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Uncle Headless' Magical Mailbag- Sheela Na Gig & More · The Occult Rejects

• 0:02
  Speaker 1: You see, something's going to happen.
• 0:06
  Speaker 2: What what's gonna happen? What? Help?
• 0:24
  Speaker 1: What is? Everybody? Welcome to another This is magical nail bag.
• 0:28
  Speaker 1: I've got my co host Nick with me. Nick, tell
• 0:31
  Speaker 1: him what you've been working on?
• 0:32
  Speaker 2: Yeah, what's going on?
• 0:33
  Speaker 3: Uh?
• 0:34
  Speaker 4: Still we're still working on Plato almost done, almost done?
• 0:38
  Speaker 2: Uh? What else we had?
• 0:39
  Speaker 1: Uh?
• 0:40
  Speaker 4: We had betted on today ifeople didn't catch it covering
• 0:42
  Speaker 4: dark DNA, just showing like how they could funk around
• 0:44
  Speaker 4: and manipulate that ship. Actually, so im wondering if our
• 0:48
  Speaker 4: technology is actually even manipulating us to begin with our
• 0:52
  Speaker 4: DNA going by the way he was showing that again.
• 0:56
  Speaker 1: Well, if we go back to uh ahesh. I. I
• 0:59
  Speaker 1: keep thinking about that episode, you know, because that was
• 1:02
  Speaker 1: like thinking about computer vision really changes your perspective on
• 1:06
  Speaker 1: things like that's the first form of intelligence is visual stimulus,
• 1:10
  Speaker 1: And so thinking about that in reference to some of
• 1:14
  Speaker 1: these other topics like Alex Gray, for instance, one of
• 1:18
  Speaker 1: my favorite artists. He's putting eyeballs everywhere, you know, the
• 1:21
  Speaker 1: guy who does the tool stuff.
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  Speaker 2: Yeah, and it's like that's.
• 1:24
  Speaker 1: The birth of intelligence and he's putting into all these
• 1:27
  Speaker 1: different spots as sort of like this interlocking you know,
• 1:31
  Speaker 1: mesh work. But yeah, it's like the DNA specifically. He
• 1:36
  Speaker 1: talks about how there's there's no reason why DNA changes
• 1:42
  Speaker 1: after you've already been born, but it does, right, that's
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  Speaker 1: the epigenetic factor. And the epigenetic factor isn't really explored
• 1:49
  Speaker 1: too much by science. So the dark DNA stuff, that's
• 1:54
  Speaker 1: very important, you know, So I do that. Let me
• 1:58
  Speaker 1: let me get into my pull this up back to
• 2:07
  Speaker 1: the pentacles. Yeah, this symbol means death.
• 2:13
  Speaker 3: What this mysterious ancient symbol appears again and again in
• 2:19
  Speaker 3: Nordic Bronze Age artifacts and throughout Bronze Age Europe. Over
• 2:22
  Speaker 3: three thousand years ago, this pointed star or rosette shape
• 2:26
  Speaker 3: was fashioned into the basis of wooden and metal cups,
• 2:29
  Speaker 3: was stamped into golden bowls, and even crowned the tops
• 2:32
  Speaker 3: of the famous Bronze Age gold hats of Central Europe.
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  Speaker 2: It was long.
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  Speaker 1: Now, I gotta stop it right there, because as you
• 2:38
  Speaker 1: could see, like these sun shapes are very similar to
• 2:43
  Speaker 1: the sand dollar. And what he gets into a little
• 2:46
  Speaker 1: bit is how the sand dollar is very influential. But
• 2:49
  Speaker 1: where else do you find the five pointed star in
• 2:53
  Speaker 1: a circle. It's the pedacle, so the sand dollar could
• 2:57
  Speaker 1: be the birth of the pentacle. And it goes back
• 3:00
  Speaker 1: well this is fourteen hundred BC, but it goes back either.
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  Speaker 3: Shore to be a solar symbol, one of many signs
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  Speaker 3: related to the sun focused Bronze Age religion, and maybe
• 3:09
  Speaker 3: it is. But the specific design perhaps comes from somewhere
• 3:12
  Speaker 3: unexpected deep that helps us understand more about our ancestors beliefs.
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  Speaker 3: This fascinating twenty twenty four paper by Christian Horn suggests
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  Speaker 3: the motif comes from the sea. Along the beaches of
• 3:26
  Speaker 3: the Baltic Sea, Nordic Bronze Age people encountered fossilized sea urchins,
• 3:30
  Speaker 3: naturally weathered out of local deposits. These fossils often display
• 3:34
  Speaker 3: a striking five raid star pattern, almost identical to the motif.
