of the engravings for him, and so
• 23:02
  Speaker 2: William Blake himself had his own carver and that's his wife.
• 23:06
  Speaker 1: So uh oh, that's right, he's going he's going on.
• 23:11
  Speaker 1: He's going on your show Thursday. Yes, he is for
• 23:15
  Speaker 1: people wondering why we stopped working.
• 23:17
  Speaker 2: Thank you for thank you, Frader, freder r C. Yeah,
• 23:20
  Speaker 2: how fun is that seminar. I want to get my
• 23:22
  Speaker 2: hands on some of that her medica. It was books
• 23:24
  Speaker 2: that that book is it would be great and Thursday.
• 23:27
  Speaker 2: Just so everyone knows it's not gonna be live. But
• 23:29
  Speaker 2: freder RC and I are fucking crushing Maynor, James Keenan
• 23:33
  Speaker 2: and all his projects in the occult aspects of what
• 23:37
  Speaker 2: the hell is going on with Tool of Perfect Circle
• 23:39
  Speaker 2: and Puss of Fur.
• 23:41
  Speaker 1: Nice. Yeah, I just said, Chad to took all things
• 23:44
  Speaker 1: made to James Kean. Nice. Nice. I look forward to
• 23:48
  Speaker 1: hearing that actually once I dropped, so we're gonna actually
• 23:50
  Speaker 1: listen to that. Good nice, thank you. Yeah, you know,
• 23:53
  Speaker 1: I've even thought about how you you know, have to
• 23:55
  Speaker 1: get off the subject. I really should get you wanted
• 23:57
  Speaker 1: to talk about a little bit more about this tool
• 23:58
  Speaker 1: and stuff, oh bro, because I mean it's quite obvious.
• 24:02
  Speaker 1: I mean again, I think we've even spoken about it.
• 24:04
  Speaker 1: I mean, he's put magical squaz on his drum sets,
• 24:06
  Speaker 1: and you gotta wonder if he's even like hitting the
• 24:08
  Speaker 1: fucking things to spoke shit.
• 24:09
  Speaker 2: Out of damn right he is?
• 24:11
  Speaker 1: Is he hitting different areas of the drum that magic
• 24:13
  Speaker 1: different parts of the square you know? Oh?
• 24:15
  Speaker 2: Yeah, No, for sure. Danny Carrey, the greatest drummer of
• 24:18
  Speaker 2: all time. The fucking magical octopus hands himself is everywhere.
• 24:23
  Speaker 2: He captured a demon in a box and has it
• 24:26
  Speaker 2: sit behind him. That's like one of the stories has
• 24:29
  Speaker 2: put out there. Danny Carey is one of the number
• 24:31
  Speaker 2: one holders of first publications of Crowley and Kenneth Grant's work.
• 24:37
  Speaker 2: Oh wow, he has a massive library. Yeah, it's it's
• 24:42
  Speaker 2: so crazy and it's and what's wild is and what
• 24:45
  Speaker 2: I'm gonna get into a lot when Fred and I
• 24:46
  Speaker 2: are SI and I talk and we can do it
• 24:48
  Speaker 2: here when we do that. But my journey with that
• 24:51
  Speaker 2: band has been so synchronistic, it's fucking crazy. And I
• 24:55
  Speaker 2: and I talk about it like one of those crazy
• 24:57
  Speaker 2: Tool fans. They're like, oh, you know those crazy Tool
• 24:59
  Speaker 2: fans to like think of it as like a mystery school. Yeah,
• 25:02
  Speaker 2: I'm a fucking head high priest of that fucking school,
• 25:05
  Speaker 2: and just so we all know, like, yeah, fucking right.
• 25:12
  Speaker 1: I love it, dude, Before we get into the emblems,
• 25:15
  Speaker 1: it was one other thing I did want to touch on.
• 25:16
  Speaker 1: And you know, you bringing up even showing this from Conrad. Yeah,
• 25:21
  Speaker 1: he was another one that I think of the same
• 25:23
  Speaker 1: belief where, you know, just like Meyer, and there were
• 25:25
  Speaker 1: other alchemists, so I think even Robert Flood, who I
• 25:28
  Speaker 1: think I'm pretty sure was a Rosa Crucian apologist through
• 25:31
  Speaker 1: they you know, I like those alchemists just from my opinion.
• 25:36
  Speaker 1: You know, I'm sure you know, maybe there's some scientific
• 25:40
  Speaker 1: way to start turning all the metals into gold, but
• 25:43
  Speaker 1: they were very much into the whole spiritual alchemy. Yes, yes,
• 25:47
  Speaker 1: and I do, uh, I do like that take on it.
• 25:49
  Speaker 1: You know, I do think that's a little bit more
• 25:51
  Speaker 1: of a h you know, uh, it makes more sense
• 25:55
  Speaker 1: to me that.
• 25:55
  Speaker 2: Way, Oh, It's much more sense. And it goes along
• 25:58
  Speaker 2: the lines of how alchemists will right would do all
• 26:01
  Speaker 2: their work in code and write them as cookbooks or whatever.
• 26:06
  Speaker 2: And that is again so the secrets wouldn't be led
• 26:10
  Speaker 2: if like have the profane lead them into like dabbling.
• 26:14
  Speaker 2: Occultis are the worst thing in the entire world for
• 26:17
  Speaker 2: that reason. It's it's to hide the secrets from the profane,
• 26:21
  Speaker 2: because the secrets are total obliteration of all things that
• 26:24
  Speaker 2: lightning both paths, the magic of the Philosopher's Stone, it's
• 26:29
  Speaker 2: the it's the it's again, it's a tool line. The
• 26:31
  Speaker 2: universe is hostile, so impersonal devours to survive. So it
• 26:34
  Speaker 2: was so it always is. It's like looking upon the
• 26:36
  Speaker 2: arca of the Covenant and you don't have your being
• 26:39
  Speaker 2: vibrating at the correct frequency, it will fucking explode. You'll
• 26:43
  Speaker 2: you'll just blow up, you know what I mean. That's
• 26:45
  Speaker 2: like the that's the mythosis of seeing the arc of
• 26:47
  Speaker 2: the Covenant. It's it's it's the idea, it's the actual
• 26:51
  Speaker 2: idea of having like a Kundalini experience, but your body
• 26:54
  Speaker 2: hasn't been prepped for it, and your nervous system blows out,
• 26:57
  Speaker 2: you know what I mean, because if you weren't ready
• 26:59
  Speaker 2: for the god the God experience.
• 27:03
  Speaker 1: Sure know, I totally totally get what you're saying. That's
• 27:07
  Speaker 1: why I even think, like, uh, that's my problem with
• 27:10
  Speaker 1: I guess maybe some certain you know, certain orders or
• 27:13
  Speaker 1: problems with secret societies or I mean I guess most
• 27:18
  Speaker 1: I don't know. I I just even the way most
• 27:21
  Speaker 1: schools or even anybody pushing magic doesn't seem to like
• 27:26
  Speaker 1: look at it to the effect where it might actually
• 27:28
  Speaker 1: be a shock on your system. Yeah, you know what
• 27:31
  Speaker 1: I'm saying, Like maybe something actually really physically or scientifically
• 27:36
  Speaker 1: it's going on with your body when you have a
• 27:37
  Speaker 1: magical experience to put a heavy strain on you. Oh yeah,
• 27:43
  Speaker 1: and that like in like oh, because I contacted Hakante
• 27:46
  Speaker 1: or fucking you know, time on you know, I got
• 27:49
  Speaker 1: a fucking rash. Now my life is turning the bits
• 27:52
  Speaker 1: or ship or you know whatever.
• 27:55
  Speaker 2: No, No, I completely agree, you know. Yeah. What I've
• 27:59
  Speaker 2: been kind of trying to get across over the last
• 28:01
  Speaker 2: few videos I've done is this idea. I think it's
• 28:04
  Speaker 2: actually just the last two The Dark Knight of the
• 28:08
  Speaker 2: Soul is a lot different than and I think I
• 28:10
  Speaker 2: saw Jamie Paul Lamb actually maybe did it or somebody
• 28:14
  Speaker 2: on Substack was talking about it. And it's that when
• 28:18
  Speaker 2: the Romantic poets talked about the Dark Knight of the Soul,
• 28:21
  Speaker 2: it was an actual, like existential paradigm shift in anxiety angst,
• 28:29
  Speaker 2: like you were questioning your very the foundation and in
• 28:33
  Speaker 2: your existence. It wasn't just like I like I.
• 28:38
  Speaker 1: Searing into the face of insanity.
• 28:40
  Speaker 2: That's exactly what it is. And you have to restructure yourself. Yep.
• 28:44
  Speaker 2: Oh yeah. And so it's such a fascinating thing. It's
• 28:47
  Speaker 2: like to go through the dark Knight of the soul.
• 28:50
  Speaker 2: It's almost like once you enter into that and Robert
• 28:52
  Speaker 2: Anton Wilson talked about it with the chap we call
• 28:54
  Speaker 2: the Chapel perilous. Technically, once you enter in, you you
• 28:58
  Speaker 2: you only think you're out of it, but you're the
• 29:01
  Speaker 2: idea of even Hydergirl and and Cureka Guard, these fathers
• 29:05
  Speaker 2: of existentialism, when they started talking about things like existance
• 29:09
  Speaker 2: and angst and these different terms despair, you that is
• 29:16
  Speaker 2: actually what what makes life worth living. And that's that's
• 29:20
  Speaker 2: a that's a paradigm shift within yourself to finally understand
• 29:24
  Speaker 2: that the suffering you're going through is part and part
• 29:27
  Speaker 2: and parcel of what it means to be human. And
• 29:29
  Speaker 2: I think that's really important because then Hiderger talks about
• 29:32
  Speaker 2: how that's how we look upon the horizon, uh and
• 29:34
  Speaker 2: we are being there, being there towards death, and once
• 29:38
  Speaker 2: we become okay with that, that's when we can truly
• 29:41
  Speaker 2: move forward into true being being being the way it
• 29:46
  Speaker 2: is and so, and I think that's what these glyphs
• 29:48
  Speaker 2: are actually getting across in that alchemical dissolution and reconstruction
• 29:52
  Speaker 2: is that you're going through something and it it is
• 29:55
  Speaker 2: truly apocalyptic because it's your world is ending and you're
• 29:59
  Speaker 2: being re born. If you have done the work to
• 30:03
  Speaker 2: help your body go through that process.
• 30:08
  Speaker 3: Concurse, yeah fuck yeah yeah no.
• 30:12
  Speaker 1: And that's like even I guess, like you know what
• 30:14
  Speaker 1: I was getting at, Like, you know, I think maybe
• 30:17
  Speaker 1: even if entertained a little bit more of like you know,
• 30:20
  Speaker 1: there could be some even out of body experiences that
• 30:24
  Speaker 1: you know, I think if if somebody really wants to entertained,
• 30:27
  Speaker 1: that that actually could be possible. I think, like then
• 30:31
  Speaker 1: you at that point, like if you're really like if
• 30:33
  Speaker 1: somebody's hammreading into you or like you take that on
• 30:36
  Speaker 1: as a belief as actually something that could happen from magic,
• 30:40
  Speaker 1: I'm even thinking then like it may help a little
• 30:43
  Speaker 1: bit because at some point you've had to have actually
• 30:45
  Speaker 1: kind of maybe accepted it so like when you had
• 30:49
  Speaker 1: this experience, Like for me, I guess what I'm getting
• 30:52
  Speaker 1: at is that when I had my experience and I
• 30:54
  Speaker 1: just I guess, you know, kind of snort, how I
• 30:57
  Speaker 1: thought it happened. It seemed to define what I thought
• 31:01
  Speaker 1: was possible going by the way I have been brought up,
• 31:04
  Speaker 1: Oh yeah, and learned the world around me, and you know,
• 31:08
  Speaker 1: religion shaped out a lot, you know, and just you know,
• 31:12
  Speaker 1: even in science in school or like the lack of
• 31:14
  Speaker 1: science that were taught in school, you know, made it
• 31:17
  Speaker 1: seem like that that would be impossible. So I think
• 31:19
  Speaker 1: like if you were like kind of like maybe let
• 31:23
  Speaker 1: people know prior that it could actually maybe be a
• 31:25
  Speaker 1: little bit weirder than you think, and it could really
• 31:28
  Speaker 1: shatter like belief systems, maybe it wouldn't shatter you as
• 31:33
  Speaker 1: hard because you'd be going into it knowing. I don't know,
• 31:36
  Speaker 1: I'm just wondering if that would help a little bit more.
• 31:39
  Speaker 1: You know, talking out of the soul will be a
• 31:42
  Speaker 1: little bit lighter, you know that is dark.
• 31:44
  Speaker 2: Yes, No, I completely agree, And because a lot of
• 31:47
  Speaker 2: times once you that's what and that's why I met Carl,
• 31:51
  Speaker 2: That's why Joseph Campbell talks about initiation being going through
• 31:56
  Speaker 2: initiations as kids and going through ritual and having that
• 32:02
  Speaker 2: movement from adolescence into being an adult. Is you would
• 32:07
  Speaker 2: go out into the dark night with a weapon and
• 32:10
  Speaker 2: try to basically survive and come back with a dead
• 32:16
  Speaker 2: king of the jungle like a leopard or a jaguar
• 32:18
  Speaker 2: or something, and showing that you can survive within the
• 32:21
  Speaker 2: cathonic forces of night. And then it makes me think
• 32:24
  Speaker 2: about you saying all that. It makes me think about
• 32:26
  Speaker 2: exactly what Mark Booth is writing about in all his
• 32:29
  Speaker 2: trilogy of the Secret History of the World into the
• 32:31
  Speaker 2: Secret Sacred History the World now in the Secret History
• 32:34
  Speaker 2: of the Universe, is that these exact things are what
• 32:38
  Speaker 2: are going on when we finally make this switch from
• 32:41
  Speaker 2: seeing the world as as the scientific materialists see it
• 32:46
  Speaker 2: as that mechanized world. And now you realize now when
• 32:49
  Speaker 2: you have like a god experience of some kind of
• 32:52
  Speaker 2: earth shattering, psyche breaking thing, which is important, that's that's
• 32:56
  Speaker 2: the blackening, that's what's coming on in the Negrado and
• 32:59
  Speaker 2: the alchemical halfway. But now it's about if you've trained
• 33:02
  Speaker 2: for it, like in yoga yoga training, you train your body,
• 33:07
  Speaker 2: you train your mind, your breath, so then when you
• 33:10
  Speaker 2: go through the bardoes or when you go through the
• 33:13
  Speaker 2: different visions and realms, that you can actually be protected
• 33:17
  Speaker 2: in that journey because it's going to completely destroy you
• 33:21
  Speaker 2: to rebuild you.
• 33:24
  Speaker 1: Yeah, and people.
• 33:26
  Speaker 2: Don't make it through because of I'm I don't know,
• 33:28
  Speaker 2: I'm lucky. I barely made it. I'm fucking just as
• 33:31
  Speaker 2: mad as the rest of us, right, you know, it's
• 33:33
  Speaker 2: like I just cannot yeah exactly, I can just articulate it,
• 33:37
  Speaker 2: my madness. You know, it's like a lot different. And
• 33:39
  Speaker 2: I think having a being grounded helps, but in that
• 33:44
  Speaker 2: thriving to it, I think that's one of the reasons
• 33:46
  Speaker 2: Crowley took on his his sacred name in the beginning Perdrabo.
• 33:52
  Speaker 2: Perdrabo in Latin means I shall endure to the end,
• 33:56
  Speaker 2: whatever that means.
• 34:00
  Speaker 1: Mm hmm.
• 34:01
  Speaker 2: Yeah, let's go.
• 34:05
  Speaker 1: I like that, man. But yeah, uh yeah, let's get
• 34:09
  Speaker 1: into the emblems now. Yeah, I'm gonna pull up this
• 34:13
  Speaker 1: One's see if.
• 34:16
  Speaker 2: I can even kind of like, oh, yeah, this is beautiful.
• 34:20
  Speaker 1: Yeah. This is actually the first.
• 34:22
  Speaker 2: One epigram of the wind or yeah right, yeah.
• 34:26
  Speaker 1: Uh, it's called the elblem one. The child carried by
• 34:29
  Speaker 1: the wind, childcare by the wind, and the Latin model
• 34:33
  Speaker 1: translated into English is the wind carried him in its belly.
• 34:39
  Speaker 1: And just real quick at that sentence where that came from.
