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PostPosted: Thu Feb 05, 2009 11:47 pm 
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Nephilim
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Location: our little hideaway beneath the waves
Is it?

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PostPosted: Thu Feb 05, 2009 11:56 pm 
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Looks alright to me o_O
http://www.fields-of-the-nephilim.com/Nephilim77.htm


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PostPosted: Fri Feb 06, 2009 4:36 am 
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VisiGoth wrote:
original site is down


bullshit, buy a new pc ! :roll:

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 Post subject: Re: Nephilim Mailing Address ???
PostPosted: Mon Mar 23, 2009 5:33 pm 
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VisiGoth wrote:
Longtime Nephilim fan here folks, wondering if anyone had a current mailing address for Carl McCoy and the Nephilim for fan letters and so forth.


THX -

Long live the Nephilim
*cthulhu*


(This has probably already been said.)

Look under the terms and conditions of the Nephilim shop, there you will find a snail mail address for Sheerfaith. Alternatively, email fan mail via The Watchman. Address listed on the official web site somewhere.

MQ

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 Post subject: Re: Nephilim Mailing Address ???
PostPosted: Mon Mar 23, 2009 5:44 pm 
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VisiGoth wrote:
Longtime Nephilim fan here folks, wondering if anyone had a current mailing address for Carl McCoy and the Nephilim for fan letters and so forth.


THX -

Long live the Nephilim
*cthulhu*


Via the Fields of the Nephilim web site, no less...

SHEERFAITH
PO Box 3242
Marlborough
Wiltshire
SN8 1UZ
United Kingdom

...or...

watchman@fields-of-the-nephilim.com

Worth a try, I suppose.

MQ

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PostPosted: Mon Mar 23, 2009 9:37 pm 
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i went there once checking out crop circles, Im sure i heard a ufo.

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PostPosted: Mon Mar 23, 2009 10:47 pm 
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Nephilim
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You could try this address.....

Cthulu guest house,
666 Crowley avenue,
Torquay,
Devon,
England.
(Just next to Fawlty Towers, knock three times and ask for Carl)

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PostPosted: Tue Mar 24, 2009 8:52 am 
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Leviathan
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moomaaman wrote:
i went there once checking out crop circles, Im sure i heard a ufo.


I know a crop circle maker who lives in Wiltshire. He used to make crop circles; much to the fury of those who believe that they are made by aliens! He made one for an independent film and another for a national newspaper, as well as a lot of others "privately".

Crop circles are just man made artworks. But those pesky aliens get credit for everything!

MQ

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PostPosted: Tue Mar 24, 2009 9:18 am 
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Pale Rider wrote:
The Wallington address was for former manager, Steve Brown ... who's long gone, figuratively speaking. So, yes it's out of use.

With the risk of stating the obvious - why doesn't the original poster simply email the official site ...


(I have emailed the poster the email address fro The Watchman and the Sheerfaith PO Box number.)

By the way, is Steve Brown (ex FOTN manager) the same Steve Brown who manages Billy Connolly?

I have wondered about that. :?

(Maybe Ande can answer that one.)

* * * *

Pale Rider is a GREAT film, by the way. I also love High Plains Drifter, likewise for its paranormal element.

MQ

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PostPosted: Tue Oct 17, 2017 6:02 am 
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gingerpazuzu wrote:
mmmm...I can think of lots of things.....is that how you see Carl? as a crazed Crowley follower :?:



Certainly NOT -

BUT IT WAS REVEALED THAT Aleister Crowley was not a real mystic ...
that he, in fact, was MI6 - and allegedly his cult was a psych-warfare
brainwashing experiment of some kind. A type of fear based mind control.


Image

Document – Proof Aleister Crowley Worked For
The British Government As a Spy


March 21, 2016 —

https://mikemcclaughry.wordpress.com/20 ... -as-a-spy/

http://rense.com/general82/crowl.htm


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 Post subject: Re: Nephilim Mailing Address ???
PostPosted: Tue Oct 17, 2017 8:27 am 
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Moonchild
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gingerpazuzu wrote:
VisiGoth wrote:
You all worship the devil and are going to hell
I know what that Subnission song is about...
you Heathens




I am the Devil + you are in Hell + you are a very naughty little soul :twisted:






I exist only to serve Dagon.



Yesterday - it was several pints of Bass.


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 Post subject: Re: Nephilim Mailing Address ???
PostPosted: Tue Oct 24, 2017 7:56 am 
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Moonchild
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VisiGoth1 wrote:

Image



OH REALLY, Doctor ...

What is that pagentry that bit of Illuminati costume ensemble,
decorum , and frippery ?

I know a family from Scotland for over ten years, never seen a getup like that efore? :lol:

Expecting to be knighted soon - or just in one of them secret societies?