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  Speaker 1: Scene on how pantical is that? I mean, come on,
• 3:43
  Speaker 1: this is part two, but you could see exactly where
• 3:46
  Speaker 1: all of this stuff is coming from. It has to
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  Speaker 1: do with the sun, it has to do with the sea,
• 3:51
  Speaker 1: It has to do with bringing things down into reality.
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  Speaker 1: It's the point where you know, the you know, the
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  Speaker 1: altar of the world is sort of handed to you,
• 4:03
  Speaker 1: right they're telling you, hey, this is this is supportant
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  Speaker 1: One age artifacts.
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  Speaker 3: And these fossils were deliberately collected and placed in burials
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  Speaker 3: alongside amber shells, seaweed, and water worn stones, because in
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  Speaker 3: many Indo European traditions, the afterlife lies beyond the sea.
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  Speaker 3: The dead joney westwards following the sun, crossing water to
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  Speaker 3: reach the realm of the ancestors. Beaches then were liminal places,
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  Speaker 3: the threshold between worlds. The star marked sea urchin fossil
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  Speaker 3: represented this concept. Maybe it was understood as a solar
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  Speaker 3: or star symbol, but somehow born from the sea, these
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  Speaker 3: ancient and mysterious stones marked with a natural symbol that
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  Speaker 3: mirrored the cosmic order. So it became a material link
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  Speaker 3: between land and water, between this world and the afterlife,
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  Speaker 3: between the living and the ancestors.
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  Speaker 2: And when the.
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  Speaker 3: Same star symbol was used on drinking vessels and ritual objects,
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  Speaker 3: it's embedding these cosmo logical ideas into ritual acts. And
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  Speaker 3: when placed in tombs, tombs that could themselves be shaped
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  Speaker 3: like the symbol, it was a reminder that death, like
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  Speaker 3: the sun sets across the sea, and perhaps that one
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  Speaker 3: day the soul will return again like the tides and
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  Speaker 3: like the sun each day. Interestingly, these fossils have also
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  Speaker 3: been found in much later Anglo Saxon sites and burials
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  Speaker 3: in eastern England too, perhaps a truly ancient practice brought
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  Speaker 3: by the early medieval invaders. You can find out more
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  Speaker 3: about Bronze Age religion on my channel.
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  Speaker 1: Now, well, what do you think? What do you think
• 5:38
  Speaker 1: is there a link between the pentacle and these sea
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  Speaker 1: urchins or sand dollars as we call them. Those are
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  Speaker 1: different different species of sea urchin, making this carapace, this
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  Speaker 1: sort of connection between you know, the liminal space of
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  Speaker 1: the sea.
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  Speaker 4: I could see that even with the pentacle if you
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  Speaker 4: think about it, depending on how it's being used or represented,
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  Speaker 4: like in ceremonial magic, it is actually even though it's
• 6:05
  Speaker 4: associated with Earth, it would also be representing the other
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  Speaker 4: elements and spirit. So I mean I could see it
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  Speaker 4: being you know, associated with water in that sense, like
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  Speaker 4: it's it's tied to the earth, you know what I'm saying,
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  Speaker 4: Like it's grounded to the earth reutless, you know, So
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  Speaker 4: like that that water is still like laying on the earth.
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  Speaker 1: And water is a potent symbol for spirit too, So
• 6:32
  Speaker 1: you've got soul. Did he say whether or not that
• 6:35
  Speaker 1: soul had a you in it or was it just
• 6:38
  Speaker 1: oh yeah, I think you mentioned that soul, soul, soul
• 6:44
  Speaker 1: the sun, right, Like we're seeing that connection, right, there's
• 6:49
  Speaker 1: there's that huge connection between the sun and the afterlife
• 6:52
  Speaker 1: and all the rest of the stuff that you get
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  Speaker 1: in the five pointed star that you can't really get
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  Speaker 1: too many other places. But it's a different kind of pentacle.
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  Speaker 1: It's a more pointed and less geometric shape. But you
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  Speaker 1: see it also with the the starfish, right, five sides
• 7:10
  Speaker 1: for the starfish as well. So I think a lot
• 7:13
  Speaker 1: of our symbols do come from the ocean, and you know,
• 7:16
  Speaker 1: people aren't really too.
• 7:19
  Speaker 4: Hip to it, you know, no I even uh even
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  Speaker 4: like a thing that's even kind of like well used
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  Speaker 4: for isis or like a certain feminine goddess, you know,
• 7:31
  Speaker 4: goddesses obviously the feminine of their goddess seashells for like
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  Speaker 4: like using those who like put stuff in for like offerings,
• 7:40
  Speaker 4: or I've seen people incorporate seashells just.
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  Speaker 2: To you know, again something to do with the water
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  Speaker 2: and feminine femininity.
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  Speaker 1: The birth of aphrodity. She comes out of a seashell, right,
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  Speaker 1: sea foam, seashell. That's where love comes from. Love's coming
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  Speaker 1: from the ocean. That's interesting.