• 34:41
  Speaker 1: This sentence is supposedly drawn from the Emerald Tablet, where
• 34:46
  Speaker 1: the mysterious alchemical substance is described through a cosmonic cosmic genealogy,
• 34:51
  Speaker 1: and it goes, the Sun is its father, the moon
• 34:54
  Speaker 1: is its mother, the wind carries it in its belly,
• 34:58
  Speaker 1: the Earth is its nurse. So I guess, you know,
• 35:03
  Speaker 1: I could even look at it as is starting it off. Well,
• 35:07
  Speaker 1: one just to add, since it's not the first one
• 35:10
  Speaker 1: in that list, I'm wondering if this isn't actually the
• 35:12
  Speaker 1: first emblem because it's not the first one in that list,
• 35:16
  Speaker 1: but it's even kind of I think even just the
• 35:18
  Speaker 1: first emblem is already telling you this is an al
• 35:20
  Speaker 1: chemical situation, like you know, you're going through an our
• 35:23
  Speaker 1: chemical journey, uh huh, and already hitting on hit hermes, trisma,
• 35:27
  Speaker 1: gist this if you're if you're taking it from the
• 35:30
  Speaker 1: if you taking it from the Emerald Tablet. So I
• 35:34
  Speaker 1: just you know, I think that's something worth saying. Though
• 35:36
  Speaker 1: the first image. It's already kind of like tonya that
• 35:39
  Speaker 1: situation at least.
• 35:40
  Speaker 2: Yeah, it's beautiful.
• 35:41
  Speaker 1: Do you have the let me say, I can the.
• 35:44
  Speaker 2: English the translation of the of the words underneath.
• 35:48
  Speaker 1: Uh, I have, Yeah, I have what they kind of
• 35:53
  Speaker 1: got it.
• 35:54
  Speaker 2: Yeah, I found it here. If you then you do it,
• 35:56
  Speaker 2: you do it, show the picture I found the So
• 36:01
  Speaker 2: it says right, it says if Boreas can in his
• 36:06
  Speaker 2: own wind conceive an offspring that can bear this light
• 36:10
  Speaker 2: and live in art, strength, body mind, he shall excel
• 36:14
  Speaker 2: all wonders. Men of ancient heroes tell think him no Sapho,
• 36:19
  Speaker 2: nor abortive brood, nor yet Agrippa, for his star is good.
• 36:24
  Speaker 2: It's beautiful.
• 36:26
  Speaker 1: That is awesome. Well to do have to have to
• 36:28
  Speaker 1: do the other ones? Yeah? Yeah, I had like breakdowns.
• 36:31
  Speaker 1: I was only able to do so much in the
• 36:32
  Speaker 1: amount of time that Oh.
• 36:34
  Speaker 2: This is beautiful. This is why we're this is why
• 36:36
  Speaker 2: we're a team. Magis in the Median in the cult reject.
• 36:39
  Speaker 2: We fucking go deep because we're all mad here.
• 36:43
  Speaker 1: Yes, yeah, yeah, man, Adams for sure just need a
• 36:46
  Speaker 1: chest on a cat.
• 36:48
  Speaker 2: Yeah we do. I only have a Rico and he's
• 36:50
  Speaker 2: a minpin docks in Chihuahua and he's with Kaiva, so
• 36:53
  Speaker 2: he's not even here.
• 36:53
  Speaker 1: I don't even know what to do. I might actually
• 36:55
  Speaker 1: get a cat eventually.
• 36:57
  Speaker 2: You should, You should. They are the protectors of the night.
• 37:00
  Speaker 1: Oh no, I'm like, you know, it's a getting on again,
• 37:02
  Speaker 1: get off topic. But I'm much more of a cat
• 37:04
  Speaker 1: person actually than a person.
• 37:06
  Speaker 2: Well I thought I was until the woman you love
• 37:08
  Speaker 2: has their familiar and it's a dog, and then all
• 37:10
  Speaker 2: of a sudden you become best friends. So I get it.
• 37:12
  Speaker 2: But you know, love changes you.
• 37:14
  Speaker 1: You know, it's funny. Any any any woman that I
• 37:16
  Speaker 1: ever got involved with that was also when too animals
• 37:19
  Speaker 1: was never adorable. They always like the cats.
• 37:22
  Speaker 2: Interesting.
• 37:23
  Speaker 1: Yeah, just think about that. Some weird shit stuck in
• 37:30
  Speaker 1: my head, you know.
• 37:32
  Speaker 2: So they say that you might say this, but the
• 37:35
  Speaker 2: image shows volatile mercury, composed of vapor joining with the
• 37:39
  Speaker 2: strength of sulfur, given form by the god Boreas, representing
• 37:43
  Speaker 2: the male and the female elements, whose union holds the
• 37:45
  Speaker 2: seed of philosophical gold.
• 37:50
  Speaker 1: Yeah. And even when I even know like that, I
• 37:53
  Speaker 1: even wonder, you know, obviously is an attribution to mercury.
• 37:56
  Speaker 2: Mm hm, oh for sure, and it's this vapor above
• 38:01
  Speaker 2: his head and his how his hands move into the vapor.
• 38:04
  Speaker 2: It's like making these clouds. Uh, they're always so stacked,
• 38:09
  Speaker 2: you guys that you can tell this guy can do
• 38:10
  Speaker 2: a double leg like no one, no one's business, it says.
• 38:15
  Speaker 2: That's what I'm saying. It's just saying. And this is
• 38:16
  Speaker 2: the beginning of the work. In its embryonic state, matter
• 38:19
  Speaker 2: is still unformed, carried in wind rather than resting in earth.
• 38:23
  Speaker 2: The philosophical child has not yet been born. It exists
• 38:26
  Speaker 2: only as potential inside a substance that has no fixed shape.
• 38:33
  Speaker 1: It's fucking beautiful. Yeah to me, I wonder if that's
• 38:37
  Speaker 1: like at almost like kind of showing you the which
• 38:43
  Speaker 1: is why I wonder if it's not maybe the beginning
• 38:45
  Speaker 1: one too. This is kind of like showing you when
• 38:49
  Speaker 1: the magic's beginning to happen, kind of like you know,
• 38:52
  Speaker 1: the maybe dispersing into a you know, into air or
• 38:56
  Speaker 1: kind of like your soul.
• 38:57
  Speaker 2: Mm hmm.
• 38:59
  Speaker 1: You know. What I'm saying is like becoming one with
• 39:02
  Speaker 1: air instead of the physical body.
• 39:04
  Speaker 2: Now, oh yeah, yeah, yeah.
• 39:10
  Speaker 1: He is going from like oh yeah, going from one
• 39:14
  Speaker 1: state toward other, going into air now, mm hmmm hmm.
• 39:17
  Speaker 2: And let's look up. I'm gonna look up Borius because
• 39:21
  Speaker 2: that's what they're talking about here. Greek god Borius is
• 39:28
  Speaker 2: the Greek god of the cold north wind storms in winter.
• 39:31
  Speaker 2: Although he was normally taken as the north wind, the
• 39:33
  Speaker 2: Roman writers Aluyas Gillas and Pliny the Elder both took
• 39:37
  Speaker 2: Borius as a northeast wind equivalent to the Roman god
• 39:40
  Speaker 2: Aquilo or Septine trio, very strong, with a violent temper
• 39:46
  Speaker 2: to match. Oh that's that's great.
• 39:56
  Speaker 1: Do you think I should? Uh, there is music that
• 39:59
  Speaker 1: goes along with this stuff. I could actually blame some
• 40:01
  Speaker 1: of it.
• 40:01
  Speaker 2: Oh, play it. I found something I can read that
• 40:03
  Speaker 2: goes underneath.
• 40:04
  Speaker 1: This, all right? Uh yeah, let me see, let me
• 40:07
  Speaker 1: see if you can hear.
• 40:08
  Speaker 4: I'm gonna play it real quick. Okay, did you hear that?
• 40:17
  Speaker 4: I don't know what it was, but oh I.
• 40:19
  Speaker 1: Was supposed to be singing. But you did hear something?
• 40:21
  Speaker 2: I heard something?
• 40:22
  Speaker 1: Okay? All right?
• 40:24
  Speaker 2: Yeah, what Luck says? I like what he said about
• 40:27
  Speaker 2: his wind, breath through walk, the spirit burthing gods. Yeah
• 40:30
  Speaker 2: that is beautiful. I agree. So I found this thing
• 40:34
  Speaker 2: underneath it. It's a discourse and so I think this
• 40:36
  Speaker 2: actually comes from the book that this comes from, and
• 40:44
  Speaker 2: so it has a discourse underneath there. And what it
• 40:48
  Speaker 2: says for this one is it says discourse one Hermes
• 40:54
  Speaker 2: the mofed in adulterous leture into all Oh, this adulterous secret,
• 41:01
  Speaker 2: into all secrets of nature doth in his Smargdine tablet. Yeah,
• 41:05
  Speaker 2: the Emerald tabitts that you're talking about equility thus succinctly
• 41:10
  Speaker 2: describes the natural work. When he slays, wind carried him
• 41:14
  Speaker 2: in his belly, as if he should have laid that
• 41:17
  Speaker 2: he whole Father is soul and mother is Luna, both
• 41:20
  Speaker 2: before he can be brought forth into the light, be
• 41:23
  Speaker 2: carried by windy fumes, even as the bird is carried
• 41:25
  Speaker 2: into the air when it flies. M whoh, Yeah, that's beautiful.
• 41:38
  Speaker 2: This I just found it. What site am I using? Uh?
• 41:44
  Speaker 1: Here, I was stuck on furnace and fugue, and I
• 41:46
  Speaker 1: don't think you can hear the music the way I'm playing,
• 41:48
  Speaker 1: and so unfortunately I'm not gonna.
• 41:49
  Speaker 2: Be Yeah, this is a so in this it's I
• 41:54
  Speaker 2: just put it in the and it has all the
• 41:57
  Speaker 2: images and then it has the thing that I read underneath.
• 41:58
  Speaker 1: It that's awesome. Oh nice, Yeah, that's great. You want
• 42:05
  Speaker 1: me to Uh yeah, I guess we'll probably move on
• 42:07
  Speaker 1: to the next one.
• 42:08
  Speaker 2: The next one.
• 42:09
  Speaker 1: Oh yeah, let me see that is emblem eight. Oh okay, yeah,
• 42:17
  Speaker 1: and we'll let me get over to eight. Emblem eight.
• 42:22
  Speaker 1: That is the egg and the fire resword, and the
• 42:24
  Speaker 1: English motto is take the egg and strike it with
• 42:28
  Speaker 1: a fire resword. Some translations use pierce rather than strike.
• 42:34
  Speaker 1: Both preserve the central image that closed the egg must
• 42:36
  Speaker 1: be penetrated by fire. Let me see, I'm gonna check
• 42:42
  Speaker 1: out this site that you sent me and see what
• 42:43
  Speaker 1: this this thing that you sent me, and see what
• 42:45
  Speaker 1: it says on this one. Yeah, I don't.
• 42:50
  Speaker 2: And what's funny about some of these sites is they
• 42:51
  Speaker 2: don't always translate all this stuff underneath it. And if
• 42:55
  Speaker 2: I if I spoke Latin or whatever this is, I.
• 43:00
  Speaker 1: Oh yeah, this one didn't translate this one.
• 43:01
  Speaker 2: H huh uh because yeah, because then underneath it's like
• 43:05
  Speaker 2: there are many devere kinds of birds, whole number is
• 43:08
  Speaker 2: uncertain and their names unknown to us. Story tells us
• 43:11
  Speaker 2: of a very great bird named Rook or rock that
• 43:14
  Speaker 2: appears at certain fifons of the year seasons of the
• 43:20
  Speaker 2: year in small small lands of the ocean, which can
• 43:23
  Speaker 2: bear an elephant up with it into the air. India
• 43:26
  Speaker 2: and America send us crows and parrots of devere colors,
• 43:30
  Speaker 2: But it is not the philosophical intention to inquire after
• 43:33
  Speaker 2: the eggs of the birds. Well, it's interesting because this
• 43:36
  Speaker 2: egg is very significant to just mostly eggs, like the
• 43:39
  Speaker 2: orphic egg, as it's cracked open and burning new Right,
• 43:42
  Speaker 2: the sword of the intellect can be translated with this.
• 43:45
  Speaker 2: But then you even in the background, have that ever
• 43:49
  Speaker 2: decreasing cave like feeling. And I can only imagine he's
• 43:54
  Speaker 2: standing upon a checkerboard with the flames of the furnace
• 43:59
  Speaker 2: of the alchemic furnace to his left, and the doorway
• 44:02
  Speaker 2: entered in from the right. Is that the right maybe
• 44:04
  Speaker 2: the eastern sun, and you walk in just like you
• 44:07
  Speaker 2: would the Masonic temple.
• 44:09
  Speaker 1: From the east.
• 44:10
  Speaker 2: I if I if my understanding is correct, which is
• 44:13
  Speaker 2: and he's stacked again.
• 44:18
  Speaker 1: Hmm yeah. For people just like who might be listening,
• 44:21
  Speaker 1: this is like basically showing some you know, it's supposed
• 44:23
  Speaker 1: to be a warrior or an alchemist some said, stands
• 44:27
  Speaker 1: before an enormous sagg and directs the sword towards it.
• 44:29
  Speaker 1: I guess, you know, it could be you know, cracking it.
• 44:34
  Speaker 1: I would even you know that. You know. Sometimes I've
• 44:36
  Speaker 1: even wondered about the whole egg symbolism in itself. I mean,
• 44:39
  Speaker 1: just like, you know, could this him cracking That isn't
• 44:44
  Speaker 1: necessarily a negative thing?
• 44:46
  Speaker 2: No, I don't think so. I think I think it's
• 44:48
  Speaker 2: it's meant to be part of the process and the
• 44:50
  Speaker 2: progress of going through the alchemical pathways, right, I think
• 44:55
  Speaker 2: it's an important aspect of all of it.
• 44:58
  Speaker 1: Yeah, everyople would like if you want to kind of
• 45:00
  Speaker 1: put it to like the demiurge, where it's like kind
• 45:02
  Speaker 1: of stuck in its own bubble, thinking it runs the show,
• 45:05
  Speaker 1: and it's like you're gonna pop its, you know, pop
• 45:07
  Speaker 1: his bubble and show him like you ain't the one
• 45:09
  Speaker 1: in charge anymore. This is something shit beyond you. Yep, right. Uh. Supposedly,
• 45:20
  Speaker 1: the poem describes a bird hidden within the egg. The
• 45:22
  Speaker 1: bird cannot emerge by itself unless the shell is open
• 45:26
  Speaker 1: through the properly applied heat of the yard. The egg
• 45:29
  Speaker 1: contains the subject of the work, but the hidden life
• 45:32
  Speaker 1: remains trapped until the operator acts. His discourse compares the
• 45:39
  Speaker 1: philosophical vessel and its contents to the generation of birds.
• 45:45
  Speaker 1: He calls it a fire I think though in here
• 45:47
  Speaker 1: though for some reason they might refer to it as
• 45:49
  Speaker 1: a fiery sword. Oh really, yeah, there is no flame
• 45:54
  Speaker 1: in the image.
• 45:55
  Speaker 2: Interesting, Yeah, then it must somehow fire on the left
• 46:01
  Speaker 2: hand side must be like what they're talking about.
• 46:03
  Speaker 1: Then, yeah, maybe let me pull let me see if
• 46:07
  Speaker 1: I can go out now.
• 46:14
  Speaker 2: Like the scales on his boots almost like you know, his.
• 46:17
  Speaker 1: Chain mail, it's very aquarious.
• 46:22
  Speaker 2: Oh yeah, right, I was thinking about this flows.
• 46:25
  Speaker 1: On the fucking David Lynch and right right right right
• 46:30
  Speaker 1: zigzag fla but Charlie Brown ship.
• 46:34
  Speaker 2: Yeah, exactly, that's hilarious.
• 46:35
  Speaker 1: Did you ever hear you go wolf on Charlie Brown
• 46:37
  Speaker 1: about how I believe he's Saturn? No, yeah, he uh,
• 46:44
  Speaker 1: you know, brown is a color for Saturn. Besides black
• 46:48
  Speaker 1: is brown, and the shirt that he wears does have
• 46:53
  Speaker 1: the Aquarius symbol, and Lucy even calls him like a
• 46:57
  Speaker 1: blockhead blockhead all the time. All the think about that,
• 47:04
  Speaker 1: I don't know, I just wonder like, is that like
• 47:06
  Speaker 1: some kind of references that's hilarious and it's just sat
• 47:11
  Speaker 1: with Charlie Brown there was even other times I looked
• 47:16
  Speaker 1: at other characters and started to attribute them to take
• 47:20
  Speaker 1: planets and the Kabbola.
• 47:22
  Speaker 2: Try, Well, it's funny that you said, Charlie Brown.
• 47:25
  Speaker 1: Is the just riffing anymore to make it?
• 47:27
  Speaker 2: Yeah? No, but I like that. It's the iconic nickname
• 47:30
  Speaker 2: the astronasts gave to Command and Service module on the
• 47:33
  Speaker 2: Apollo ten mission, Charlie Brown.
• 47:36
  Speaker 1: Mhm.
• 47:41
  Speaker 2: They want you to zoom in on his belly, right,
• 47:52
  Speaker 2: is it? Uh? I don't see anything. I just see
• 47:54
  Speaker 2: he's got a belly button and he's stacked.