Doctor Who: Lost episode Shada has been SAVED


Image

http://www.dailymail.co.uk/tvshowbiz/ar ... D-BBC.html


:P

:lol:


Last edited by VisiGoth1 on Thu Oct 26, 2017 6:00 am, edited 1 time in total.

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 Post subject: Re: Nephilim Mailing Address ???
PostPosted: Wed Oct 25, 2017 7:35 pm 
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Moonchild
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VisiGoth1 wrote:
BUT IT WAS REVEALED THAT Aleister Crowley was not a real mystic ...
that he, in fact, was MI6 - and allegedly his cult was a psych-warfare
brainwashing experiment of some kind. A type of fear based mind control.

cclaughry.files.wordpress.com/2016/03/crowley_1916_undercover_british_agent.png?w=550&h=600&crop=1[/img]

Document – Proof Aleister Crowley Worked For
The British Government As a Spy



As I understand it Crowley was 'recruited' to help MI6 interrogate Hess [1].
It kind of makes sense as you'd want someone 'in the know' the help with it. I mean, if you were interviewing for a Physicist you'd want to make sure that you had Physicists involved in the interview so it makes kind of sense.

[1] https://www.theguardian.com/books/2004/jul/10/society


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PostPosted: Thu Oct 26, 2017 1:46 am 
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MintyTheCat wrote:
I mean, if you were interviewing for a Physicist you'd want to make sure that you had Physicists involved in the interview so it makes kind of sense.

[1] https://www.theguardian.com/books/2004/jul/10/society


Interesting piece. Thanks.

Cowley was a psy warfare agent to misdirect the enemy. So anyone following him weren't going anywhere. Much in the same way, I saw needles coming out the arms of Nirvana, Smashing Pumpkins, and Layne Stayley looked 3 sheets to the wind opening for Danzig and Dio Sabbath. He couldn't sing and Alice were terrible. I could see Seattle grunge wasn't going anywhere. ["longevity!"]

My trendier mate brought on Badmotorfinger and the first Tool record into the basement of our 3 bass players, 2 guitarists, 1 lead, 3 drummer circle. That they were more receptive to Rust in Peace than Dawnrazor surprised me. But what made it onto the live setlist was the first Metal Church disc, Metallica, Exodus, Dianno Maiden, Slayer, Crumbsuckers, Anthrax, AC/DC, and Dio.

That anyone found Rust in Peace or Tool aesthetically palatable over Dawnrazor, shows that most musicians are neither particularly articulate, nor introspective, communicative personages. They spend alot of time inside their own heads subsequently, and transfer directly to the instrument. And, as Stiv Bators opined, that songs are vehicles for subliminal messages.

I always found that bands having better lyrics - the Nephilim, Voivod, Catherine Wheel, Swervedriver, Cirith Ungol, usually had a better music catalog. Destruction - Infernal Overkill/ Eternal Devastation, Voivod- War and Pain/ Killing Technology or Celtic Frost Morbid Tales/ Emperors Return WERE AND STILL ARE (always) FAR BETTER THAN the American bands [e.g.] Megadeth, Metallica, Slayer, Anthrax ... and their best records - Hell Awaits, Rust in Peace, or Master of the Puppets-

My old vinyl catalogue I missed most - Destruction (infernal Overkill is so awesome), Lords of the New Church, Psych. Furs those vinyls were great. Psych. Furs Mirror Moves tour was my first concert.

Lords Of The New Church - Live 1982

https://www.youtube.com/watch?v=34KI7v1HzPc

The Psychedelic Furs - Don't Be a Girl

https://www.youtube.com/watch?v=pzIgeOh36_I

Destruction - Infernal Overkill - 02 - Death Trap

https://www.youtube.com/watch?v=cDP1bdYeAxE

Image

Here is a bit more on another Master of the Puppets ...


CIA Agent Timothy Leary and CIA Propagandist Robert Anton Wilson (the Illuminati) –

https://mikemcclaughry.wordpress.com/20 ... ss-series/

https://mikemcclaughry.wordpress.com/20 ... rnal-love/






*cthulhu*


Last edited by VisiGoth1 on Wed Nov 01, 2017 2:39 am, edited 6 times in total.

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 Post subject: Re: Nephilim Mailing Address ???
PostPosted: Thu Oct 26, 2017 7:33 am 
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Quote:

Mind Control

"Geoffrey Gorer was a British born, “anthropological researcher” of Yale’s Institute of Human Relations, and Time magazine in 1944 documented he was doing secret research in Washington for the British Government. In Gorer’s 1956 essay called The Remaking of Man just this one excerpt will make it clear that this was actually all a covert eugenics agenda.

One of the most urgent problems – perhaps the most urgent problem – facing the world today is how to change the character and behavior of adult human beings within a single generation. This problem of rapid transformation has underlaid every revolution (as opposed to coups d’etat ) at least from the time of the English Revolution in the seventeenth century….