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  Speaker 2: Yeah, depending on like what I was using.
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  Speaker 4: Sometimes, if I was like working like with Isis, I
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  Speaker 4: think I would use if I had a sage stick,
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  Speaker 4: I would put it out or put it.
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  Speaker 2: In the seashell like so like you know, I changed
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  Speaker 2: that out.
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  Speaker 4: I guess to represent close enoughmor something to do with
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  Speaker 4: the feminine. But yeah, seashells and stuff with the water
• 8:18
  Speaker 4: for sure. Me definitely forgottess and feminine energy and again
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  Speaker 4: birthing stuff into reality, and to bring birthing stuff into form,
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  Speaker 4: even the child, even the woman breaks water.
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  Speaker 1: Would you know, Well, the path of the sun seems
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  Speaker 1: to be where you get your soul from, right, I
• 8:38
  Speaker 1: mean it's in the name. So your birth sign is
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  Speaker 1: the solar sign, right. The soul coming up at a
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  Speaker 1: certain part of the sky gives you your birth sign.
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  Speaker 1: So it's it's sort of like it's all sort of
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  Speaker 1: incorporated into the soul idea. It's like the sun is
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  Speaker 1: imprinting on you certain aspects.
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  Speaker 2: Oh tell.
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  Speaker 1: I, Hey, so would people talk about solar worship, they
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  Speaker 1: don't really incorporate the idea of the birth sign. But really,
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  Speaker 1: why not? Why not? It's right there, you know. So
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  Speaker 1: sun worship, I think, is getting a lot more attention nowadays,
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  Speaker 1: probably because people are a little bit more you know,
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  Speaker 1: aware that there's this ancient, ancient link to sun worship,
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  Speaker 1: and it has to do a lot with psychology and
• 9:32
  Speaker 1: how we view the world around us, whether it's a
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  Speaker 1: good place or a bad place. If you think about gnosticism,
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  Speaker 1: narcissism sees birth into this world is sort of like
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  Speaker 1: a villainous act, right, It's like the archons and put
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  Speaker 1: you into this horrible place, whereas sun worship is like
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  Speaker 1: the opposites. It's like, thank you for giving me life,
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  Speaker 1: thank you for imprinting me. It's a completely different view
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  Speaker 1: of the things that we're given. You know. Let's see.
• 10:03
  Speaker 4: Yes, so I figured in order to combat all your
• 10:08
  Speaker 4: penis gods, I brought the vagina goddess. She could definitely
• 10:13
  Speaker 4: handle that. Other that could do with that you brought on.
• 10:14
  Speaker 4: I'm sure a guy who's got like at all, She's like,
• 10:20
  Speaker 4: I got you.
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  Speaker 2: This is a Sheila.
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  Speaker 4: This is a Chilander Gigs, this stone woman at the threshold,
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  Speaker 4: Sheila da Gig is a figurative carving of a naked
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  Speaker 4: woman displaying an exaggerated vulva. These carvings from the Middle
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  Speaker 4: Ages are architectural and they're found throughout most of Europe
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  Speaker 4: on cathedrals, castles.
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  Speaker 2: And other buildings.
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  Speaker 4: The greatest concentrations can be found in Island, Great Britain,
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  Speaker 4: France and Spain, sometimes together with male figures. Ireland has
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  Speaker 4: the greatest number of surviving, surviving carvings, and they've been
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  Speaker 4: sighted up to I think one hundred and twenty four
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  Speaker 4: examples in Ireland and forty five they found forty five
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  Speaker 4: in Britain. The carvings, Yeah right, I'll get into a
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  Speaker 4: little bit of this later. The carvings may have been
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  Speaker 4: used to ward off death evil demons of the grotesque carverings,
• 11:14
  Speaker 4: such as gargoyles and hunky punks. I don't even know
• 11:16
  Speaker 4: what the fuck that is. We're funky punks any way,
• 11:20
  Speaker 4: I got I gotta do that one next week. We're
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  Speaker 4: frequently part of church decorations all over Europe. Scarlets disagree
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  Speaker 4: about the origins of the figure. James Jarman and Anthony
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  Speaker 4: Weir believe that Shilan and the Gigs were first carved
• 11:32
  Speaker 4: in France, and Spain during the eleventh century. De motif
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  Speaker 4: eventually reached Britain and then Ireland in the twelfth century.
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  Speaker 4: German and were work was a continuation of research begun
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  Speaker 4: by Jorgan Anderson, who wrote The Witch on the Wall
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  Speaker 4: in nineteen seventy seven. The first series book on Shilan
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  Speaker 4: and the Gigs someone by someone In Kelly, keeper of
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  Speaker 4: Irish Antiquities at the National Museum of Ireland in Dublin.