• 47:57
  Speaker 1: Yah.
• 48:00
  Speaker 2: Yeah, so intricate. It's like art like this doesn't get
• 48:02
  Speaker 2: done anymore. I I you know what I mean, It's
• 48:04
  Speaker 2: like I don't I don't really understand.
• 48:05
  Speaker 1: Why not?
• 48:07
  Speaker 2: Yeah, right, because it's like perfect proportions in geometry, and
• 48:11
  Speaker 2: the etchings on how it's made is so beautiful.
• 48:17
  Speaker 1: You got people but dazzling grim wars instead, and they
• 48:19
  Speaker 1: don't even know what the fuck magic is.
• 48:21
  Speaker 2: Well that's what I'm saying, to understand the sacred proportions,
• 48:24
  Speaker 2: and so they so the sacred proportions can come out
• 48:27
  Speaker 2: in their own magical practice, you know what I mean?
• 48:32
  Speaker 1: Just some things that you know that you can even
• 48:34
  Speaker 1: say with the egg did have some of that dumb
• 48:36
  Speaker 1: out chemical meaning for that for some people if you
• 48:39
  Speaker 1: don't know much about it, the alchemical vessel, the sealed
• 48:41
  Speaker 1: matter of the work, the total cosmos, premiam materia, the
• 48:45
  Speaker 1: philosophical seed, the conjunction of opposing substances, or they contained
• 48:50
  Speaker 1: the process of generation. Some had wondered if maybe the
• 48:56
  Speaker 1: even the sword is supposed to be kind of like
• 48:59
  Speaker 1: the fiery sword, maybe means it controls the furnace heat.
• 49:03
  Speaker 2: Mm hmmm, h No, I.
• 49:08
  Speaker 1: Like that, and even like I was saying before, the
• 49:15
  Speaker 1: shell can maybe represented fixed identity, which is kind of
• 49:19
  Speaker 1: like almost like saying before like you know where you like,
• 49:21
  Speaker 1: how you perceiving the world and who you are in it,
• 49:25
  Speaker 1: like the demiurgs, then realizing like, oh shit, that's not
• 49:28
  Speaker 1: really who I thought I was or what the situation was.
• 49:30
  Speaker 1: It's beyond me for sure, you know, like a fixed
• 49:34
  Speaker 1: identity gets shattered, like if you that egg.
• 49:38
  Speaker 2: Yeah, I know for sure. And it's very Martian, you
• 49:40
  Speaker 2: know what I mean. It's got that that warrior marsh.
• 49:42
  Speaker 1: Yeah, the chaos. You're gonna need the chaos for the change,
• 49:45
  Speaker 1: I think.
• 49:45
  Speaker 2: Yeah, yeah, definitely.
• 49:48
  Speaker 1: Yeah, it could be a yeah, and the relation.
• 49:52
  Speaker 2: Yeah, and the philosophical egg, right, the ovum, the philosophical
• 49:55
  Speaker 2: it's it's in a lot of the sealed vessel, the
• 49:59
  Speaker 2: raw material that you must break open, uh to be
• 50:03
  Speaker 2: able to get both principles out, the two principles that
• 50:06
  Speaker 2: are inside every egg. Yeah, that's that's Mars and Vulcan combined.
• 50:13
  Speaker 1: Mm hmmm mm hmmm.
• 50:15
  Speaker 2: Because the forge with the Martian Warrior right there.
• 50:22
  Speaker 1: You could the shell even represent the ego to shattering. Yeah, definitely,
• 50:27
  Speaker 1: so I guess that would probably even be yourself identity transformation. No,
• 50:35
  Speaker 1: it can it can? You know my opinion, I don't
• 50:37
  Speaker 1: think you. I don't think there would be transformation without destruction.
• 50:42
  Speaker 2: I need to say, no, you need the Yeah, it.
• 50:44
  Speaker 1: Doesn't mean that it has to be like people are dying,
• 50:46
  Speaker 1: your houses are burning down, you know, like destruction like that,
• 50:49
  Speaker 1: but the destruction of psyche or habit or just whatever. Like, yeah, transformation.
• 50:56
  Speaker 1: Something is being going.
• 50:58
  Speaker 2: To change, and the structure is.
• 51:01
  Speaker 1: The destruction of that past belief that or whenever that
• 51:05
  Speaker 1: you're not adhering to anymore.
• 51:07
  Speaker 2: Yeah, definitely.
• 51:13
  Speaker 1: A mind which could be sometimes a little bit harder
• 51:15
  Speaker 1: to take on.
• 51:16
  Speaker 2: No, I yeah, I know.
• 51:18
  Speaker 1: I much rather maybe take a black eye than I
• 51:20
  Speaker 1: have to deal with that fucking kind of like you know,
• 51:23
  Speaker 1: wonder am I even you know my matrix? Now? What?
• 51:26
  Speaker 2: Yeah? Exactly, that's funny. No, it's true. I have to back,
• 51:35
  Speaker 2: all right.
• 51:35
  Speaker 1: I'm gonna go over to the next symblem why people
• 51:38
  Speaker 1: are here, all right? And the next one I have
• 51:48
  Speaker 1: is the dragon devouring its tail in the English motto
• 51:54
  Speaker 1: is this is the dragon that devours itself. Pretty self explained, toy.
• 52:01
  Speaker 1: I'm gonna check to see if I can find the
• 52:04
  Speaker 1: translation of this one real quick so I can have
• 52:08
  Speaker 1: a little bit more to add, because the stuff I
• 52:10
  Speaker 1: grabbed was that detailed and everything. No, of course, not
• 52:19
  Speaker 1: that one doesn't have the translation either, but uh yeah,
• 52:25
  Speaker 1: for people who aren't you know, who are listening and
• 52:27
  Speaker 1: who are not watching the thing. That's for the people
• 52:31
  Speaker 1: who might be doing the audio after it's dropped on audio.
• 52:35
  Speaker 1: What the image shows is a wing dragon forms a
• 52:37
  Speaker 1: circle on bites or consumes its own tail. Kind of
• 52:40
  Speaker 1: resembles the oroboris, but Myles discourse makes the image more
• 52:44
  Speaker 1: specifically alchemical than the modern shorthand of eternity the epigram.
• 52:51
  Speaker 1: The poem presents the dragon as a creature consuming its
• 52:54
  Speaker 1: own substance. It destroys itself, feeds itself, and changes itself
• 52:59
  Speaker 1: through the act its hunger is directed inward. The dragon
• 53:04
  Speaker 1: does not require an entirely foreign substance. The material of
• 53:09
  Speaker 1: its death in renewal is drawn from its own body.
• 53:13
  Speaker 1: So I mean some things, just thing could be focusing
• 53:15
  Speaker 1: on that has been thought as self consumption, circularity, internal transformation, death,
• 53:23
  Speaker 1: feeding life, the reduction of volatile substance into a new condition.
• 53:30
  Speaker 1: His discourse begins with stories about enormous serpents and dragons,
• 53:35
  Speaker 1: including creatures believe to inhabit Africa and India. He notes
• 53:39
  Speaker 1: that dragons were traditionally imagined as guardians of gold, treasures, springs,
• 53:44
  Speaker 1: and sacred objects, and like, I'm pretty sure we've all
• 53:50
  Speaker 1: seen at some point some of those things being done
• 53:53
  Speaker 1: in movies and stories. Get the Golden fleece, the garden
• 53:57
  Speaker 1: of the Garden of Hesperides, if I'm saying that correctly
• 54:02
  Speaker 1: hidden treasure scleppious. Mayer then states that al chemical writers
• 54:09
  Speaker 1: use dragons as names for chemical or philosophical subjects, So
• 54:14
  Speaker 1: if he does say that. That's some pretty interesting shit
• 54:16
  Speaker 1: right there, because I do think, like you know, I
• 54:23
  Speaker 1: do think it's possible that maybe these things exist. I know,
• 54:26
  Speaker 1: like when it comes to conspiracy theories, Uh, you know,
• 54:28
  Speaker 1: dragons could be a thing that's talked that I'd been
• 54:30
  Speaker 1: questioning about. It was that really not DINOSAURSM was, there's dragons.
• 54:34
  Speaker 1: But just for me, yes, it's quite possible. I'm sure
• 54:38
  Speaker 1: things like that might have existed in the past. But
• 54:40
  Speaker 1: I do think a lot of times it might be
• 54:45
  Speaker 1: a kind of like an alchemical symbol or in a
• 54:48
  Speaker 1: cult symbol that actually is supposed to be meaning something
• 54:50
  Speaker 1: that's falling in this guy.
• 54:52
  Speaker 2: Yeah, no, I like that. I am fully of the
• 54:56
  Speaker 2: school that dragons are are dinosaurs are actually dragon Yeah.
• 55:01
  Speaker 1: No, no, I've heard people say that, and I believe it.
• 55:03
  Speaker 1: To me, that makes more sense actually, you know, and
• 55:07
  Speaker 1: like you know why, I mean, what would be the
• 55:12
  Speaker 1: difference if, like, you know, some of these I don't know, like,
• 55:15
  Speaker 1: why is it not possible that we had birds that
• 55:18
  Speaker 1: just didn't have feathers and had a little bit more
• 55:19
  Speaker 1: of that oh or whatever. It's just to me, it's
• 55:22
  Speaker 1: just I don't buy that we didn't have something crazy,
• 55:25
  Speaker 1: huge flying in the skies at some point.
• 55:28
  Speaker 2: And it completely goes to the idea, even though you
• 55:31
  Speaker 2: know it's getting into the speculative mythology of the mythopoetic
• 55:35
  Speaker 2: understanding of like our past, but the idea of the
• 55:38
  Speaker 2: flood taking out all of the different sons and daughters
• 55:43
  Speaker 2: of the watchers, you know, so you get the fallen
• 55:47
  Speaker 2: angels who mate with the daughters of man, and the
• 55:50
  Speaker 2: Nephelim are born from this, and in doing so, there's
• 55:53
  Speaker 2: a bunch of different mythological creatures that are born at
• 55:57
  Speaker 2: that time. That's that's that whole And he's in the
• 56:00
  Speaker 2: thoss right now, or he's in the public spheres right now.
• 56:02
  Speaker 2: That Gary Wayne guy, who I also think is a crank,
• 56:06
  Speaker 2: but he himself is talking about gnomes and trolls and
• 56:11
  Speaker 2: dragons and noomens. So that's when it gets into the
• 56:13
  Speaker 2: spheres of the almost incomprehensible because it's like, Okay, I
• 56:17
  Speaker 2: think we're getting off topic here, but at the same time.
• 56:20
  Speaker 1: Ye're like, listen, I'm whatever. I had this guy on
• 56:24
  Speaker 1: the show years ago, and uh, I tried to get
• 56:27
  Speaker 1: into the occult and the guy just did not want
• 56:29
  Speaker 1: to touch on it.
• 56:30
  Speaker 2: No, because he's super Christian.
• 56:32
  Speaker 1: Yeah yeah, yeah, see I didn't even know that I
• 56:34
  Speaker 1: believe it or not back then, but you know, like
• 56:38
  Speaker 1: who could keep it real? Like like the way him
• 56:41
  Speaker 1: and other people like, look at the way I think
• 56:45
  Speaker 1: with this occultism, especially it's getting into that stuff like
• 56:49
  Speaker 1: I'm gonna keep it real, like even like most woo
• 56:52
  Speaker 1: woo people don't think the most absurd silly shit that
• 56:55
  Speaker 1: these people come up with that is somehow representing the voice.
• 57:00
  Speaker 2: Boss, I completely agree. Like what.
• 57:05
  Speaker 1: Like you have a big voice in the community and
• 57:08
  Speaker 1: you just determined that that's when all of us think
• 57:10
  Speaker 1: about this ship.
• 57:11
  Speaker 2: That's exactly what the fuck?
• 57:13
  Speaker 1: No, not me and that mostly anybody I know. Your
• 57:16
  Speaker 1: stuff is gobbin.
• 57:18
  Speaker 2: Yeah it is. It is, Gary Anne.
• 57:19
  Speaker 1: It's crazy that it gets such a big paforce and
• 57:21
  Speaker 1: you just hate to say they actually make us look
• 57:23
  Speaker 1: like fucking idiots.
• 57:25
  Speaker 2: Yeah yeah, because technically it's it's a myth.
• 57:28
  Speaker 1: Of they're talking about. They're being paid to say the opposite.
• 57:32
  Speaker 2: Yeah, the symbolism. It's like we forget about how important
• 57:35
  Speaker 2: the symbolism on the psyche is. And to not add
• 57:39
  Speaker 2: in Carl Jung when we talk about this is a
• 57:40
  Speaker 2: blasphemy because this his understanding of the mystical and mythical
• 57:46
  Speaker 2: levels of the unconscious mind are so important because when
• 57:51
  Speaker 2: we can understand that our psyche is the carrier of all,
• 57:55
  Speaker 2: like all the beauties in Aladdin's cave, but also, as
• 57:59
  Speaker 2: Josep Campbell says, it cau the ginobide and it's these
• 58:02
  Speaker 2: these crazy creatures of the mind. And that's where we
• 58:07
  Speaker 2: get into the idea. It's not all just psychological like.
• 58:10
  Speaker 2: It has real implementation, like implementations on our our actual, lived,
• 58:16
  Speaker 2: perceived reality. That when we understand the motives of like
• 58:20
  Speaker 2: the aurora boros of the snake eating its own tail
• 58:23
  Speaker 2: or the dragon eating its own tail. To understand what
• 58:27
  Speaker 2: Mercy Eliot was getting at in his eternal recurrence, this
• 58:31
  Speaker 2: eternal movement of continually trying to understand that this life
• 58:38
  Speaker 2: isn't this linear life, that there's these circles that continue
• 58:42
  Speaker 2: to come back in upon itself and our own consciousness
• 58:47
  Speaker 2: can't see the back of its own head. It's so
• 58:50
  Speaker 2: it's the zen parables that are supposed to destroy the
• 58:53
  Speaker 2: mental constructs that we've built these clip these clipas right,
• 58:56
  Speaker 2: these klipas to be built in destroyed as our own
• 59:02
  Speaker 2: understanding of reality is continually built and destroyed to help
• 59:07
  Speaker 2: refine itself. And I think that's one of the many
• 59:09
  Speaker 2: beauties of like this image is that exact, that cyclical
• 59:14
  Speaker 2: nature of our own reality. And then you get, you know,
• 59:20
  Speaker 2: you get you get retards out there like Gary Wayne
• 59:23
  Speaker 2: talking like I.
• 59:25
  Speaker 1: Had the wheels going to my head. I was still stuck.
• 59:28
  Speaker 2: Yeah, no, I get it.
• 59:29
  Speaker 1: Like You're actually trying to teeter off into the image
• 59:31
  Speaker 1: and I'm like still stuck on Like this is just
• 59:33
  Speaker 1: so absurd.
• 59:34
  Speaker 2: No, I love it, I know, And that's you know, you.
• 59:38
  Speaker 1: Know what I understand. It's like, and I mean whenever
• 59:40
  Speaker 1: I'm probably knocking some people in the ecal community, but like, like,
• 59:45
  Speaker 1: first of all, these people really, you know, just the
• 59:47
  Speaker 1: way they're looking at these things, they're completely wrong. But like,
• 59:51
  Speaker 1: well a lot of like these other these fucking Christians
• 59:55
  Speaker 1: that some reason are determining what the fuck the you
• 59:58
  Speaker 1: occult is, Like if you want to look at things
• 1:00:00
  Speaker 1: that they believe in, like they every fucking cryptid impossibility
• 1:00:04
  Speaker 1: of some life falling from the fucking skies, they all
• 1:00:07
  Speaker 1: entertain and believe it. So like if you want to
• 1:00:10
  Speaker 1: make fun of us, for fucking I mean, for real,
• 1:00:12
  Speaker 1: there's such a small percentage you're actually worshiping fairies and norms. Yeah,
• 1:00:17
  Speaker 1: you know what I'm saying, Like, oh yeah, like like
• 1:00:19
  Speaker 1: let's keep it real. There's like you're being leaving in
• 1:00:22
  Speaker 1: the same stupid ship. It's just got hair on it
• 1:00:25
  Speaker 1: and it's in the woods. You know what I'm saying, Like,
• 1:00:29
  Speaker 1: get over yourself. You believe in the same childish ship.
• 1:00:32
  Speaker 1: It's just handed to you differently. You probably go out
• 1:00:35
  Speaker 1: and spend more money fucking looking for this ship than
• 1:00:37
  Speaker 1: we ever would. Oh yeah, get over it, man.
• 1:00:41
  Speaker 2: Yeah. Is that like the is just like hiding four
• 1:00:44
  Speaker 2: one one.
• 1:00:45
  Speaker 1: Dumb shit they do and then they fucking like I
• 1:00:47
  Speaker 1: don't know.
