In John Michell’s book The New View Over Atlantis he states regarding the number 666…”The Puritans and those others whose opposition to the old magical practices brought about the Reformation, compiled their scheme to exclude the number 666. To them the beast represented some absolute principle of evil, irreconcilable with the iron rule of humanly created morality. The beast, like the dragon, had to be suppressed.”
The Astrological Garden.
The hidden patterns of the sacred geometry in and around Glastonbury Abbey illustrate the ancient practice by which the whole world is laid out according to a cosmic scheme. The occupation of the first man, Adam the gardener, is not without significance, for the formal gardens that surround the temples of the ancient world extended far beyond their apparent boundaries, and in every district the local inhabitants tended their part of earth according to its astrological character. In the eyes of the philosophers of that time the earth was a living creature and its body, like that of every other creature, had a nervous system within and relating to its magnetic field. The nerve centres of the earth, corresponding on the human body to the acupuncture of Chinese medicine, were guarded and sanctified by sacred buildings, themselves laid out as microcosms of the cosmic order, the universal body of God.
Downloading Heaven To Earth.
Welcome To The New Jerusalem.
The Wizard Blew His Horn.
Standing At The Edge.
We are the warriors at the edge of time We are Humanity’s scythe to sweep this way and that And cut the Enemy down as weeds We are Humanity’s spade to dig up the roots wherever they have grown We are Humanity’s fire to burn the waste to the finest ash We are the wind which will blow the ash away As if it had never existed We will destroy those Enemies But we must first know the Enemies And the Enemies are the devils that hide in our minds And make us less than happy They make us less than happy We are the warriors at the edge of time We are the veterans of a savage truth We are the lost We are the last We are the betrayed We are the betrayed We are the betrayed…………….
The Psychedelic Warlords.
Utopia…Welcome to Utopia.
…no one has complained…yet…
Thank you Doctor Strange Love for going dolally and leaving me the heritage of damnation alley.
Who’s Gonna Win The War?
We Are The Masters Of This Universe.
Hawkwind — Dead God’s Homecoming lyrics
You raise your eyes to the howling sky
Raise your sword to the haunted Moon
You raise your voice in a battle cry
And you raise your shield
You raise your shield
Against unholy doom
For they shan’t possess your will’s control
Shall not enslave your mortal soul
And won’t divert you from your goal
Though dark war rules from pole to pole
You are the Lord of Ruins
Albino Prince of Ruins
And your sins shall save the world
Beyond the ocean brews a battle
Beyond the battle blood shall fall
If Elric’s kinsman ventures with him
(Bearing a twin of that which he bears)
To a place where man-forsaken
Dwells the one who should not live
There’s a bargain to be entered….
Elric’s wife shall be restored
Elric’s wife shall be restored
So Who’s Gonna Win The War? 😉
‘Cause I’ve got…
Earth Calling. Earth Calling. Earth Calling. We Were Born To Go.
We were born to go, we’re never turning back.
We were born to go, and leave a burning track.
We were born to go, and leave no star unturned.
We were born to grow, we were born to learn.
We’re breaking out of the shell, we’re breaking free.
We’re hatching our dreams into reality.
We were born to blaze a new clear way through space.
A way out of the maze, that held the human race.
We were born to go, as far as we can find
We were born to go, to blow the human mind.
We Are Angels Of Life Angels Of Death.
The New Jerusalem.
And Did Those Feet In Ancient Times Walk Upon England’s Green And Pleasant Land.
Supper’s Ready…We’re Changing Everything. 😉
The old tracks which led straight across the country were sacred ground, imparting to those who travelled them a certain aura which marked them as holy men. W. Tudor Pole in his monograph on St. Michael records the custom of hospitality to strangers that formerly prevailed in west Somerset on account of a local prediction that the second coming of the Redeemer would pass unrecognized along the line between St Michael’s Mount and Glastonbury Tor. The legend of the earthbound spirit, for ever roaming the highways and waste places of the world, bears the stamp of truth, for its poetic value is eternal. The wandering God, the disguised king, the mysterious stranger at the wayside hearth, itinerate poet, tinker and pedlar, all those romantic figures whose appeal to our aesthetic sense is direct and universal, represent a true archetype, the spirit of the earth. This was the spirit that reigned through the ancient world and followed the Jews on their dispersal from the Holy Land to Britain where in Stukeley’s words, ‘God’s chosen people are in the easiest situation anywhere on earth’. Stukeley and Blake both spoke of Britain as the land on which the spirit would next descend and the more one reads Blake’s prophecies, the more strongly grows the conviction that he was inspired by a notion so sublime that it can scarcely be conceived; nothing less than the recreation of the old system of spiritual engineering whose ruins are still visible in every corner of the country.