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  Speaker 4: He draws a to the distribution of Silani giggs in
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  Speaker 4: Ireland to support We're in Germane's German's theory. Popular hypothesis
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  Speaker 4: is Shilen and Gig represents a pagan goddess, but academics
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  Speaker 4: believe the situation was more complex, with multiple interpretations and
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  Speaker 4: roles for the female character. As a as spiritual traditions
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  Speaker 4: change over time, the goddess in question usually is identified
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  Speaker 4: as Celtic, the hag, like Calique Kalech figure of Irish
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  Speaker 4: and Scottis mythology. Margaret Murray proposed this, as did Anne Ross,
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  Speaker 4: who wrote in her essay The Divine Hag of the
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  Speaker 4: Pagan Celts. I would like to suggest that there that
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  Speaker 4: in their earliest iconography form they do, in fact, portray
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  Speaker 4: the territorial war.
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  Speaker 2: Goddess in her hag like aspect.
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  Speaker 4: Georgia Rhodes suggests the figure may represent the Crone or
• 12:54
  Speaker 4: an Earth goddess from Celtic mythology. Mercy Mercy Allays the
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  Speaker 4: Encyclopedia of Religion in nineteen ninety three draws parallels between
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  Speaker 4: the Shilander gig and ancient Irish myth of the goddess
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  Speaker 4: who granted kingship. She would appear as a lustful hag,
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  Speaker 4: and most member refuse her advances, except for one man
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  Speaker 4: who accepted. When he had relations with her, she was
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  Speaker 4: transformed into a beautiful maiden who would comfort royalty onto.
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  Speaker 2: Him and bless his reign. It's like beauty and the beast,
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  Speaker 2: with the other way around.
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  Speaker 1: There are additional the prince you remember the frog gig
• 13:31
  Speaker 1: and I kissed the frog to get a prince this year.
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  Speaker 4: There are additional variants of this common Northern European motif
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  Speaker 4: see loathly lady. Anderson devotes a chapter to his theory
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  Speaker 4: entitled Pagan and Medieval, while suggesting possible pagan influences on
• 13:45
  Speaker 4: Irish shilan at the gigs, he considers them as having
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  Speaker 4: a medieval context. He argues that pagan origins are less
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  Speaker 4: likely than influence from the continent during the medieval period.
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  Speaker 4: What can be said against it is that it is
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  Speaker 4: less easily proved and can be less easily illustrated than
• 14:02
  Speaker 4: the possible continental French origin for the motif.
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  Speaker 2: Sorry fucking that up now.
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  Speaker 4: Some of the things that it's also been supposedly again,
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  Speaker 4: I mentioned fertility, or maybe I didn't. It's been looked
• 14:15
  Speaker 4: at for fertility. This hypothesis usually is combined with the
• 14:19
  Speaker 4: goddess explanation. Barbera fried Tag suggests the figures were used
• 14:23
  Speaker 4: in fertility contexts and associate them with birthing stones. This
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  Speaker 4: is folkloric evidence of at least some of the Silani
• 14:31
  Speaker 4: gigs being used in this manner, with the figurines being
• 14:34
  Speaker 4: loaned out to women in labor. It's also been looked
• 14:37
  Speaker 4: at as a thing for lust, where in German suggested
• 14:40
  Speaker 4: that silandigigs served as a worn against lust. They see
• 14:43
  Speaker 4: the figures as a religious warning against sins of the flesh.
• 14:47
  Speaker 4: Exhibitionist figures of old types male, female, and bestial are
• 14:50
  Speaker 4: found frequently in company of image of beasts devouring people
• 14:54
  Speaker 4: and of the Hellish images. These images, they argue, were
• 14:57
  Speaker 4: used as means of religious instructions to a largerly largely
• 15:01
  Speaker 4: illiterate populace. And it's also been known as for protection.
• 15:05
  Speaker 4: And again Anderson and Weir and German think the figures
• 15:09
  Speaker 4: also have been used to protect against evil. This would
• 15:13
  Speaker 4: explain the use of the figurines on structures such as castles.
• 15:16
  Speaker 4: They served as apotropaic function designed to ward off evil.
• 15:21
  Speaker 4: In Ireland, some of the figurines were called the evil
• 15:24
  Speaker 4: eye stones, which supported their theory. Some folkloric evidence is
• 15:28
  Speaker 4: known as a oh God and a Sma skirt lifting
• 15:32
  Speaker 4: being used by a woman to ward off evil spirits.
• 15:36
  Speaker 4: And uh yeah, I think I got a few more
• 15:38
  Speaker 4: that I could show real quick. There he goes another one.