• 1:00:49
  Speaker 2: Yeah, no, it's that hidden four to one one stuff, right,
• 1:00:51
  Speaker 2: the like going out and finding sasquatch and all those
• 1:00:55
  Speaker 2: strange like things that are interconnected with.
• 1:00:57
  Speaker 1: Oh fan this saying that thing. Everything's fun fucking rail
• 1:01:00
  Speaker 1: this and that. It's like, yo, do you have like
• 1:01:03
  Speaker 1: look at your belief system. You're not even a fucking
• 1:01:05
  Speaker 1: Christian man, right, yeah, And I think that's about demons
• 1:01:11
  Speaker 1: more than we have a fucking.
• 1:01:12
  Speaker 2: Do No, of course, Well I think then, yeah, we're
• 1:01:15
  Speaker 2: talking about the fucking the Nephiline and the death Squad themselves,
• 1:01:18
  Speaker 2: the fucking poofters, right, because that's kind of a very
• 1:01:21
  Speaker 2: similar thing where it's all like you want you, you
• 1:01:24
  Speaker 2: never really want to get in, not you, but they
• 1:01:26
  Speaker 2: like that. Mind. The Christian conspiracy theorists are really tough
• 1:01:30
  Speaker 2: because they take everything so literally, you know, so all
• 1:01:34
  Speaker 2: of a sudden, it's like everything becomes a literal interpretation,
• 1:01:37
  Speaker 2: and it's the exact talk about like why the profane
• 1:01:40
  Speaker 2: shall not enter into the mysteries because they're gonna read
• 1:01:44
  Speaker 2: them in a literal way, and then that's super damaging
• 1:01:46
  Speaker 2: to their psyche, which is then why a lot of
• 1:01:49
  Speaker 2: these people go into Christianity so much.
• 1:01:51
  Speaker 1: And you get these questions, you want to take this
• 1:01:54
  Speaker 1: ship in the little a way, where are they making
• 1:01:56
  Speaker 1: connections at aliens of fucking this and that and nephilins,
• 1:01:59
  Speaker 1: and like where are you getting that from? They're doing
• 1:02:02
  Speaker 1: that themselves. Yeah, tell me where there's some scripture that
• 1:02:05
  Speaker 1: actually like says it they're fucking aliens.
• 1:02:08
  Speaker 2: Well, yeah there isn't, so that's you know, that's act
• 1:02:10
  Speaker 2: No it tell me.
• 1:02:11
  Speaker 1: You know, I just like you know, tell me where
• 1:02:13
  Speaker 1: it says that motherfucker with big eyes and it looks
• 1:02:15
  Speaker 1: like a gray Yeah.
• 1:02:18
  Speaker 2: But.
• 1:02:21
  Speaker 1: Connection themselves. There's no fucking scripture for that ship. Yeah,
• 1:02:27
  Speaker 1: they twisted their scripture to make up the stupidest ship.
• 1:02:31
  Speaker 2: Oh yeah, it's the CIA, And that's what I think.
• 1:02:35
  Speaker 2: I think that's where you get the three lettered agencies
• 1:02:37
  Speaker 2: intervening and pushing all kinds of different falsity is into
• 1:02:43
  Speaker 2: it to muddy the waters. I think that's like a
• 1:02:46
  Speaker 2: major syop. And then people take it.
• 1:02:47
  Speaker 1: For real, just the ship to ship on us, and
• 1:02:49
  Speaker 1: then they'll twist this ship to invent cryptids in the Bible.
• 1:02:51
  Speaker 1: It's like, Yo, what the fuck is wrong with you?
• 1:02:53
  Speaker 2: That's hilarious.
• 1:02:54
  Speaker 1: You're shitting on your own book way more than any occultist.
• 1:02:57
  Speaker 2: But it's disgusting, Oh yeah, especially because we the Bible
• 1:03:00
  Speaker 2: as being a sacred like grimoire.
• 1:03:03
  Speaker 1: Yeah. Man, that's what bothers me. I think the most
• 1:03:06
  Speaker 1: is that they're actually shitting all over their own fucking
• 1:03:08
  Speaker 1: religion acting the way they are. Oh yeah, it's disgusting.
• 1:03:13
  Speaker 1: They don't know where the fuck they came from at all. Yeah.
• 1:03:16
  Speaker 2: No, I agree, what I.
• 1:03:20
  Speaker 1: Believe it or not, I actually do have a you know,
• 1:03:23
  Speaker 1: I'm sure my old listeners would realize, but I actually
• 1:03:25
  Speaker 1: do have a love for Catholicism and Christianity. As long
• 1:03:29
  Speaker 1: as what was weird as that sounds coming out, they're
• 1:03:31
  Speaker 1: gonna cull this mounts because a lot of people don't
• 1:03:33
  Speaker 1: or at least can you know, uh, attribute Catholicism. You know,
• 1:03:37
  Speaker 1: they can see an easy connection there. But yeah, you
• 1:03:39
  Speaker 1: do think there is actually like a lot of this
• 1:03:42
  Speaker 1: ship in that fucking book. Man.
• 1:03:45
  Speaker 2: Oh yeah, I completely agree. I think it's one of
• 1:03:47
  Speaker 2: the greatest magical toms there are when yesoterically for sure.
• 1:03:52
  Speaker 2: I mean, and that's the point. I think that's one
• 1:03:54
  Speaker 2: of the main points of them. Being able to understand
• 1:03:58
  Speaker 2: the cabbala and the and then how to read it
• 1:04:03
  Speaker 2: through the magical lens is going to elucid date to
• 1:04:06
  Speaker 2: a lot of the truths that are availed. It's like
• 1:04:09
  Speaker 2: it's it's it's unconcealedness. Truth is unveiled to those who
• 1:04:14
  Speaker 2: can see and read between the lines.
• 1:04:20
  Speaker 1: Enough for ranting out of me, that's a beautiful and
• 1:04:23
  Speaker 1: beautiful show with you good. But yeah, even this, I'm
• 1:04:33
  Speaker 1: pretty sure we even mentioned it somehow, Maybe we didn't,
• 1:04:36
  Speaker 1: you know, again, I could even see this almost being
• 1:04:38
  Speaker 1: very mercurial to an extent, could even kind of go
• 1:04:44
  Speaker 1: back to like the shifting movement of Mercury's Mercury. I
• 1:04:49
  Speaker 1: don't know, you know, even because of how I think
• 1:04:52
  Speaker 1: of like the conduces, even though they're not you know,
• 1:04:53
  Speaker 1: it's not eating itself, there's still some sort of like
• 1:04:56
  Speaker 1: reptile lizard involved in that type thing. So I'm just wondering.
• 1:05:03
  Speaker 1: But yeah, that's the you know, or an Ora Boros.
• 1:05:06
  Speaker 2: Well that in the dragon is the one who and
• 1:05:08
  Speaker 2: you know, in like Lord of Lord of the Rings
• 1:05:11
  Speaker 2: in the Hobbit, the dragon is the one who hides the.
• 1:05:13
  Speaker 1: Tread that doesn't he also sleep on gold too? Yep?
• 1:05:17
  Speaker 1: Oh yeah, so I think that's how chemical.
• 1:05:20
  Speaker 2: Oh yeah, oh yeah.
• 1:05:23
  Speaker 1: Even in uh, I was gonna say, what the fuck
• 1:05:28
  Speaker 1: was that Game of Thrones? Yep, I even too think, uh,
• 1:05:33
  Speaker 1: and I think in that that show regardless, I probably
• 1:05:37
  Speaker 1: could have left the movie out of that show. I
• 1:05:38
  Speaker 1: haven't gotten to the point. Sometimes they do look at
• 1:05:42
  Speaker 1: either a dragon or a sea horse being I think
• 1:05:45
  Speaker 1: the hippocampus, or it could be wrong, could be the
• 1:05:47
  Speaker 1: corpus colossalm It's one part of the brain, which they
• 1:05:49
  Speaker 1: will sometimes also call I think the reptilion to an extent.
• 1:05:52
  Speaker 1: Maybe I could be fucking that up, but there is
• 1:05:55
  Speaker 1: part of the brain. Well, they will sometimes attribute it
• 1:05:57
  Speaker 1: to a sea horse shape, and I've seen people say
• 1:06:00
  Speaker 1: dragons as well, or dragon is some sort of lizard
• 1:06:03
  Speaker 1: thing there is. Like I did wonder if even like
• 1:06:08
  Speaker 1: sometimes that dragon or the reptile, it can even be
• 1:06:12
  Speaker 1: something talking about parts of your brain. I mean that
• 1:06:15
  Speaker 1: might be going a little bit too deep, but you know,
• 1:06:17
  Speaker 1: for this back then. But I don't know, because a
• 1:06:20
  Speaker 1: lot of these alchemists are even drawing eyeballs brains in
• 1:06:23
  Speaker 1: the nervous system and some of their ships. So who knows.
• 1:06:26
  Speaker 1: Oh yeah, but uh yeah, no, I've just wondered about
• 1:06:30
  Speaker 1: that too.
• 1:06:33
  Speaker 2: Well, it's beautiful. I mean, the serpent as it rises
• 1:06:35
  Speaker 2: up the spinal column to unite with the hyper you know,
• 1:06:39
  Speaker 2: the hypothalmus and the pituitary and the pinale gland to
• 1:06:42
  Speaker 2: basically give birth to higher mind. I you know, it's
• 1:06:46
  Speaker 2: definitely the dragon guards the gold, the alchemical gold that
• 1:06:51
  Speaker 2: the alchemist is trying to you know, merge lead with lead,
• 1:06:57
  Speaker 2: burn the lead away into the almighty gold.
• 1:07:01
  Speaker 1: Oh yeah, the reason I brought up the part of
• 1:07:03
  Speaker 1: Game of Thrones just so I make like some sort
• 1:07:05
  Speaker 1: of context back to that so it doesn't just seem
• 1:07:07
  Speaker 1: way that I wrote it up. Yeah. I think it
• 1:07:09
  Speaker 1: was the Targarians. They had the dragon. It was in
• 1:07:12
  Speaker 1: the second the second thing that came out the dragons, right, Yes, sorry,
• 1:07:18
  Speaker 1: I think the Targarians had a dragon on their thing,
• 1:07:20
  Speaker 1: and then they were very close with like this ship crew,
• 1:07:24
  Speaker 1: this this other people that I think. I think they
• 1:07:26
  Speaker 1: were black with white hair, and they were kind of
• 1:07:29
  Speaker 1: like very much of the sea, like they were like
• 1:07:31
  Speaker 1: always like out in the waters, and their banner was
• 1:07:35
  Speaker 1: a sea horse. Oh.
• 1:07:37
  Speaker 2: Interesting.
• 1:07:37
  Speaker 1: So I just thought it was very interesting how you
• 1:07:39
  Speaker 1: have the sea horse and the dragon can both be
• 1:07:42
  Speaker 1: associated with the brain in the sense, and then you
• 1:07:45
  Speaker 1: have one group that is particularly white with white hair,
• 1:07:51
  Speaker 1: and then these group of people were like black with
• 1:07:53
  Speaker 1: white hair. It just was just like, what's going on, Like,
• 1:07:57
  Speaker 1: is this like some type of symbolism.
• 1:08:00
  Speaker 2: Yeah, definitely.
• 1:08:01
  Speaker 1: Yeah.
• 1:08:01
  Speaker 2: It's tough though, because it depends on how much George R.
• 1:08:04
  Speaker 2: Martin has written out for them to take for that symbolism.
• 1:08:07
  Speaker 1: Yeah, like oh yeah, because that even has been done
• 1:08:09
  Speaker 1: like by the people who did the show and not
• 1:08:11
  Speaker 1: so much human. Yeah, who knows, could have been just
• 1:08:14
  Speaker 1: all coincidence, possibly too. You know, all right, you want
• 1:08:20
  Speaker 1: to go on to another one, Let's do it, all right,
• 1:08:22
  Speaker 1: we'll go on to emblem I think of twenty one.
• 1:08:29
  Speaker 1: Make sure I got that. That is squaring the circle.
• 1:08:35
  Speaker 1: Oh yeah, the motto make of the man and woman
• 1:08:38
  Speaker 1: a circle of that, a quadrangle of this, a triangle
• 1:08:45
  Speaker 1: of the same circle, and you will have the stone
• 1:08:48
  Speaker 1: of the philosophers. This is supposed to be like one
• 1:08:51
  Speaker 1: of his most famous one, if not famous one in
• 1:08:55
  Speaker 1: the book. Let's see if I can find that the
• 1:09:00
  Speaker 1: thing you said.
• 1:09:00
  Speaker 2: Me, Yeah, this is a beautiful one. This is you know,
• 1:09:05
  Speaker 2: it's in every manly pee hall. So this one talks
• 1:09:08
  Speaker 2: about how Plato, the most excellent philosopher, was of the
• 1:09:12
  Speaker 2: opinion that the notions or ideas which are the foundations
• 1:09:15
  Speaker 2: of arts and sciences are as it were actually engraved
• 1:09:19
  Speaker 2: and imprinted upon the minds of man, and that by
• 1:09:21
  Speaker 2: the repetition and the remembrance of them, he can apprehend
• 1:09:26
  Speaker 2: and know all manner of learning. To prove that, he
• 1:09:29
  Speaker 2: introduced a young lad rude and uninstructed and alikened him
• 1:09:34
  Speaker 2: such geometrical questions, that the youth might be perceived to
• 1:09:37
  Speaker 2: answer right where there he will, or no, although before
• 1:09:41
  Speaker 2: he understood nothing to the matter, yet by their answered
• 1:09:45
  Speaker 2: seems to have penetrated into the depths of the absolute science.
• 1:09:49
  Speaker 2: From whence he concluded that in children all discipline and
• 1:09:52
  Speaker 2: doctrine is not it yes, first taken in and learned,
• 1:09:56
  Speaker 2: but called to mind and brought by the memory. Eluding
• 1:10:00
  Speaker 2: this to his master Magnus or great year, of which
• 1:10:04
  Speaker 2: he lays that forty eight thousand solar years ago, before
• 1:10:09
  Speaker 2: the revolution of the heavens, and the same persons infringed
• 1:10:13
  Speaker 2: in action, wherein then being, which are the present time.
• 1:10:17
  Speaker 2: Whosoever that, but every person may perceive that there things
• 1:10:21
  Speaker 2: have no more foundations of truth in them than mere dreams.
• 1:10:24
  Speaker 2: We do not deny that there are forms, sparks of notions,
• 1:10:28
  Speaker 2: and more powers imprinted in us, which must be reduced
• 1:10:31
  Speaker 2: in act by intuitions, but utterly deny that they are
• 1:10:35
  Speaker 2: such ore so great as to be the summaries of
• 1:10:38
  Speaker 2: arts and sciences without any precedent instruction. It's beautiful, you know.
• 1:10:45
  Speaker 2: You get the man and the woman unified in the
• 1:10:47
  Speaker 2: geometrical figures of squaring the circle and the triangle and
• 1:10:50
  Speaker 2: the great circle of good. That's the platonic understanding as
• 1:10:53
  Speaker 2: they're drawn the great ninety degrees with the compass, as
• 1:10:57
  Speaker 2: the magician squares the circle and ascends, and the highest
• 1:11:00
  Speaker 2: spheres of the good, the Platonic forms the great ideas
• 1:11:04
  Speaker 2: of all sciences and man, and so inscribed upon the mind.
• 1:11:08
  Speaker 2: You know. It's as we're trying to have the great anemnesis,
• 1:11:13
  Speaker 2: the great Platonic remembering into the divine mind of God.
• 1:11:21
  Speaker 1: Yeah, it's a mandoned woman in the middle.
• 1:11:23
  Speaker 2: Yeah, it's beautiful, and the man and woman being merged
• 1:11:26
  Speaker 2: from the demi urge, you know, as the demo urge
• 1:11:28
  Speaker 2: creates the great man, which is.
• 1:11:31
  Speaker 1: The Oh yeah right, he could be kind of the demiurge.
• 1:11:35
  Speaker 2: In for sure, the great craftsman instilling all the great
• 1:11:39
  Speaker 2: forms into the minds of man. That's exactly what's going on, Oh, exactly,
• 1:11:43
  Speaker 2: as the metaphor is trying to be deemed.
• 1:11:48
  Speaker 1: Yeah, for people who are just again, for people who
• 1:11:50
  Speaker 1: are listening it. The image is showing a man and
• 1:11:53
  Speaker 1: a woman stand together inside a geometric construction around them,
• 1:11:56
  Speaker 1: a pier, a circle, a square, a triangle in an
• 1:11:59
  Speaker 1: outer circle, and then like we were just talking about here,
• 1:12:01
  Speaker 1: there's a figure outside the construction that is using a compass,
• 1:12:05
  Speaker 1: you know, kind of like suggesting the process is being
• 1:12:08
  Speaker 1: measured and contemplated and deliberately produced through art.