From the rocks, mountains and headlands a mysterious current once flowed down avenues of standing stones over mounds and earthworks towards some central hill dedicated to Mercury, the terrestrial spirit. Below the hill an instrument of solar generation produced the spark by which the current became animated and recoiled in a wave of fertility through hidden veins of the land, urged on by music and clamour of the festival people. In the Australian desert the natives still follow every year their line of songs, calling out the spirit from the rocks as they journey down the old straight tracks between the earth’s sensitive places, the last fading voices in a chorus once universal. Today the lines of the dragon run unmarked across the world, their paths forgotten, the spirit they bear disregarded. Yet every year more people are drawn to visit ancient sites, centres of an invisible pattern woven across the world in some distant age. THE POWERS OF THE EARTH ARE REASSERTING THEMSELVES, AS IF DEMANDING THAT WE RECOGNIZE ANEW THE VITAL PART THEY PLAY IN OUR EXISTENCE AND WELFARE. If one responds to that appeal by seeking to locate the springs and veins of the serpentine earth currents, one discovers ancient predecessors. Others have been there before, and the modern dowser’s rod twitches in response to emanations from the earth at those very spots where they located shrines and monuments. These people were the ancient sages, who recognized the earth as a fellow living creature, responding to the same harmonies and stimuli as delight our human senses. On that recognition they based their ENTIRE SUBTLE CODE OF SCIENCE, with the object of reconciling the highest interests of human society and those of the living earth. As the need for a reformed relationship between ourselves and nature becomes ever more apparent, the principles of that science will once more be sought out and rediscovered. In the course of this process another image of the earth arises, not as an expendable launching-pad for adventures among alien planets, but as our most precious inheritance, our promised and potential natural paradise.
It’s all about the subtlety…we are an entire generation of higher spirited people who are all singing from the same hymn book as it were. Listen to the lyrics. The Puritans etc., created a world whereby singing, dancing, sex outside of marriage, blah were outlawed…we’re here to take back our freedoms AND save the world.
John Michell. The View Over Atlantis.
The New Jerusalem.
The importance of reconstructing the pattern on the floor of the Old Church at Glastonbury was repeatedly emphasized in Bligh Bond’s scripts. One of them said: You know that in this designing of the Floor lies the future prophesy of Glastonbury, together with the inward secrets of Christianity.
Bond understood full well how significant was the pattern, here identified as the ‘New Jerusalem’ diagram, which his spiritually guided researches were revealing at Glastonbury. He saw in its emergence the rebirth of the Gnosis, that synthesis of religion, philosophy and mystical science which was inherited by the early Christians and later suppressed by the authoritarian Church. The Gnosis offered direct access to the mysteries by methods similar to those Bligh Bond was using to inform the archaeological work, and the philosophy associated with it was based on recognition and acceptance of all aspects of nature, irrespective of any moral conventions. For these reasons it became odious to the Church which, from the second century onward, set out to exterminate all relics of ancient knowledge and science as hindrances to its own moral law and doctrines. Bligh Bond did not merely dabble in ‘forbidden knowledge’; he openly advocated and furthered its resurgence. There was no reconciling his views with those of the new owners of Glastonbury Abbey, the Church of England, and his dismissal was inevitable.
Typifying the nature of the misunderstanding was the matter of the number 666 in the Glastonbury dimensions. Bond deduced that underlying the whole structure of the Abbey was a grid of 74-foot squares.Eight of these made a total length of 592ft., the figure which Bond was so keen to establish; but, as his plan shows, that length excludes the detached Chapel of St Dunstan at the west end. If the extra square is added, the whole length becomes 666 ft.
It’s all in the sacred geometry.
R.I.P. Andrew Kerr.
At Midsummer in 1971 a group of 12,000 people gathered on fields at Pilton in Somerset for the Glastonbury Fair, watching musical acts that included David Bowie, Arthur Brown and Hawkwind.
Kerr was an enthusiastic follower of the antiquarian John Michell, whose book The View Over Atlantis had become a cult bestseller. Adopting Michell’s ideas, Kerr incorporated the concepts of sacred geometry into the creation of the Pyramid Stage, which went on to become such a lauded and central feature of the Glastonbury Festival.
The stage was conceived by Kerr and the designer Bill Harkin as a one-10th scale replica of the Great Pyramid at Giza. Harkin told me, “I had a dream about standing at the back of a stage and seeing two beams of light forming a pyramid and took that as a message. Andrew gave me John Michell’s number and we spent some hours discussing it…”
The stage location was chosen at what Kerr believed would be exactly the right spot, over a spring which he had found by dowsing, connected to the Stonehenge-Glastonbury ley line. The timing of the event, at Midsummer, was Kerr’s inspiration, aligning the festival to the pagan calendar. “What we were trying to do,” he explained, “was to stimulate the Earth’s nervous system with joy, appreciation and happiness so that our Mother planet would respond by breeding a happier, more balanced race of men, animals and plants.”
Said John Michell…”The important discoveries about the past have been made not so much through the present refined techniques of treasure hunting and grave robbery, but through the intuition of those whose faith in poetry led them to scientific truth.”