• 15:45
  Speaker 1: Oh yep, there she goes. It's funny. Eye shape is
• 15:54
  Speaker 1: similar in all these different depictions. It's it's very It
• 15:59
  Speaker 1: kind of has uh Samerian feel to it. That one's
• 16:07
  Speaker 1: that one's a little bit more Easter Island, right yeah, right,
• 16:15
  Speaker 1: interesting down spout fucking eyes even bugget out of this one.
• 16:21
  Speaker 1: That shit hurts right well. I think the the eyes
• 16:26
  Speaker 1: are shaped like it's supposed to look like wrinkles. I
• 16:29
  Speaker 1: think that's that's what it's sort of saying to me.
• 16:31
  Speaker 1: It's it's supposed to be a haggish sort of yeah wrinkle.
• 16:35
  Speaker 1: But you know, to point something out that none of
• 16:37
  Speaker 1: these other guys are are pointing out when it comes
• 16:40
  Speaker 1: to this thing, is that you've got father time and
• 16:45
  Speaker 1: mother's space. They have to put these on top of
• 16:47
  Speaker 1: all of these cathedrals, and they have to put them
• 16:49
  Speaker 1: on top of castles, all places where you've got to
• 16:53
  Speaker 1: be thinking about the use of space, right, and you
• 16:55
  Speaker 1: could see over and over again, and all of these
• 16:57
  Speaker 1: cathedrals in Europe they've got very very strong goddess vibes,
• 17:06
  Speaker 1: like the three entryways. The middle door is always the
• 17:11
  Speaker 1: largest because it's supposed to symbolize two legs, like you're
• 17:14
  Speaker 1: going inside of the body of the goddess, inside of
• 17:17
  Speaker 1: the space, right, So like they're not thinking about this
• 17:22
  Speaker 1: from the perspective of like the holistic view of it.
• 17:25
  Speaker 1: Like the letter M, for instance, is supposed to be
• 17:28
  Speaker 1: a motherly type letter and its shaped like two legs,
• 17:35
  Speaker 1: right giving birth. This is the same kind of giving
• 17:38
  Speaker 1: birth motif, and it's on top of these castles. So
• 17:42
  Speaker 1: you know, we're not going with the aspect of maybe cosmology,
• 17:47
  Speaker 1: we're going with, Oh, these are just you know, silly spirits.
• 17:50
  Speaker 1: But in fact, if you think about it, all interior
• 17:53
  Speaker 1: space is have kind of a feminine quality to them.
• 17:59
  Speaker 1: I didn't design the body or how things are produced,
• 18:01
  Speaker 1: but all things come from inside to the outside world.
• 18:05
  Speaker 1: Than in doing so, it creates that kind of that
• 18:08
  Speaker 1: that motif itself, you know. So I think there is
• 18:11
  Speaker 1: there's more to this idea of mother space in father
• 18:16
  Speaker 1: time then people are giving credit to. But it's it's there,
• 18:22
  Speaker 1: you know. I mean, they can't design a building without
• 18:25
  Speaker 1: a little bit of that femininity aspect to it, exactly.
• 18:32
  Speaker 2: There we go.
• 18:33
  Speaker 1: All right, Well, I think we've got some mail. I'm
• 18:42
  Speaker 1: gotta check. So, I don't know, have you been following
• 18:46
  Speaker 1: what's going on in Australia.
• 18:48
  Speaker 2: No, what's going on.
• 18:51
  Speaker 1: They're passing a bill that well they split it up
• 18:57
  Speaker 1: into several bills that now illegalizes speech that has already
• 19:02
  Speaker 1: been said. So they're retroactively classifying people's speech is being illegal. Yeah,
• 19:11
  Speaker 1: this is like UK on steroids, right, that's crazy. It's
• 19:20
  Speaker 1: utterly incomprehensible. But what I think it is is that
• 19:24
  Speaker 1: the government is so hungry for a win against the people.
• 19:28
  Speaker 1: They feel that, you know, they've been programmed their entire
• 19:31
  Speaker 1: lives to fear more than anybody else. Right, they think
• 19:34
  Speaker 1: that they're targeting Nazis by targeting the whole country, and
• 19:38
  Speaker 1: so they're going to take everybody and put them onto
• 19:40
  Speaker 1: the same classification because you have to have radical equality
• 19:44
  Speaker 1: when it comes to these laws. And the added bonus
• 19:48
  Speaker 1: is that now you can illegalize any political challenger to
• 19:52
  Speaker 1: your reign. You could just you know, preemptively classify them
• 19:56
  Speaker 1: as illegal and they never can form a political party,
• 20:00
  Speaker 1: so you don't have to worry about it. Like this
• 20:02
  Speaker 1: shores up all the problems that they see with democracy,
• 20:05
  Speaker 1: which is what if the wrong guy gets elected? This
• 20:09
  Speaker 1: is perfect for that. Well that's what all governments worry about, right,
• 20:16
  Speaker 1: what if the wrong guy gets elected? We could see
• 20:18
  Speaker 1: it over and over again with Donald Trump's first administration.