• 1:12:14
  Speaker 2: And that's where then, yeah, exactly, the that's you know,
• 1:12:18
  Speaker 2: with the two people, that's where the idea of the
• 1:12:23
  Speaker 2: hermaphroditic character comes from, of the soul of man, that
• 1:12:27
  Speaker 2: we are split upon being entered into the material forms,
• 1:12:31
  Speaker 2: and upon being split we pine for there the other existence,
• 1:12:34
  Speaker 2: which is the are like the opposing force. The man
• 1:12:39
  Speaker 2: and the woman then unite to create the great continuation
• 1:12:44
  Speaker 2: of the higher Adam Cadmon, I didn't read that from anything.
• 1:12:49
  Speaker 2: That's at the top of the dome straight the dome.
• 1:12:58
  Speaker 1: I do have this stuff.
• 1:12:59
  Speaker 2: You know.
• 1:12:59
  Speaker 1: Again this is due to other people's interpretation. But you know,
• 1:13:03
  Speaker 1: they say the poem, the poem instructs the reader to
• 1:13:05
  Speaker 1: unite the male and female into one circular form. The
• 1:13:08
  Speaker 1: unity must then pass through the square and the triangle
• 1:13:12
  Speaker 1: before returning to the circle. The movement is therefore not
• 1:13:17
  Speaker 1: simply to become one. It is to become one, one
• 1:13:21
  Speaker 1: becomes four four become three, and three returned to one.
• 1:13:26
  Speaker 1: The epigram is supposed to present the Philosopher's Stone as
• 1:13:29
  Speaker 1: a reconciliation of number, geometry, body, spirit, and elemental transformation.
• 1:13:35
  Speaker 2: Yeah, because you are becoming the Philosopher's Stone. That's what
• 1:13:38
  Speaker 2: this is like. This is the great work, the great arcanum.
• 1:13:42
  Speaker 2: That is what we all strive to upon the path
• 1:13:45
  Speaker 2: of the magician. Is exactly what's being represented in this
• 1:13:48
  Speaker 2: great image, some image that we've seen. We've all seen it,
• 1:13:52
  Speaker 2: and the beauty upon it is when you look at it,
• 1:13:54
  Speaker 2: you are going upon a meditation as you see there
• 1:13:57
  Speaker 2: on the piece of paper he's got. You know, it
• 1:13:59
  Speaker 2: looks like their circle, but it's that actually deems to
• 1:14:02
  Speaker 2: be a dodecahedron, the cube, and the pentagram right there,
• 1:14:07
  Speaker 2: one of the greatest or the hexagram, one of the
• 1:14:09
  Speaker 2: greatest of all of all images, as the hexagram is
• 1:14:14
  Speaker 2: you know, the six as we are, but the five
• 1:14:17
  Speaker 2: and we are standing in between as we move forth
• 1:14:20
  Speaker 2: up the tree of life, you know, one of the
• 1:14:23
  Speaker 2: Golden Dawn's initiations into the higher degrees.
• 1:14:28
  Speaker 1: Mm hmm. You mentioned something about Plato before, right, I
• 1:14:32
  Speaker 1: think maybe it does say supposedly. In his discourse, Mario
• 1:14:36
  Speaker 1: begins with Plato's theory that knowledge may already be engraved
• 1:14:40
  Speaker 1: within the soul and recovered through recollection.
• 1:14:42
  Speaker 2: Yep, and that's an amnesis, yeah, that is, that is
• 1:14:47
  Speaker 2: the recollection.
• 1:14:48
  Speaker 1: He discusses the famous example on which an uneducated boy
• 1:14:51
  Speaker 1: is guided through geometric reasoning. Plato used this to argue
• 1:14:55
  Speaker 1: that learning is a form of remembering. Yep y. Mayer
• 1:15:00
  Speaker 1: does not completely accept this. He argues that human beings
• 1:15:03
  Speaker 1: may possess hidden sparks or capacities, but those sparks require instruction, labor, experience,
• 1:15:10
  Speaker 1: and cultivation. Knowledge does not become operative without work.
• 1:15:15
  Speaker 2: Well, yeah, no for sure, And yeah, I think that's
• 1:15:19
  Speaker 2: exactly what Plato would say as well. Is it's through
• 1:15:21
  Speaker 2: work these things. So the remembering isn't just a one
• 1:15:25
  Speaker 2: direct spark, but through the initiation process of going through
• 1:15:29
  Speaker 2: the alchemical transfiguration, and that is that is the great
• 1:15:34
  Speaker 2: work itself.
• 1:15:37
  Speaker 1: Some people look at the circle around them as a
• 1:15:40
  Speaker 1: kind of the most simple body without angles. Then it
• 1:15:43
  Speaker 1: goes into the square, which some people might think goes
• 1:15:46
  Speaker 1: to the full elements earth, water, air, fire, and then
• 1:15:50
  Speaker 1: you know, the square then is reduced to a triangle,
• 1:15:53
  Speaker 1: possibly representing bodies, spirit, and soul.
• 1:15:56
  Speaker 2: M Yeah, but uh no, that's beautiful, you know. And
• 1:16:03
  Speaker 2: I think these are things again, as we talked about
• 1:16:05
  Speaker 2: in the beginning before, we're looking at these these things
• 1:16:07
  Speaker 2: are really important because these are these are, as he said,
• 1:16:11
  Speaker 2: in this image itself, things that are put within our
• 1:16:15
  Speaker 2: own mind like they are to be truly meditated upon
• 1:16:21
  Speaker 2: to understand the secrets that are being told to us.
• 1:16:25
  Speaker 2: This is sacred geometry at its findest.
• 1:16:29
  Speaker 1: Yeah. Yeah, I've seen this used so many times that
• 1:16:35
  Speaker 1: when I saw this in his book originally years ago,
• 1:16:37
  Speaker 1: it was holy shit. I was like, yo, that's where
• 1:16:40
  Speaker 1: this came from. I even noticed that with a lot
• 1:16:43
  Speaker 1: of Robert Flood shit. Yeah, I was like, yo, a
• 1:16:46
  Speaker 1: lot of Masons have reused like old ones have reused
• 1:16:51
  Speaker 1: a lot of his images. No, not trying to point
• 1:16:53
  Speaker 1: the finger or whatever, just saying like you know, oh
• 1:16:56
  Speaker 1: for sure, you know you know what was interesting? He
• 1:17:00
  Speaker 1: was funny before how you and I had no problem
• 1:17:03
  Speaker 1: saying it. And I don't even think like Ronnie Pontiac
• 1:17:06
  Speaker 1: would disagree that probably you know, uh, Manley p Hole
• 1:17:10
  Speaker 1: wasn't a Rosicrucianism for it or idea, you know whatever.
• 1:17:14
  Speaker 1: And remember what time Jules was on the show. I
• 1:17:17
  Speaker 1: can't remember who it was, and he implied that Manley
• 1:17:19
  Speaker 1: p Hole might have been a Rosicrucion or into Rosicrucianism.
• 1:17:23
  Speaker 1: Oh for sure, Oh yeah, a Rosicrucion. And like the
• 1:17:26
  Speaker 1: person like who was the guest was like, well, where
• 1:17:29
  Speaker 1: did you read that? When did he ever actually come
• 1:17:31
  Speaker 1: out and say that? And he's like, well, he's like, well,
• 1:17:34
  Speaker 1: I think he was into it. He kind of you know,
• 1:17:36
  Speaker 1: pointing out the influences, which was, you know, exactly the
• 1:17:39
  Speaker 1: kids right, jewels was right. And then the person's like, oh, well, yeah,
• 1:17:42
  Speaker 1: I could see the influence, but he never came out
• 1:17:44
  Speaker 1: and said he was. When I was like, oh, fuck
• 1:17:46
  Speaker 1: Jesus Christ.
• 1:17:47
  Speaker 2: That's hilarious.
• 1:17:48
  Speaker 1: Well it's like yeah, yeah, I just think you know,
• 1:17:50
  Speaker 1: I think you know what he was getting at that
• 1:17:52
  Speaker 1: he was highly influenced. Why the motherfuckers come on?
• 1:17:54
  Speaker 2: Oh yeah, Well, and he doesn't have to say it,
• 1:17:56
  Speaker 2: he's basically said it. In all his work is influenced.
• 1:17:58
  Speaker 2: I mean, let's get just get it straight. Even in
• 1:18:01
  Speaker 2: what we're coming to learn with the new work that's
• 1:18:03
  Speaker 2: coming out and what is it light extension that the
• 1:18:06
  Speaker 2: Golden Down people are coming out with. They're coming to
• 1:18:08
  Speaker 2: understand that maybe you know, the Cipher manuscripts themselves, who
• 1:18:12
  Speaker 2: knows where they came from, but a lot of people
• 1:18:14
  Speaker 2: state that it's a Rosicrucion order. So one of the
• 1:18:18
  Speaker 2: theories is that it comes from the fucking what's is
• 1:18:22
  Speaker 2: mckenz Kenneth mackenzie who is part of the s r
• 1:18:24
  Speaker 2: I A the Rosicrucian Order giving you know, and so
• 1:18:30
  Speaker 2: who who the fuck knows? But it looks like a
• 1:18:33
  Speaker 2: lot of this stuff is coming through the Rosicrucian orders
• 1:18:35
  Speaker 2: at that same time. So of course Manley pe Hall
• 1:18:38
  Speaker 2: would be using you know, in his the Adepts, the
• 1:18:42
  Speaker 2: books that he came out with, a lot of it
• 1:18:45
  Speaker 2: states how that you know, one of the holders of
• 1:18:48
  Speaker 2: the Secret Keys were the Rosicrucians. So yeah, it's like
• 1:18:53
  Speaker 2: why why push back against things like that?
• 1:18:55
  Speaker 1: Yeah? Yeah, I just definitely think, yeah, definitely think he
• 1:18:58
  Speaker 1: was highly just and that stuff, well.
• 1:19:00
  Speaker 2: Highly educated and you had to have been because the
• 1:19:02
  Speaker 2: Rosicrucians were also you know, holders of the secret Keys.
• 1:19:07
  Speaker 1: Through time, there is you know, that's even like a
• 1:19:10
  Speaker 1: thing too where it's like like I know in the OTO,
• 1:19:14
  Speaker 1: there's like a certain it's like I don't know if
• 1:19:19
  Speaker 1: it's necessarily like something you get from an initiation, if
• 1:19:22
  Speaker 1: it's like these other things that you can do add
• 1:19:26
  Speaker 1: ons before you whatever. I'm pretty sure like they acknowledge
• 1:19:30
  Speaker 1: like some sort of form of like Resicrucianism. And I'm
• 1:19:33
  Speaker 1: pretty sure like if you just start looking like at
• 1:19:35
  Speaker 1: maybe certain degrees in other secret societies, you're going to
• 1:19:40
  Speaker 1: find Rosicrucians something in there, probably at least in order
• 1:19:46
  Speaker 1: to where you know that like there is like actually
• 1:19:48
  Speaker 1: people involved in that that society that do study that
• 1:19:54
  Speaker 1: or interested in that idea.
• 1:19:55
  Speaker 2: I mean the inner Order of the Golden Downs, you know, Crusia.
• 1:19:59
  Speaker 1: But I think like if it's going to even be
• 1:20:00
  Speaker 1: listed as like it's something within your degree system, like
• 1:20:03
  Speaker 1: that's showing me right there you're continuing that thought.
• 1:20:09
  Speaker 2: Oh yeah, yeah, I completely agree, because it's the itself,
• 1:20:14
  Speaker 2: it's the aggrigor itself that you're tapping into of whatever.
• 1:20:17
  Speaker 2: This Rosicruntz was trying to teach the rows and the
• 1:20:20
  Speaker 2: cross sits within the Golden Don's emblem to be unveiled
• 1:20:24
  Speaker 2: as an like an extenuation of you know, the Tarot symbolism,
• 1:20:29
  Speaker 2: the twenty two paths, the thirty two wisdoms right of
• 1:20:33
  Speaker 2: the twenty two pass and the tense sufferer as it
• 1:20:35
  Speaker 2: unfolds within the Hebrew structures of all the letters. That's
• 1:20:39
  Speaker 2: that is the rose and the rose petals mean that
• 1:20:43
  Speaker 2: in the rosy cross symbol that the Golden Dawn uses.
• 1:20:48
  Speaker 2: So it's like, that's why you learn the symbolism and
• 1:20:53
  Speaker 2: then integrated into your life so you it can change you,
• 1:20:57
  Speaker 2: so you can transform, and then you can read a
• 1:20:59
  Speaker 2: lot of these texts and understand them symbolically. M h,
• 1:21:10
  Speaker 2: it's beautiful. No, it's beautiful, and it does hold all
• 1:21:14
  Speaker 2: the keys. It's like, what are we doing. We're making
• 1:21:17
  Speaker 2: ourselves into a philosopher's stone. That's what we learn in
• 1:21:20
  Speaker 2: Full Metal Alchemist's Brotherhood. For all you fucking anime nerds
• 1:21:22
  Speaker 2: out there, Full Metal Alchemist Brotherhood is is about changing
• 1:21:26
  Speaker 2: yourself into a philosopher's stone. The boys Edward Elrick is
• 1:21:31
  Speaker 2: a full you know. And what's fascinating about this, Nick,
• 1:21:33
  Speaker 2: I'm actually gonna I've been holding onto this video that
• 1:21:36
  Speaker 2: I've been trying to edit for the last few months.
• 1:21:38
  Speaker 2: And it's Robert Flood's tree of life image and that
• 1:21:42
  Speaker 2: image is like the it's the exact image that is
• 1:21:46
  Speaker 2: used in Full Metal Alchemist that Edward Elrich, the main
• 1:21:50
  Speaker 2: character has as his tree that when he goes and
• 1:21:54
  Speaker 2: witnesses truth, that is his door of truth and it
• 1:21:56
  Speaker 2: opens and it basically he goes through this experience where
• 1:22:00
  Speaker 2: he has to sacrifice a limb because if he tried
• 1:22:05
  Speaker 2: to do an unforgivable taboo of bringing his mom back
• 1:22:09
  Speaker 2: to life. So the whole story has that structure. They use.
• 1:22:12
  Speaker 2: The writer, this female writer uses Robert Flood's image of
• 1:22:16
  Speaker 2: the tree as and she uses multiple different images from
• 1:22:19
  Speaker 2: Robert Flood throughout the whole story.
• 1:22:21
  Speaker 1: Which is beautiful as well.
• 1:22:24
  Speaker 2: Yeah, and it's actually, yeah, that's the idea.
• 1:22:26
  Speaker 1: Two of his images. I've had it applied to, like,
• 1:22:31
  Speaker 1: I've used it to like influence or be like a
• 1:22:34
  Speaker 1: involved in images that I've done for the Occult Rejects before.
• 1:22:38
  Speaker 2: Nice.
• 1:22:39
  Speaker 1: Yeah, yeah, this ship's pretty awesome. Man. Here's some of
• 1:22:42
  Speaker 1: his engravings.
• 1:22:44
  Speaker 2: Oh yeah, I mean this is a great engraving. I
• 1:22:47
  Speaker 2: mean it's beautiful and again it's to be used as
• 1:22:50
  Speaker 2: a meditation technique and try to.
• 1:22:54
  Speaker 1: This was done by Mathous Marion M It's like M
• 1:22:57
  Speaker 1: A T T H A U S I think and
• 1:23:00
  Speaker 1: then Marine and R I A N. Yeah, that was
• 1:23:05
  Speaker 1: the one who did the engravings for this, and I
• 1:23:07
  Speaker 1: think a couple of them.
• 1:23:08
  Speaker 2: That's cool.
• 1:23:09
  Speaker 1: Yeah, I noticed it on the furnace in Fugas site
• 1:23:13
  Speaker 1: a couple of minutes ago. I got one more. You
• 1:23:15
  Speaker 1: want to do one more and then we'll wrap it up?
• 1:23:17
  Speaker 2: Pretty good, beautiful, yet do it.
• 1:23:19
  Speaker 1: Let's go the last one.
• 1:23:22
  Speaker 2: For a second there, I was slightly over I've got
• 1:23:24
  Speaker 2: these new knick knacks and what they are is it's
• 1:23:27
  Speaker 2: like healthy versions of nicotine lozenges.
• 1:23:30
  Speaker 1: Oh shit, and I may have over indulged one.
• 1:23:33
  Speaker 2: For a second. I was like, holy shit, and I
• 1:23:34
  Speaker 2: was drinking coffee at the same time. I was like,
• 1:23:36
  Speaker 2: here we go.
• 1:23:38
  Speaker 1: Oh yeah. There's been times when I've tried to use yeah,
• 1:23:41
  Speaker 1: usually gome or whatever. I'm sort of like, yeah, yeah,
• 1:23:45
  Speaker 1: like even the pouch shit instead of smoking this a
• 1:23:48
  Speaker 1: long time in the past. Yeah, sometimes I feel like
• 1:23:51
  Speaker 1: those will actually have hit me with more nicotine fastest
• 1:23:54
  Speaker 1: to where it's like you almost actually feel like you're floating. Yeah,
• 1:23:59
  Speaker 1: like you almost you almost, You're like a fucking like yeah,
• 1:24:01
  Speaker 1: like a different type of buzz.