• 20:21
  Speaker 1: Oh no, the wrong guy got elected.
• 20:28
  Speaker 2: Well nothing.
• 20:32
  Speaker 1: Again.
• 20:33
  Speaker 2: Tell you, man, this is the wrong with your email.
• 20:36
  Speaker 1: It's gotta be. I'm gonna I'm gonna start a different one.
• 20:39
  Speaker 1: I'm doing test emails to myself. Gmail has has always
• 20:45
  Speaker 1: had this problem, and I guess it's it's just a
• 20:50
  Speaker 1: continuation of that.
• 20:52
  Speaker 4: Yeah, I literally took about an hour and a half
• 20:56
  Speaker 4: the and the guy who's like swearing, he's like, do
• 20:58
  Speaker 4: what I sent you the email forty five minutes.
• 21:00
  Speaker 2: I didn't get an email for an hour and a
• 21:01
  Speaker 2: half later. I was like, what the fuck?
• 21:06
  Speaker 1: That's got to go through all sorts of filters.
• 21:10
  Speaker 4: We might be able to get a David Shoemaker on
• 21:12
  Speaker 4: the show. That should be interesting. Psychologist, psychologist who was
• 21:18
  Speaker 4: he has his own I don't think it's his. I
• 21:20
  Speaker 4: think he's runs it a a lineage and he also
• 21:23
  Speaker 4: has a he's also he also has some books he's into,
• 21:27
  Speaker 4: like the Lima, but he's he's an.
• 21:29
  Speaker 1: Actively cut into that. He's an academic.
• 21:33
  Speaker 2: Yeah, he looks at it totally different than than some
• 21:35
  Speaker 2: people for sure.
• 21:37
  Speaker 1: Right, But the Astro mar Gentome is really interesting to me.
• 21:41
  Speaker 1: It'd be nice to have an insighter on We can
• 21:43
  Speaker 1: you know, go back and forth about it. You can
• 21:45
  Speaker 1: kind of pick up on the philosophies that these organizations
• 21:48
  Speaker 1: have through the way that they described the world. And
• 21:51
  Speaker 1: you know, that's a very valuable insight considering you know,
• 21:55
  Speaker 1: all of the interest nowadays, but hardly any time is
• 21:59
  Speaker 1: actually spent listening to the people as much as it is,
• 22:02
  Speaker 1: you know, demonizing their organizations.
• 22:06
  Speaker 2: Oh yeah, that was exactly.
• 22:09
  Speaker 1: War did or not? You still want to hear the people,
• 22:11
  Speaker 1: right exactly? Well yeah, I think. Oh. Also she's she's
• 22:20
  Speaker 1: talking about father Time as being saturn her Cronos again, right,
• 22:24
  Speaker 1: So Cronos was his partner was Raya, And Raya is
• 22:30
  Speaker 1: the most similar to Kiblik, I believe came from all
• 22:36
  Speaker 1: of those. Have you ever seen the Venus of Willendorf?
• 22:41
  Speaker 1: So the Venus of Willendorf is like one of the
• 22:44
  Speaker 1: oldest representations of a goddess. It's like forty thousand years old, right,
• 22:49
  Speaker 1: Like it's it's supposed to be a goddess, but the
• 22:52
  Speaker 1: head on it is like strange, it's not exactly ahead,
• 22:56
  Speaker 1: and it looks like what a pregnant woman would see
• 22:59
  Speaker 1: looking down at herself, right, So it looks like it's
• 23:02
  Speaker 1: carved by a pregnant woman who's looking down at herself.
• 23:05
  Speaker 1: And this is like one of the oldest forms of
• 23:09
  Speaker 1: God as worship. And it's interesting that Raya is the
• 23:13
  Speaker 1: mother of all of the Olympians, right, So Pronos he
• 23:19
  Speaker 1: represents the last generation of Titans. Raya represents the new
• 23:24
  Speaker 1: generation of Olympians, right, she's giving birth to Zeus and
• 23:28
  Speaker 1: all the rest of these. Now, that goes back forty
• 23:32
  Speaker 1: thousand years according to the you know, secretism on it.
• 23:39
  Speaker 1: So the idea of the new gods being birth out
• 23:43
  Speaker 1: of this Kaivalier space, which is, you know, back to
• 23:47
  Speaker 1: the mother and the father father time mother space. That
• 23:52
  Speaker 1: really puts a different view on things. It almost goes
• 23:55
  Speaker 1: back to the cognitive formation of what it is to
• 23:58
  Speaker 1: be human, right. I think there's something really primal about that,
• 24:02
  Speaker 1: because you know, we do change the way we see
• 24:04
  Speaker 1: the world. That's one thing that you could say about history.
• 24:07
  Speaker 1: We change the way we see the world, right, And
• 24:10
  Speaker 1: so to have that perspective back then, it tells you
• 24:15
  Speaker 1: something about the different level that they were on. They
• 24:18
  Speaker 1: were seeing the world in ways that we can't possibly imagine,
• 24:21
  Speaker 1: and we sort of take for granted all of the well,
• 24:26
  Speaker 1: I guess we would look at them as childlike symbols,
• 24:29
  Speaker 1: but these are symbols that survive for thousands and thousands
• 24:32
  Speaker 1: and thousands of years, right, like the Squatterman for instance.
• 24:35
  Speaker 1: Squatterman is a very interesting motif that spans five continents
• 24:40
  Speaker 1: for thousands and thousands of years and people think it's
• 24:44
  Speaker 1: just a stick figure. Maybe it's not. Maybe it's something
• 24:47
  Speaker 1: a little deeper than that. Maybe it's something that you
• 24:49
  Speaker 1: see when you blast off, because I believe back then
• 24:52
  Speaker 1: that was part of their rituals is blasting off outside
• 24:55
  Speaker 1: of the body, you know.
• 24:58
  Speaker 2: I hope so.
• 25:00
  Speaker 1: Right as one would you know what, I mean, to
• 25:07
  Speaker 1: think that they weren't seeing anything, it's just ridiculous. And
• 25:11
  Speaker 1: to think that there wouldn't be a similarity between the
• 25:14
  Speaker 1: things that they see, that almost seems even more ridiculous.
• 25:17
  Speaker 1: We're all working with the same brains, and if we're
• 25:19
  Speaker 1: blasting off outside of our bodies, we're going to see
• 25:22
  Speaker 1: similar things.
• 25:23
  Speaker 2: Yeah, that's the wildest ship.
• 25:24
  Speaker 4: Actually, Yeah, so I think you pill them from the
• 25:28
  Speaker 4: same flow of energy, flow of ideas or whatever, a
• 25:32
  Speaker 4: stream of consciousness or whatever the fuck.
• 25:35
  Speaker 1: Right, all being culturally you know, consumed. So it's it's
• 25:39
  Speaker 1: connected to all these other symbols, just like we do today,
• 25:41
  Speaker 1: I mean our symbols, you know, think about the matrix, right,
• 25:45
  Speaker 1: this is a cultural abstraction of the idea of gnostisism,
• 25:51
  Speaker 1: right where you've got this uh simulacrum that you're living
• 25:54
  Speaker 1: in this false reality and they were talking about that
• 25:57
  Speaker 1: thousands of years too. But you know, we've got this
• 25:59
  Speaker 1: new cultural symbol for it, which is this green lettering
• 26:04
  Speaker 1: that's coming down that represents the matrix, right, And what
• 26:07
  Speaker 1: do we see our lives sort of existing in is
• 26:10
  Speaker 1: the same sort of cyclical pattern that we've seen with gnostissism,
• 26:14
  Speaker 1: you know, two thousand years ago. It's very similar. And
• 26:17
  Speaker 1: when does the gnostic text come out? You know, when
• 26:21
  Speaker 1: do they discover this thing or reveal it to the public.
• 26:25
  Speaker 1: Nineteen forty seven, the same year that we get the CIA,
• 26:29
  Speaker 1: This intelligence agency is connected to this false reality, right,
• 26:34
  Speaker 1: maybe in just a tangential way, but maybe that's sort
• 26:38
  Speaker 1: of the matrix we're living in, is that informational matrix.
• 26:44
  Speaker 1: It seems plausible. It's a symbol, right, And these things
• 26:47
  Speaker 1: reoccur having to do with how we see the world.
• 26:50
  Speaker 1: So having different cultural motifs for the same concept over
• 26:54
  Speaker 1: and over again doesn't seem very far fettered me.
• 26:57
  Speaker 2: No, no at all. M hmm. Yeah, this is Oh yo,
• 27:05
  Speaker 2: do we have that start that thing? This weekend? Is
• 27:07
  Speaker 2: that this weekend? I can't remember? Oh no, no, it's
• 27:13
  Speaker 2: nice next it's next week. Sorry, my bad, So you
• 27:15
  Speaker 2: get nervous.
• 27:16
  Speaker 4: You have Ronnie Pontiac though, tomorrow that guy yeah, he
• 27:20
  Speaker 4: uh he works for Manley p Hole and he's doing it.
• 27:22
  Speaker 4: He's covering a book of his that's about near death experiences.
• 27:26
  Speaker 4: Oh man, Yeah, isn't interesting.
• 27:29
  Speaker 1: Alchemy too, right, He's that's what got him started, as
• 27:31
  Speaker 1: alchemy is translating the works and alchemists.