• 1:24:02
  Speaker 2: Yeah, it's crazy. And I only do it smoked three cigarettes,
• 1:24:06
  Speaker 2: and I only do it for the nootropic effects, so
• 1:24:08
  Speaker 2: I don't even smoke cigarettes. And so I was just like,
• 1:24:11
  Speaker 2: I'm a little tired, I'm gonna put this in, and
• 1:24:13
  Speaker 2: all of a sudden I was like, oh, I shouldn't
• 1:24:14
  Speaker 2: have merged that with fucking caffeine.
• 1:24:20
  Speaker 1: Oh yeah right. This is the one the dragon and
• 1:24:24
  Speaker 1: the woman the English motto the dragon kills the woman
• 1:24:29
  Speaker 1: and she kills him together. They had drenched in blood,
• 1:24:34
  Speaker 1: get together. They are drenched in blood. This and this
• 1:24:38
  Speaker 1: is actually the fiftieth This is the last one. See
• 1:24:48
  Speaker 1: even sh like this like those things like symbolic is this?
• 1:24:58
  Speaker 2: So that's beautiful? So what do we out here.
• 1:25:02
  Speaker 1: Like it? Like even if like how I was kind
• 1:25:05
  Speaker 1: of getting that before and I want to meant to
• 1:25:06
  Speaker 1: even make a tie to it. Let's you know, there's
• 1:25:11
  Speaker 1: only so many of these books left too, same thing
• 1:25:13
  Speaker 1: with the other guy at Coomrath, so I couldn't even
• 1:25:20
  Speaker 1: I think his has more detail than these to an
• 1:25:22
  Speaker 1: extent in some ways. But if there is almost some
• 1:25:26
  Speaker 1: Ninth Gate type shit here too, right, Yeah, there's even
• 1:25:30
  Speaker 1: some of this ship, some of some detail, like even
• 1:25:32
  Speaker 1: over here, like with these windows, these openings be different
• 1:25:35
  Speaker 1: on another one. Right, it's not correct.
• 1:25:40
  Speaker 2: So what it says, I think so one of the
• 1:25:43
  Speaker 2: translations of the words, let's see her.
• 1:25:49
  Speaker 1: Yeah, I'm still strolling in that book to try to
• 1:25:51
  Speaker 1: get to the list when I play it.
• 1:25:52
  Speaker 2: Yeah and yeah, but but it's still not Yeah, they
• 1:25:54
  Speaker 2: still don't have the translation for it. So I threw
• 1:25:57
  Speaker 2: it into a translator, says. One of them says, dig
• 1:25:59
  Speaker 2: a deep tomb for the venomous dragon, and bind a
• 1:26:02
  Speaker 2: woman closely to him there while he tastes the pleasures
• 1:26:05
  Speaker 2: of the marriage bed. She dies, and with her the
• 1:26:07
  Speaker 2: dragon is buried in the earth. His body is then
• 1:26:09
  Speaker 2: surrendered to death and steeped in blood. This is the
• 1:26:12
  Speaker 2: pathway of your work. The other translation is a more
• 1:26:16
  Speaker 2: normalized Latin, and it reads, let a deep grave be
• 1:26:18
  Speaker 2: dug for the venomous dragon, and let a woman be
• 1:26:21
  Speaker 2: firmly bound to him in her embrace, while he enjoys
• 1:26:24
  Speaker 2: the pleasure of the marriage bed. She dies, and with
• 1:26:26
  Speaker 2: her the dragon is covered beneath the earth from this,
• 1:26:29
  Speaker 2: the body is given over to the death and stained
• 1:26:31
  Speaker 2: with blood, the true path of the work. So I
• 1:26:35
  Speaker 2: mean that's super symbolic when it comes to the ideas
• 1:26:38
  Speaker 2: of the marriage, the wedding bed, the divine marriage, the
• 1:26:45
  Speaker 2: dying to be reborn, the dragon seating itself back into
• 1:26:49
  Speaker 2: the earth, and the womb. After all of this dragon
• 1:26:53
  Speaker 2: has been doing all kinds of other shit. The seabed
• 1:26:55
  Speaker 2: next to it, he's in like a like a fucking rectangle,
• 1:26:59
  Speaker 2: like a m.
• 1:27:02
  Speaker 1: H And it says, uh, interesting, Yeah, the.
• 1:27:11
  Speaker 2: Mansion of dragons is in caverns of the earth, but
• 1:27:14
  Speaker 2: of men upon the earth, in the immediate air, which
• 1:27:17
  Speaker 2: two elements are contrary and yet are appointed by the
• 1:27:20
  Speaker 2: philosopher to be joined together. It's like, look, how important
• 1:27:23
  Speaker 2: the philosopher is. This is why I keep talking about
• 1:27:24
  Speaker 2: the philosopher, because the ancient philosopher is a combination of things,
• 1:27:30
  Speaker 2: you know, the philosopher, king, warrior, magician, priest. It's more
• 1:27:33
  Speaker 2: than just the analytic philosophers or the philosopher of our
• 1:27:36
  Speaker 2: day and age. And so I think it's something important
• 1:27:38
  Speaker 2: to understand, Like what is it? Why do they say
• 1:27:40
  Speaker 2: called the philosopher's stone, right, the philosophia, this love of wisdom,
• 1:27:44
  Speaker 2: why is it in a stone? So it continues to go,
• 1:27:47
  Speaker 2: that one may act upon the other, but by the woman,
• 1:27:50
  Speaker 2: others understand the eagle as basil. Second in the second key,
• 1:27:55
  Speaker 2: fortis not convenient, says he, for an eagle to place
• 1:27:59
  Speaker 2: her net upon the alps, because her young ones would
• 1:28:02
  Speaker 2: die by the coldness of the snow upon the tops
• 1:28:04
  Speaker 2: of the mountains. But if you add to the eagle
• 1:28:07
  Speaker 2: a cold dragon that half a long time had his
• 1:28:10
  Speaker 2: habitation in the rocks, and it's crept out of the
• 1:28:12
  Speaker 2: caverns of the earth, and put them both into the
• 1:28:14
  Speaker 2: infernal cell, then will Pluto blow and by his last
• 1:28:20
  Speaker 2: draws a fiery, volatile spirit from the cold dragon. It's beautiful,
• 1:28:29
  Speaker 2: it says the eagle. Therefore, and the woman as like
• 1:28:32
  Speaker 2: is like wife the dragon, with almost all the several
• 1:28:35
  Speaker 2: of the whole art, as understood by their precepts, which
• 1:28:38
  Speaker 2: by opening the bosom of nature, we have perhaps so
• 1:28:41
  Speaker 2: far explained and declared by the sons of learning, that
• 1:28:44
  Speaker 2: to glory might be given to God.
• 1:28:46
  Speaker 1: I'm men.
• 1:28:51
  Speaker 2: Yeah, the infernal beast, the viathan is it like fully
• 1:28:55
  Speaker 2: consumes the man. So the man can transcend its lowest
• 1:28:59
  Speaker 2: desires to be risen up into the highest spheres of
• 1:29:02
  Speaker 2: God so hard it's like a daily walk. That's why
• 1:29:05
  Speaker 2: we that's why it's next to the infernal waters is
• 1:29:09
  Speaker 2: because of it's like continually chaos stems into the mind
• 1:29:13
  Speaker 2: to take over the order, and those lower desires will
• 1:29:16
  Speaker 2: can take you over like demons, being like you're possessed
• 1:29:19
  Speaker 2: by demons. It's a real like this is as much
• 1:29:21
  Speaker 2: as it like it's symbolic because you you go through
• 1:29:24
  Speaker 2: it psychologically, through your actual life, you know what I mean?
• 1:29:32
  Speaker 1: You like how I just said it kind of looks
• 1:29:34
  Speaker 1: like the pharmacy of medical thing does almost kind of
• 1:29:36
  Speaker 1: look like, yeah, right, which one is it? Uh? The
• 1:29:42
  Speaker 1: Scluppius is the is the one, but just the one
• 1:29:45
  Speaker 1: snake on it?
• 1:29:45
  Speaker 2: Right? Yeah? Yeah, well the because the Cadusius has both
• 1:29:51
  Speaker 2: Aesclippius has I think just the one you.
• 1:29:53
  Speaker 1: Know growing up there. Yeah, yeah. One thing I did
• 1:29:58
  Speaker 1: want to say about this image, and like, you know,
• 1:30:00
  Speaker 1: this just could totally be a fucking grasp, but I
• 1:30:05
  Speaker 1: only like just really noticed it now because of how
• 1:30:08
  Speaker 1: I have tried to depict certain things on imagery my
• 1:30:12
  Speaker 1: own shit, there has been times in the past where
• 1:30:15
  Speaker 1: I will depict a woman sometimes like almost kind of
• 1:30:21
  Speaker 1: look like she might be doing a ballerina pose or
• 1:30:24
  Speaker 1: is standing there and has like one leg kind of
• 1:30:26
  Speaker 1: bent like almost almost very much like I guess if
• 1:30:29
  Speaker 1: a person was standing doing the hanged man instead of hanging,
• 1:30:33
  Speaker 1: you know, the way his legs bent almost like a
• 1:30:34
  Speaker 1: ballerina pose. I would have like a chick kind of
• 1:30:39
  Speaker 1: do that. And that was to represent showing that she
• 1:30:44
  Speaker 1: can actually bend, you know, that her leg that she
• 1:30:46
  Speaker 1: can change form. And sometimes in the past I have
• 1:30:50
  Speaker 1: tried to do it. It was a little hard to
• 1:30:53
  Speaker 1: do with Chatchibt because it seemed to be very like strict,
• 1:30:57
  Speaker 1: believe it or not, with certain guidelines with even images,
• 1:31:01
  Speaker 1: and like I'm asking this thing, like I'm not even
• 1:31:04
  Speaker 1: saying this lady to be half naked, I'm asking her
• 1:31:07
  Speaker 1: to be in like I forgot even what's like Renaissance
• 1:31:10
  Speaker 1: style dress some shit y resh with this woman's clothes.
• 1:31:13
  Speaker 1: But I wanted to use a pole to where it
• 1:31:16
  Speaker 1: was almost like doing ballerina or like pole dancing, but
• 1:31:19
  Speaker 1: she was like kind of wrapped around the pole, and
• 1:31:22
  Speaker 1: I wanted to use the pole as it like I've
• 1:31:24
  Speaker 1: kind of shown this in the past a few times,
• 1:31:26
  Speaker 1: but it was hard to pull it off because it
• 1:31:28
  Speaker 1: kept on telling me it was sexualizing, and I was
• 1:31:31
  Speaker 1: I was like, no, not really, I'm like ladies less
• 1:31:34
  Speaker 1: Like I was like, what, you know, like, I'm not
• 1:31:37
  Speaker 1: swilling any skin, what the hell are you talking about?
• 1:31:40
  Speaker 1: But because I guess I'm throwing the pole and then
• 1:31:42
  Speaker 1: it screws it all up. But I wanted to show
• 1:31:45
  Speaker 1: that as kind of as the hyloid canal and that
• 1:31:48
  Speaker 1: the female that it can bend, and when it does bend,
• 1:31:52
  Speaker 1: it looks like an s in the back of your eye.
• 1:31:55
  Speaker 1: So I've always tried to use her as an image
• 1:31:58
  Speaker 1: like that. A lot of times. I've used afort because
• 1:32:01
  Speaker 1: Apedocles had said at one point that there's like a
• 1:32:04
  Speaker 1: flame that dances like aphrodite in the back of your eye.
• 1:32:09
  Speaker 1: You were to look at how your highlid canal contracts
• 1:32:12
  Speaker 1: when your pupil opens and closes, it would bend or
• 1:32:15
  Speaker 1: go back to straight. So I mean, if you did
• 1:32:17
  Speaker 1: a bunch of you know, it would look like something flickering.
• 1:32:19
  Speaker 1: Maybe I don't know, Like I do use that image
• 1:32:23
  Speaker 1: myself to try to represent the part of the you know,
• 1:32:26
  Speaker 1: the eyeball, the pupil actually changing, you know, how much
• 1:32:29
  Speaker 1: light it's taking it or whatever, and uh, you know,
• 1:32:34
  Speaker 1: at the bottom of your eye like after you get
• 1:32:37
  Speaker 1: the hyloid canal and where she's kind of then you
• 1:32:41
  Speaker 1: have like the oris serada on the lens. Underneath that
• 1:32:44
  Speaker 1: then would be the ocuous humor, and then before that
• 1:32:49
  Speaker 1: would be your cornea. And then you're outside your eyeball,
• 1:32:52
  Speaker 1: and the cornea when you start looking at it underneath
• 1:32:55
  Speaker 1: the microscope looks just like brick or sand. And so
• 1:32:59
  Speaker 1: like me like what I'm I'm you know, I could
• 1:33:01
  Speaker 1: be totally wrong where I like and I'm kind of
• 1:33:03
  Speaker 1: seeing like for me, I would even say I would
• 1:33:06
  Speaker 1: use this for an imagery for the eyeball, because I'm
• 1:33:09
  Speaker 1: showing that something that you know might be looked at
• 1:33:12
  Speaker 1: is can't change, and it is in stone can actually
• 1:33:16
  Speaker 1: be broken or changed, and the bitch can bend. And
• 1:33:19
  Speaker 1: then there's the accuous humor, which is the water around
• 1:33:22
  Speaker 1: underneath her or in that bottom party or eye. And
• 1:33:25
  Speaker 1: then there's the cornea, which is the bricks, which is
• 1:33:27
  Speaker 1: all the you know, the bricks around it as well
• 1:33:30
  Speaker 1: that could be completely off but that's how that's fascinating.
• 1:33:35
  Speaker 2: That's crazy. That's a great, that's a crazy. I like that.
• 1:33:38
  Speaker 2: I like that because if you know, this is another
• 1:33:41
  Speaker 2: way to view vision and how to have a higher vision,
• 1:33:45
  Speaker 2: and then the eye is a great way to depict.
• 1:33:47
  Speaker 1: That this these things back here corneas and even that
• 1:33:53
  Speaker 1: just like it's not even like ARXL. You know, like
• 1:33:55
  Speaker 1: your light starts kind of going in and come and
• 1:33:57
  Speaker 1: flipping out with like angles like that.
• 1:34:00
  Speaker 2: Yeah, right, and then underneath it looks like little caverns
• 1:34:02
  Speaker 2: or whatever it is that's leading into caves whatever. Yeah,
• 1:34:07
  Speaker 2: what what are those m It's beautiful though.
• 1:34:17
  Speaker 1: Yeah. One one time I had showed how uh fox in
• 1:34:22
  Speaker 1: the old eyeball series, how when they used to like
• 1:34:24
  Speaker 1: show those those light things on the side and they
• 1:34:26
  Speaker 1: would make like those the would go up into the
• 1:34:28
  Speaker 1: air around the fox uh logo, and a long time ago,
• 1:34:34
  Speaker 1: at one point like they always did, like they've changed
• 1:34:37
  Speaker 1: actually what they do, but at one point, like they
• 1:34:39
  Speaker 1: I think they were set up to where if you
• 1:34:41
  Speaker 1: looked at the way that they were shining and crossing,
• 1:34:44
  Speaker 1: and then went and looked at like how light reflected
• 1:34:46
  Speaker 1: off your eyebowl, your lens. It was like literally like
• 1:34:50
  Speaker 1: showing it opened and closed. They were literally showing you.
• 1:34:53
  Speaker 5: Exact side with the way it reflect open, in the
• 1:34:58
  Speaker 5: way the light reflects clo like it was legit, Like
• 1:35:01
  Speaker 5: I even took the picture of how the lights went
• 1:35:04
  Speaker 5: and crossed and then how it's like done, Like if
• 1:35:07
  Speaker 5: you were to like look at it online and they
• 1:35:09
  Speaker 5: show you how it's the same exact thing.
• 1:35:11
  Speaker 1: I was like, that's fucking weird.
• 1:35:12
  Speaker 2: That's cool.
• 1:35:12
  Speaker 1: Well by accident, but still, I mean, who knows. I
• 1:35:15
  Speaker 1: mean again, this is something a big company that is
• 1:35:18
  Speaker 1: captivating your eyes.
• 1:35:20
  Speaker 2: Oh yeah, oh yeah, definitely, and they're putting subliminal imprints
• 1:35:24
  Speaker 2: onto all of the stuff to and train you more
• 1:35:28
  Speaker 2: and more every time.
• 1:35:32
  Speaker 1: Oh I don't you know, I don't even know. I'm
• 1:35:33
  Speaker 1: sure we probably mentioned it, but I don't even know
• 1:35:36
  Speaker 1: if I even said to the people, like what the
• 1:35:38
  Speaker 1: image even shows it's a woman in a dragon engaged
• 1:35:42
  Speaker 1: in mortal combat. I guess that's what it says. Neither
• 1:35:45
  Speaker 1: emerges as simple victor. But it's like showing like a
• 1:35:49
  Speaker 1: like a statue. Would you almost consider that kind of
• 1:35:51
  Speaker 1: like a statue of a woman almost.
• 1:35:53
  Speaker 2: I think it's an actual woman or it's a real person. Okay, Yeah,
• 1:35:56
  Speaker 2: that's a real woman being engulfed by a dress snake
• 1:36:01
  Speaker 2: by a serpent figure as she's laying in like a
• 1:36:04
  Speaker 2: coffin with a scenery of old temples and a water
• 1:36:12
  Speaker 2: and she's on like a waterway.
• 1:36:16
  Speaker 1: Yeah, you know, was there something even like a Maybe
• 1:36:20
  Speaker 1: there wasn't. I don't know. For some reason, I was
• 1:36:22
  Speaker 1: thinking there was something even mentioned about an eagle, even
• 1:36:25
  Speaker 1: though there is one in here.
• 1:36:26
  Speaker 2: There was something mentioned about an eagle. But yeah, there's
• 1:36:29
  Speaker 2: no way.
• 1:36:29
  Speaker 1: I don't. I don't understand that either, because then that's
• 1:36:32
  Speaker 1: trying to make if you put in the burden there,
• 1:36:35
  Speaker 1: you would have. That's why I like when I represented
• 1:36:39
  Speaker 1: my imagery, when I try to do the one eye
• 1:36:40
  Speaker 1: and the other rights actually putting you in fight and
• 1:36:43
  Speaker 1: flight mode at the same time.
• 1:36:45
  Speaker 2: Oh interesting, that's cool.
• 1:36:48
  Speaker 1: So that's even sometimes where I wonder if you get
• 1:36:50
  Speaker 1: that with horrors. You know, he actually was a fighter
• 1:36:55
  Speaker 1: though he was a warrior, and he flew yep, so
• 1:36:58
  Speaker 1: you went fight and flight mode at the same time.
• 1:37:00
  Speaker 2: It's true. And the two different horses, right, the crowned
• 1:37:03
  Speaker 2: conquering child, the warrior horse, and the set horpor creates himself.
• 1:37:07
  Speaker 2: Who was the different the second horse or the different
• 1:37:11
  Speaker 2: differentiation of horse.
• 1:37:15
  Speaker 1: I wondered about it like that, Yeah, Yeah, pretty interesting one.
• 1:37:23
  Speaker 1: That's the last one. And I do wonder, like, I mean,
• 1:37:26
  Speaker 1: maybe it would help if we have if I would
• 1:37:28
  Speaker 1: have once shown more, or if I showed like the
• 1:37:31
  Speaker 1: last one, like if we did a couple episodes of
• 1:37:33
  Speaker 1: this and showed the last one after a little bit more,
• 1:37:36
  Speaker 1: would we think that this deserves to be the last one? Like?
• 1:37:40
  Speaker 1: Is this actually the ending image or not? Oh?
• 1:37:42
  Speaker 2: Right? Right?
• 1:37:43
  Speaker 1: And you wonder about that, out of all fifty, is
• 1:37:45
  Speaker 1: just really supposed to be the ending or is this still.
• 1:37:47
  Speaker 2: Or is this part of a fucking part of the Yeah,
• 1:37:49
  Speaker 2: part of the story you have no idea? Yeah, to
• 1:37:52
  Speaker 2: reassess and reassociate based upon your own knowledge and initiation level.
• 1:37:58
  Speaker 1: Yeah, yeah, like or even like another is there another
• 1:38:02
  Speaker 1: part of the story that still comes after this? Maybe
• 1:38:04
  Speaker 1: even showing you like after yeah?
• 1:38:07
  Speaker 2: Nice?
• 1:38:08
  Speaker 1: Who knows? Yeah, very interesting images, very interesting idea I
• 1:38:13
  Speaker 1: think with Michael Myers, Michael Meyer.
• 1:38:16
  Speaker 2: Wherever you want to say, is that yeah, beautiful.
• 1:38:18
  Speaker 1: One thousand and whatever street, Yeah, I've covered that show
• 1:38:24
  Speaker 1: actually at the beginning, how I thought it was like
• 1:38:26
  Speaker 1: actually showing you kabalistic ship.
• 1:38:28
  Speaker 2: Interesting?
• 1:38:29
  Speaker 1: Really, Yeah, I've done that, I've done I've done it.
• 1:38:31
  Speaker 1: Cult symbolism. This was years ago with Halloween and uh
• 1:38:36
  Speaker 1: Elm Street.
• 1:38:37
  Speaker 2: Oh, Elm Street, Nightmare on Elm Street is brilliant.
• 1:38:40
  Speaker 1: Especially especially with the movies Chasing them bitches man, Yeah,
• 1:38:42
  Speaker 1: dream Wark Yeah right, yeah, it's like the fucking same
• 1:38:45
  Speaker 1: thing basically with uh with the Ghostbusters, with the Beast
• 1:38:49
  Speaker 1: and the fucking chick.
• 1:38:51
  Speaker 2: Oh yeah, I'm the gatekeeper.
• 1:38:53
  Speaker 1: Yo, you know? Do you know? And Award even admits
• 1:38:57
  Speaker 1: you can find an interview with him when he emits
• 1:38:59
  Speaker 1: that that movie was supposed to be almost totally a cult.
• 1:39:02
  Speaker 2: Oh yeah, but they had a number down and it.
• 1:39:05
  Speaker 1: Was from beginning to end, NonStop action that they told him.
• 1:39:11
  Speaker 1: First off, if they told him he had to do
• 1:39:12
  Speaker 1: the movie with that other guy, I forgot the guys.
• 1:39:15
  Speaker 1: He pitched it to him all alone.
• 1:39:17
  Speaker 6: He said, we'll do it if you cut out like
• 1:39:19
  Speaker 6: some of this action because it's going to be way
• 1:39:21
  Speaker 6: too expensive and you got to include this guy in it.
• 1:39:24
  Speaker 6: It was all right, I guess, but it was supposed
• 1:39:27
  Speaker 6: to be way more could and a lot more action
• 1:39:29
  Speaker 6: believes than not.
• 1:39:30
  Speaker 2: Oh that's cool. Yeah, I mean those those two Ghostbusters,
• 1:39:34
  Speaker 2: the first and second one basically like are partially things
• 1:39:37
  Speaker 2: that formulated my sense of humor, like Bill Murray and
• 1:39:41
  Speaker 2: Dan like the jokes in that, it's like brilliant.
• 1:39:44
  Speaker 1: Oh dude, I grew up kind of like on a
• 1:39:47
  Speaker 1: lot of those comedians, Bill Murray, Dan Aykroyd and Chase
• 1:39:53
  Speaker 1: the little Bit of Steve Martin, John Can No, No,
• 1:39:57
  Speaker 1: Who's who's the uncle Buck? Who played the uncle Buck again? Oh?
• 1:40:01
  Speaker 2: Is it John Candy?
• 1:40:02
  Speaker 1: Yeah?
• 1:40:03
  Speaker 2: Yeah, I think it's John Candy. Yeah, Chris Farley and
• 1:40:06
  Speaker 2: those characters. Oh yeah, true comedy.
• 1:40:10
  Speaker 1: I grew up a lot of that, like a lot
• 1:40:11
  Speaker 1: of that old ship.
• 1:40:13
  Speaker 2: Yeah. Like Dan Akrod is one of the highest he
• 1:40:15
  Speaker 2: I mean he owned a magical bookstore. You know, he
• 1:40:20
  Speaker 2: was deeply integrated in the local magical bookstore in New York. Yeah,
• 1:40:25
  Speaker 2: he's Yeah. I mean those movies if you know, key
• 1:40:28
  Speaker 2: Master and Gatekeeper, pretty you know you you know, and
• 1:40:31
  Speaker 2: then what is it when they formulated don't think anything, right,
• 1:40:35
  Speaker 2: don't think anything, And all of a sudden you see
• 1:40:37
  Speaker 2: it and you're all like, what did you do? Bill
• 1:40:39
  Speaker 2: Murray looks at him. What looks at Dan? Okay, what'd
• 1:40:42
  Speaker 2: you do? And He's like, I couldn't help it. I
• 1:40:44
  Speaker 2: just you told me to clear my thoughts. And the
• 1:40:45
  Speaker 2: first thing all I could think of was stay puffed
• 1:40:49
  Speaker 2: marshmallow man. You didn't and is fucking in sustained? You
• 1:40:52
  Speaker 2: know your intention and imagination, And dan Aykroyd at that
• 1:40:56
  Speaker 2: moment lacked the willpower to clear his mind. And then
• 1:40:59
  Speaker 2: the demas took his intention and made the massive demon
• 1:41:02
  Speaker 2: that they had had the beat. And what do they
• 1:41:04
  Speaker 2: do at the end to defeat it? They crossed the streams?
• 1:41:09
  Speaker 2: Don't cross the streams? What when they crossed the streams
• 1:41:11
  Speaker 2: into into the portal that the demon came out of,
• 1:41:17
  Speaker 2: and then they destroyed it. And the extreme crossing looks
• 1:41:19
  Speaker 2: like the Cadusius snakes as it rides up into the portal.
• 1:41:23
  Speaker 2: And then they they beat the stay puff barshmallow man
• 1:41:26
  Speaker 2: on this top of the Empire State building brilliant.
• 1:41:29
  Speaker 1: It's just wild. If you go back and look at
• 1:41:31
  Speaker 1: it like, it's like, holy shit. There's my opinion.
• 1:41:33
  Speaker 2: There's a lot of so much, so much it's beautiful.
• 1:41:37
  Speaker 1: We could very recover one day. That'd be fun. Actually, yeah,
• 1:41:40
  Speaker 1: that'd be a great view, which like you can't even
• 1:41:42
  Speaker 1: do it on YouTube, like you or you'd have to
• 1:41:44
  Speaker 1: like cover it without showing it, you know what I'm saying.
• 1:41:48
  Speaker 2: Yeah, I found that with why I've stopped doing video
• 1:41:51
  Speaker 2: essays currently was because I got so pissed off on
• 1:41:53
  Speaker 2: my last two video essays that I put up. Then
• 1:41:55
  Speaker 2: YouTube fucked me on them and it was all like, oh, yeah,
• 1:41:58
  Speaker 2: you can't put that up, and I'm all, like, I
• 1:42:01
  Speaker 2: just spent fucking fifteen hours editing that goddamn video and
• 1:42:04
  Speaker 2: now I can't even use it.
• 1:42:05
  Speaker 1: Okay, So that's why you can't less if it wasn't
• 1:42:08
  Speaker 1: even like oh, you just can't be monetized. A lot
• 1:42:11
  Speaker 1: of times you can put this up. Yeah, I don't
• 1:42:13
  Speaker 1: give a shit if I can't put commercials and I
• 1:42:15
  Speaker 1: just don't want to do it.
• 1:42:16
  Speaker 2: Yeah, that's what I'm saying. And you let you, and
• 1:42:19
  Speaker 2: I'm like, well, what the fuck? Just why?
• 1:42:22
  Speaker 1: Because I actually promoting the fucking movie and.
• 1:42:24
  Speaker 2: That's exactly it, and because some AI captures it and
• 1:42:27
  Speaker 2: it's all like, oh they you can't do that. Now,
• 1:42:29
  Speaker 2: I'm like, okay, that's.
• 1:42:31
  Speaker 1: I got to strike and almost lost the channel it
• 1:42:35
  Speaker 1: was close because it was I think I eventually might
• 1:42:38
  Speaker 1: have lost that channel. Maybe not, No, I think I did.
• 1:42:41
  Speaker 1: Uh there was I had called Crusherroom and like we
• 1:42:47
  Speaker 1: were showing stuff from his YouTube channel to like show
• 1:42:52
  Speaker 1: the fans and stuff topics that he was covering. And
• 1:42:56
  Speaker 1: I got smacked like some copyright copyright r Like actually
• 1:43:00
  Speaker 1: it wasn't even just like.
• 1:43:01
  Speaker 7: Oh it went straight, I can't monetize it. They actually
• 1:43:04
  Speaker 7: slapped me with a strike. I remember even hitting him up.
• 1:43:08
  Speaker 7: I was like, yo, I got hit for you showing
• 1:43:11
  Speaker 7: your ship on my channel. I was like, you say
• 1:43:14
  Speaker 7: you do about that?
• 1:43:15
  Speaker 2: Like, yeah, that's awful.
• 1:43:18
  Speaker 1: It's fucking wild, dude. I was like, what the fuck?
• 1:43:21
  Speaker 2: Yeah, censor every.
• 1:43:22
  Speaker 1: Dude is literally on my show in the video like
• 1:43:27
  Speaker 1: it's the same person. Yeap, what's the problem here.
• 1:43:30
  Speaker 2: The problem is AI. The problem is AI and the
• 1:43:33
  Speaker 2: PC police going around censorship police all over the place.
• 1:43:39
  Speaker 1: Silly stuff. But yeah, that was Uh that was five
• 1:43:43
  Speaker 1: of fifty of Myers's emblems. Pretty interesting book. Again, I
• 1:43:49
  Speaker 1: do think, you know, and again I wonder how much
• 1:43:52
  Speaker 1: how much you know psychology and ship is going on
• 1:43:56
  Speaker 1: on the practitioner? Oh yeah, you know how much you're
• 1:43:59
  Speaker 1: doing to yourself.
• 1:44:00
  Speaker 2: And I think that's the whole point. I think that's
• 1:44:01
  Speaker 2: the whole point. Is that a lot like.
• 1:44:03
  Speaker 1: Even Bruno, like going back to like it was this
• 1:44:06
  Speaker 1: bruno Esque type of where you stand at it and
• 1:44:08
  Speaker 1: actually did something. You know, does the music? Does the
• 1:44:13
  Speaker 1: music happen too? Something as well? Who knows? Yeah, that
• 1:44:16
  Speaker 1: don't play correctly? Yah? Knows? What's up with the notes? Could? Could?
• 1:44:21
  Speaker 1: I mean? Yeah? And ciphers that have been done with notes?
• 1:44:26
  Speaker 1: Oh yeah, I forgot the name of it. But I mean,
• 1:44:29
  Speaker 1: I don't know if that's happening there. What I mean,
• 1:44:31
  Speaker 1: who knows?
• 1:44:32
  Speaker 2: Well, I definitely think so. I mean to think about
• 1:44:33
  Speaker 2: the contemporary stuff to just go bring it back to tool.
• 1:44:36
  Speaker 2: It's like when you're watching Parabola into our parable into
• 1:44:39
  Speaker 2: Parabola and Alex Gray's work that he does in there,
• 1:44:42
  Speaker 2: you're watching an l chemical process go through and the
• 1:44:45
  Speaker 2: music is all syncopated and written in with sacred geometry,
• 1:44:50
  Speaker 2: with the Pythagorean theorems. Music. The harmony of the spheres
• 1:44:53
  Speaker 2: is within the music and as you go through it,
• 1:44:56
  Speaker 2: it is unlocking like keys to doors your vision and
• 1:45:00
  Speaker 2: if you have the prepared temple space to be able
• 1:45:05
  Speaker 2: to read the cues, so to speak as they say.
• 1:45:10
  Speaker 1: And the reason I say that is I think Brandson
• 1:45:12
  Speaker 1: could even say, back then the way again, like I
• 1:45:14
  Speaker 1: mentioned at the beginning, the way they looked at ship,
• 1:45:18
  Speaker 1: they didn't separate all that stuff, like you don't know,
• 1:45:20
  Speaker 1: it was integrated. Yeah, it was all integrated. So you
• 1:45:22
  Speaker 1: even have to wonder how much you know the integrating
• 1:45:26
  Speaker 1: the notes with numbers.
• 1:45:28
  Speaker 2: Yep, oh yeah I do, I do, I do, And
• 1:45:32
  Speaker 2: I think that's what like Schubert, Beethoven, that's what the
• 1:45:34
  Speaker 2: classical composers.
• 1:45:36
  Speaker 1: Again, you're telling me about some of this ship. I
• 1:45:38
  Speaker 1: was like, Yo, how do you know that isn't like
• 1:45:39
  Speaker 1: some just ciphered ship. That was like, Yo, this sounds sick.
• 1:45:42
  Speaker 2: Mozart, oh there Yeah, most of these people were Masons
• 1:45:46
  Speaker 2: and Rosicrucians, and I think they were all hidden or temple,
• 1:45:50
  Speaker 2: you know, initiate. It's not all of them, but a
• 1:45:52
  Speaker 2: large portion of them. And they what is the Nietzsche's
• 1:45:57
  Speaker 2: Wagner Wagner's Parcival is the alchemical journey And you're going
• 1:46:01
  Speaker 2: through that opera, you're you're watching in participating in ritual.