• 27:35
  Speaker 2: Yeah. Yeah, nice guys, So it should be interesting tomorrow. Yeah.
• 27:40
  Speaker 1: Absolutely, Well this has been another Headless's mail bag, another
• 27:44
  Speaker 1: empty mail bag. Guys, come on right, what the fuck?
• 27:47
  Speaker 2: The fuck? Oh yo, you know what too? I don't
• 27:49
  Speaker 2: know if you if you can meet? Did Jules ask
• 27:51
  Speaker 2: you about tonight? Yes? Yeah, yeah, we'll be live again,
• 27:55
  Speaker 2: coming back at nine, right, yeah, and I know a
• 27:57
  Speaker 2: time time, my time, that's right, yeah, right now.
• 28:00
  Speaker 1: I'm gonna try and get all of my shows around
• 28:02
  Speaker 1: seven thirty. So if you guys are wondering what I'm
• 28:04
  Speaker 1: gonna go live, it's gonna be around seven thirty. We're
• 28:06
  Speaker 1: going to try and keep that consistence.
• 28:09
  Speaker 2: Oh you know, I didn't even mention anything before.
• 28:11
  Speaker 4: And I guess people watch it doesn't matter on YouTube
• 28:13
  Speaker 4: because they're not watching it now. But for people who
• 28:15
  Speaker 4: are listening on audio, if you do happen or what happened,
• 28:17
  Speaker 4: he doesn't do it anymore. No, it's on the audio.
• 28:19
  Speaker 4: It's on it's on Headless's end. So if you want
• 28:22
  Speaker 4: to get to seven seven seven or even this, so
• 28:24
  Speaker 4: you have to go watch it our headlesses that not
• 28:26
  Speaker 4: mind anymore. So yeah, there you go. So people catching
• 28:30
  Speaker 4: the audio thinking you haven't seen it, it's because you're
• 28:32
  Speaker 4: looking at the wrong channel.
• 28:34
  Speaker 1: Come on over.
• 28:35
  Speaker 4: Yeah, yeah, there's actually tell you the truth. It might
• 28:37
  Speaker 4: actually again, I was even I think I've said this before.
• 28:40
  Speaker 4: It's even easier to an extent for me to put
• 28:42
  Speaker 4: a lot more stuff out on audio than it is
• 28:44
  Speaker 4: on video. Like, if there's stuff that really doesn't need
• 28:45
  Speaker 4: fucking visuals, I'm probably just gonna put it on spreaker
• 28:48
  Speaker 4: if it's a solo show.
• 28:49
  Speaker 2: So keep an eye out.
• 28:51
  Speaker 4: There may actually be more audio to listen to than
• 28:53
  Speaker 4: visuals on YouTube, especially for censored shit too.
• 28:56
  Speaker 2: So right, yeah, right, check that out.
• 28:58
  Speaker 1: Oh plus a pointed star looks like the eight pointed
• 29:04
  Speaker 1: chaos star. Oh yeah, in the eight points could be
• 29:07
  Speaker 1: the different directions like space.
• 29:10
  Speaker 2: Yeah, did you ever see that on there's a dude
• 29:14
  Speaker 2: who has that right?
• 29:14
  Speaker 4: Uh God, I'm trying to think of there's an account
• 29:17
  Speaker 4: that looks like it has the eight pointed star kind
• 29:19
  Speaker 4: of like an arrows in inside of a coming out
• 29:21
  Speaker 4: of a cut with the cub in the middle.
• 29:22
  Speaker 2: Yeah, yeah, that's the fucking account.
• 29:25
  Speaker 1: Is that?
• 29:25
  Speaker 2: Fuck? I can't remember, Yeah, I.
• 29:27
  Speaker 1: Forgot, but it's the perfect symbol. It's like, so everybody
• 29:31
  Speaker 1: gets freaked out about Saturn, but when you when you
• 29:33
  Speaker 1: put it in context with the rest of it, it
• 29:35
  Speaker 1: kind of starts to make a little bit more sense,
• 29:37
  Speaker 1: and you can see yourself as being, you know, a
• 29:41
  Speaker 1: part of a greater hole when you understand it a
• 29:44
  Speaker 1: little bit better. And I think that's uh, I think
• 29:46
  Speaker 1: that's what we're here to do, right, make people at
• 29:48
  Speaker 1: least feel at home in this place instead of being
• 29:51
  Speaker 1: alienated all the time. I mean, ship, we're all going
• 29:54
  Speaker 1: through it, so you know, let's uh at least appreciate
• 30:00
  Speaker 1: the rod a little bit. Alright, guys, So we'll see
• 30:06
  Speaker 1: you again at nine p m. C s T. And uh,
• 30:10
  Speaker 1: we catch you later.