• 1:46:06
  Speaker 2: And so I think it's a.
• 1:46:07
  Speaker 1: Lot of classics. Yep. In the they're in the know.
• 1:46:12
  Speaker 1: Oh yeah, they had an experience, they were illuminated.
• 1:46:15
  Speaker 2: Oh yeah, bring it back, let's go.
• 1:46:20
  Speaker 1: We'll hope and we get there.
• 1:46:22
  Speaker 2: Maybe get one video at a time, one one awakening
• 1:46:26
  Speaker 2: at a time. I think it is, you know, and
• 1:46:28
  Speaker 2: I think the Black Iron Prison, as Philip K. Dick says,
• 1:46:31
  Speaker 2: is these things that like, you know, it can be
• 1:46:34
  Speaker 2: seen represented through Palenteer and Oracle and this. You know,
• 1:46:38
  Speaker 2: the the censorship that we do to ourselves is that
• 1:46:43
  Speaker 2: anti life force that's trying to fight against what is it,
• 1:46:47
  Speaker 2: the aromonic spirit, trying to fight against the the sacred
• 1:46:51
  Speaker 2: and the divine that's trying to help illuminate the world.
• 1:46:58
  Speaker 1: I agree, so.
• 1:47:01
  Speaker 2: Beautiful fucking crushed.
• 1:47:03
  Speaker 1: Yeah. I definitely think within I think within our lifetime
• 1:47:07
  Speaker 1: we're going to see a huge change too, especially when
• 1:47:11
  Speaker 1: it comes to even science in the occult. Yeah. Oh yeah,
• 1:47:15
  Speaker 1: a lot of different understanding.
• 1:47:17
  Speaker 2: I I do. And that's what Mark Booth is getting
• 1:47:19
  Speaker 2: at with his Secret History of the Universe, which is
• 1:47:23
  Speaker 2: actually showing how all of Einstein and Plank and Penrose
• 1:47:28
  Speaker 2: and Bore and all these characters they were alchemists and
• 1:47:32
  Speaker 2: magicians and sorcerers. While well, while you know they made
• 1:47:36
  Speaker 2: the atomic bomb, they split the atom, talk about an
• 1:47:39
  Speaker 2: alchemical process. And as he does so he you know,
• 1:47:43
  Speaker 2: as as he as Heisenberg splits the atom, you know,
• 1:47:45
  Speaker 2: he quotes the Maha brata I am but become a
• 1:47:49
  Speaker 2: destroyer of worlds. I mean, it's fucking more of existential
• 1:47:55
  Speaker 2: and alchemical than that.
• 1:47:59
  Speaker 1: Even you want to look at it, and you're destroying
• 1:48:03
  Speaker 1: the world, maybe.
• 1:48:04
  Speaker 2: Oh, comp splitting the atom is you're creating, you're tapping,
• 1:48:06
  Speaker 2: You're going back into what the Covenant represents. Is this
• 1:48:10
  Speaker 2: this god force that is destroy is a destroying creating
• 1:48:14
  Speaker 2: force in you know, the Promethean fire on fucking like
• 1:48:19
  Speaker 2: on steroids.
• 1:48:21
  Speaker 1: You can really look at that and some deep ship
• 1:48:24
  Speaker 1: oh yeah, oh.
• 1:48:24
  Speaker 2: Yeah yeah, Mark and just everyone goes out knows if
• 1:48:27
  Speaker 2: you haven't, go check out my Mark Booth interview because
• 1:48:30
  Speaker 2: he goes deep into that. And in his book, A
• 1:48:33
  Speaker 2: Secret History of the Universe, it's fantastic. He each chapter
• 1:48:36
  Speaker 2: is going through a certain scientist in the last hundred
• 1:48:39
  Speaker 2: or so years, if not farther back a few hundred years,
• 1:48:44
  Speaker 2: and he's talking, he's talking about this is what they
• 1:48:46
  Speaker 2: were doing in their like their science and their physics
• 1:48:49
  Speaker 2: and things. But then this was what it was coming
• 1:48:51
  Speaker 2: from and stemming from from the alchemical esoteric side of things.
• 1:48:55
  Speaker 2: So that's why it's that's why it's such a great book.
• 1:49:02
  Speaker 1: Well, I think we can wrap this up, man. Yeah,
• 1:49:04
  Speaker 1: that's actually one guest too that you were a shaming
• 1:49:06
  Speaker 1: that that guy. It's a guesst that actually was like, Yo,
• 1:49:08
  Speaker 1: I got it, ass Magus, get in contact with that dude.
• 1:49:11
  Speaker 1: Oh yeah, I wanted to if you didn't mind, no.
• 1:49:14
  Speaker 2: Please, Yeah, I'll reach out to him and say he
• 1:49:18
  Speaker 2: should come on the Rejects and promote his book. Yeah,
• 1:49:21
  Speaker 2: for sure, that book changed my life. The Secret History
• 1:49:23
  Speaker 2: of the World is one of one of the most
• 1:49:24
  Speaker 2: life changing books I've ever ever read.
• 1:49:27
  Speaker 1: Yeah, that's great, So, yo, thank you for coming on.
• 1:49:32
  Speaker 1: Supposed to have a guest on tonight, but guy couldn't
• 1:49:34
  Speaker 1: make it, So I was like, yo, fucking asked Brandon.
• 1:49:37
  Speaker 1: Judith was going to try to make it too, but
• 1:49:40
  Speaker 1: we changed the time to a little bit later and
• 1:49:42
  Speaker 1: she was like, yeah, she really couldn't do it. Plus
• 1:49:44
  Speaker 1: I go out in New York. You're supposedly deal they
• 1:49:46
  Speaker 1: can slammed with this Canadian smoke. It is bad and
• 1:49:51
  Speaker 1: she says like it's got how like fucked up?
• 1:49:53
  Speaker 2: Oh yeah, and it was bad where I'm from too,
• 1:49:55
  Speaker 2: in the Upper Midwest for a while there. It's not
• 1:49:56
  Speaker 2: as bad as it is in New York, but it
• 1:49:58
  Speaker 2: was fucking awful. It's the dystopic nature. And I think
• 1:50:01
  Speaker 2: that they're destroying that that on purpose so they can
• 1:50:05
  Speaker 2: mine lithium and sell it off. That's my conspiracy fact.
• 1:50:10
  Speaker 2: Direct energy weapons are real, and Pete Hagathe have come
• 1:50:14
  Speaker 2: has come out and said so. And they've been trying
• 1:50:17
  Speaker 2: to gaslight us and saying that they're not real for
• 1:50:19
  Speaker 2: years and then it just came out a few weeks ago.
• 1:50:23
  Speaker 2: Oh yeah, direct energy weapons, we're buying up. Then buy
• 1:50:26
  Speaker 2: the butt loads for our military industrial complex. No reason
• 1:50:29
  Speaker 2: we don't use them domestically whatever.
• 1:50:33
  Speaker 1: Yeah. I remember someone covering that or showing that. They're like, yo,
• 1:50:35
  Speaker 1: you just admitted that we have direct energy weapons.
• 1:50:39
  Speaker 2: Yeah.
• 1:50:39
  Speaker 1: I was like, a look at that. We better get
• 1:50:41
  Speaker 1: our blue houses.
• 1:50:42
  Speaker 2: That's exactly. Yeah, that's exactly Oprah's doing it.
• 1:50:45
  Speaker 1: You gotta get the blue roofs.
• 1:50:47
  Speaker 2: That's hilarious, so funny isn't it so funny all this shit.
• 1:50:51
  Speaker 2: We are in the age of disclosure and it's just
• 1:50:53
  Speaker 2: not coming the way we think. And then with so
• 1:50:56
  Speaker 2: much information, it just back to the fucking memory. There
• 1:51:00
  Speaker 2: it goes.
• 1:51:01
  Speaker 3: No one cares well, I think even uh, you know,
• 1:51:06
  Speaker 3: sometimes I have heard that, you know, I don't know
• 1:51:09
  Speaker 3: if this is like known or if it's just a theory,
• 1:51:12
  Speaker 3: but sometimes, like part of MK ultra, some of the
• 1:51:16
  Speaker 3: techniques is to like, have you so fucked with information, with.
• 1:51:19
  Speaker 1: Just even wondering what's what anymore that you just actually
• 1:51:23
  Speaker 1: stop even really fucking caring. Yeah, so like now they
• 1:51:27
  Speaker 1: can come out in station.
• 1:51:28
  Speaker 2: You know, it was really like whatever, can I get gassed?
• 1:51:31
  Speaker 1: It's like kind of almost like yeah, yeah, it's almost
• 1:51:34
  Speaker 1: like kind of like how there was nothing about the
• 1:51:35
  Speaker 1: Epstein papers.
• 1:51:36
  Speaker 2: Really yeah, no, it's like what I.
• 1:51:41
  Speaker 1: Mean, you know, I mean there's some conspiracy theorists that
• 1:51:43
  Speaker 1: you know, covered the ship some shows, but whatever, But like,
• 1:51:46
  Speaker 1: I don't think it got Like I think the rest
• 1:51:49
  Speaker 1: of the rest of society she's been like, wait, what
• 1:51:51
  Speaker 1: the fuck?
• 1:51:52
  Speaker 2: Yeah we should Then all of a sudden, you know,
• 1:51:55
  Speaker 2: not that I'm calling for any French style, you know, leatines,
• 1:52:01
  Speaker 2: you know whatever. But you know, like let them eat cake,
• 1:52:05
  Speaker 2: as they say, I'm just like, what's going on, Like,
• 1:52:08
  Speaker 2: no one's going to be put in prison, It's crazy.
• 1:52:12
  Speaker 2: We're just even like.
• 1:52:13
  Speaker 1: TV news stations that like, in my opinion, that obviously
• 1:52:17
  Speaker 1: are right, you know for Republicans, like they didn't even
• 1:52:21
  Speaker 1: push talking about the documents too much on TV to
• 1:52:25
  Speaker 1: like make an uproar about what was it? Yeah, No,
• 1:52:28
  Speaker 1: it was like because they were still too scared about
• 1:52:30
  Speaker 1: their people being in there.
• 1:52:32
  Speaker 2: Yeah, that's exactly because people are in it on both sides.
• 1:52:35
  Speaker 1: Yes, oh yeah.
• 1:52:38
  Speaker 2: And you know as we and it's the thing is,
• 1:52:41
  Speaker 2: as all these bad things are happening, that's why it's
• 1:52:43
  Speaker 2: more important to look into work like we just covered,
• 1:52:46
  Speaker 2: because these are the things that are actually they matter,
• 1:52:50
  Speaker 2: and we have to then understand that there are this
• 1:52:53
  Speaker 2: divine force is there for us to help guide us
• 1:52:56
  Speaker 2: on our way so we can hopefully, I don't know
• 1:53:00
  Speaker 2: if there's no such thing as winning, you know what,
• 1:53:02
  Speaker 2: orse like winning and losing is such a mundane way
• 1:53:07
  Speaker 2: of thinking about it, because the earth is going to
• 1:53:09
  Speaker 2: go through what it does and we just got to
• 1:53:11
  Speaker 2: hang on and try to heal ourselves from the sickness
• 1:53:16
  Speaker 2: whatever that is. You know, I don't know. It's such
• 1:53:18
  Speaker 2: a fan it's such a we live in such a
• 1:53:20
  Speaker 2: fantastical world.
• 1:53:24
  Speaker 1: Fantastical for sure.
• 1:53:26
  Speaker 2: You know. It's like, what the fuck is going on? Oh,
• 1:53:28
  Speaker 2: Epstein's Island's gone, Well, there's like twenty more. What are
• 1:53:31
  Speaker 2: we gonna do about it? Arrest Andrew Tate? Okay, like
• 1:53:36
  Speaker 2: good like, but what let's let him go? Like arrest him?
• 1:53:40
  Speaker 2: But why not all of the other pedophiles that are
• 1:53:43
  Speaker 2: in politics, people who are grooming people? What's going on?
• 1:53:49
  Speaker 1: I remember there was a fuck I can't remember his name.
• 1:53:51
  Speaker 1: There was some Republican I remember, not too long ago.
• 1:53:54
  Speaker 1: I think it was before Trump got in. I can't
• 1:53:57
  Speaker 1: remember his name. I think it was like a fucking
• 1:53:59
  Speaker 1: maggot dude where he even like got brought up on
• 1:54:02
  Speaker 1: like charges of some sort of pedophile ship. And it's like,
• 1:54:05
  Speaker 1: whatever happened with that?
• 1:54:06
  Speaker 2: Well, exactly right before the elections.
• 1:54:10
  Speaker 1: It seemed like it was like some smear campaign ye
• 1:54:14
  Speaker 1: on the dude right before the elections.
• 1:54:15
  Speaker 2: And oh right, I remember that. Well, the idea is
• 1:54:19
  Speaker 2: the idea is again with Anthony Wiener, He's going around
• 1:54:22
  Speaker 2: on a fucking like too. He's like talking to all
• 1:54:24
  Speaker 2: these places, and supposedly when people saw Wiener's laptop, police
• 1:54:29
  Speaker 2: were like killed and puked, and every cop that saw
• 1:54:32
  Speaker 2: the laptop is dead now mysteriously.
• 1:54:35
  Speaker 1: Yeah. Yeah, that's what I've heard too.
• 1:54:37
  Speaker 2: And he's out and about just hanging out.
• 1:54:41
  Speaker 1: You know, the guy like I busted twice, didn't he? Yeah, yeah,
• 1:54:48
  Speaker 1: I remember hearing that ship in New York.
• 1:54:50
  Speaker 2: And that's what goes back to us why myth magic
• 1:54:52
  Speaker 2: and meaning is more important than anything right now, because
• 1:54:54
  Speaker 2: it's so easy to fall in the the pits of
• 1:54:57
  Speaker 2: despair and thinking everything is wrong. And it's like, you know,
• 1:55:02
  Speaker 2: Kaiva always tells me, especially because her Buddhist practice is
• 1:55:05
  Speaker 2: it's like the house is on fire, but you can
• 1:55:08
  Speaker 2: just walk out of the house and not worry about
• 1:55:11
  Speaker 2: all the fire that's going on. It doesn't have to
• 1:55:13
  Speaker 2: affect you, you know, just know that it's happening, because
• 1:55:17
  Speaker 2: by knowing it's happening, we can hopefully make decisions and
• 1:55:21
  Speaker 2: talk about these things, so people aren't doing these things
• 1:55:24
  Speaker 2: in such droves.
• 1:55:28
  Speaker 1: I like that. That makes me think it's something kind
• 1:55:31
  Speaker 1: of close to something to David. What we said, it
• 1:55:33
  Speaker 1: that people we'll begin to wrap it up after that.
• 1:55:35
  Speaker 2: Yeah.
• 1:55:35
  Speaker 1: Yeah, I think he was saying something behind like having
• 1:55:38
  Speaker 1: like a real spiritual experience. What he might have said
• 1:55:42
  Speaker 1: with a magical somewhat of a magical experience. I forgot
• 1:55:45
  Speaker 1: how he worded it, but he said basically, you're gonna
• 1:55:48
  Speaker 1: have to take your whole world and burn it into ashes,
• 1:55:52
  Speaker 1: and take those ashes and build the world that you
• 1:55:54
  Speaker 1: want to live in. I love that.
• 1:55:56
  Speaker 2: That's alchemy.
• 1:55:57
  Speaker 1: Yeah, that is alchemy. Yeah, totally go along with everything
• 1:56:00
  Speaker 1: that this book is.
• 1:56:01
  Speaker 2: Probably that's exactly it. And no, it really is.
• 1:56:04
  Speaker 1: It really is. But Brandon, thank you again so much
• 1:56:08
  Speaker 1: showing up. Like I said, Judith was supposed to make it,
• 1:56:10
  Speaker 1: she couldn't, but it was great with you. Hopefully U,
• 1:56:13
  Speaker 1: with more further planning, we can get more rejects on.
• 1:56:16
  Speaker 1: But uh, I do think we'll get a bunch of
• 1:56:18
  Speaker 1: people on for the Heinrich Komer seem like we're interested
• 1:56:20
  Speaker 1: in that. That's like seven images might be able to
• 1:56:23
  Speaker 1: do that in like a long two hour show with
• 1:56:25
  Speaker 1: all of us there a bunch of interest. Ye, but uh,
• 1:56:27
  Speaker 1: yeah again, thank you and thank you everybody in the chat.
• 1:56:31
  Speaker 1: That is what's up? Everybody, tuned in for the live
• 1:56:33
  Speaker 1: and until the next one.
• 1:56:35
  Speaker 8: Everybody bell, close your words, look into the darkness, find
• 1:56:46
  Speaker 8: the blazing start.
• 1:56:49
  Speaker 1: Focus on It will be called the eclipse.
• 1:56:56
  Speaker 8: Don't feel sure you do?
• 1:57:05
  Speaker 2: You sure got to t
• 1:57:16
  Speaker 1: I