Gorer was also a blank slater, which means he likes the idea of that people are born as a BLANK SLATE, and that you can “write whatever you want them to be, on that slate”. Since he was a homosexual, this was a bit of a conflict of interest on his part because he actually believed that he was “born” or “made” homosexual because of DNA, so wrap your head around that one cognitive dissonance-wise."


(edit)

"research during WWII as “personality assessment” and all the horrendous experiments having been conducted under the guise of “mental health treatment”, they had decided that the following items had been “found effective in bringing about a basic change in social role”



a – hypnosis and suggestion
b – therapy, the sustained mobilization of affect.
c – “ascription” the signification of change of status as a result of initiation ceremonies, specific experiences, etc. which legitimate the acceptance of a new role in the eyes of others.
d – persuasion, the susceptibility to rational argument by appeals to interests and dispositions in a person…
e – enforced isolation, individual confinement and all techniques whereby perception and information can be made homogenous and monopolized, minimizing any competing influences.
f – stress, [illegible – action?] and the threat of severe punishment – all of which act to change the reward structure."




https://mikemcclaughry.wordpress.com/th ... perations/




"Blank Slate" is an important aspect of brainwashing and the subliminal. I was dragged against my will into a Chistian bookstore around age 9. I was given an Archie comic where a kid gets drunk, drives his car, crashes it and flips it over. Archie says at the end to his drunk friend, "It's ok because God gave you a clean slate." Even as a child, I knew Church and God was BS, and saw the big comic illustration of a freshly scrubbed blackboard as a symbol for erasing peoples minds.


Does the medicine man do this effect with Zoon I and II ?

Let's see ...


Zoon I & II (Saturation)

I've been waiting for you
You're lonely
I've been watching you control me

I'm here with you, you know
No need to hide
Lay your head in mine
Just close your eyes

Welcome
So you came
You're here with me again
Out of nowhere
You even know my name
But it will never, ever be the same
But I'm always with you
When you fall asleep

Sleep, sleep, sleep...

Show me
Show me what it is
What you're hiding from
I know you'
Know who you are
By the fear in your heart

(edit)

...............................................................

Now 'Zoon I and II', 'At The Gates Of Silent Memory' and 'Requiem XIII 33 (Le Veilleur Silencieux)' are during the oddly written (and failed) Zoon CD and - in my opinion - clearly inferior efforts of the shaman elsewhere in his song discography is to deliberately brainwash his audience into submiision by :

Quote:
"behavior modification, let’s look at Morgan’s goal more closely now.


confusion
doubts
loss of confidence

in the thought patterns of targeted people."

(edit)

"In the docs of MKULTRA subproject 7, Sid Gottlieb listed subjects he expected Abramson to investigate with the $90,000 the Agency was furnishing him. Gottlieb wanted “operationally pertinent materials along the following lines:

a. Disturbance of Memory;
b. Discrediting by Aberrant Behavior;
c. Alteration of Sex Patterns;
d. Eliciting of Information;
e. Suggestibility;
f. Creation of Dependence.”

https://mikemcclaughry.wordpress.com/th ... perations/



Similarly, fakes like Anton Lavey, Church of Satan, The Satanic Bible,The Temple of Set, ("Michael Aquino was a military intelligence officer specialising in psychological warfare In 1969 he joined Anton LaVey's Church of Satan and rose rapidly through the group's ranks") and other MKULTRA psy-operators were busy implementing even more:


Monarch: The New Phoenix Program

https://vimeo.com/22766863

see also:

Temple of Set

https://en.wikipedia.org/wiki/Temple_of_Set

Church of Satan

https://en.wikipedia.org/wiki/Church_of_Satan

.....................................................................

Zoon I & II (Saturation)

(cont.)

When you awaken your eyes open
I blind you like the sun
You only feel, only feel me
Tear you apart

"Tune your mind, reach inside, peel away. Come on, show me. Touch, Taste, Feel, Saturation."

Only false dreams awaken
Buried in your heart
Your only scream
You only fear you were dead from the start

Tune your mind
Reach inside
Peel away
Come on, show me

Touch, Taste, Feel

You're lost
You're lost for life
So lost
Your ____ life

The look of pain
No colour pain
The colour of your anger
Your lust for life

Enter my realm
Let it all escape
Reach inside
Escape
Unwind
My creator
Man maker

.....................................

Now that we've finished the lyrics - it is clear the shaman is talking to his audience (us) in all three songs mentioned in this post - he is not reflecting or elaborating on some past events. 'At The Gates Of Silent Memory' - "so sick of all the people, a blind moon" the medicine man tells us he's tired of us and being a rock star, but then assumes he's in a position to explain 'Elizium' to us, as if we're dolts. Back to Zoon pt. II, and why the singer said in recent articles he abhors it - and not just the the music. (Shine/Zoon III are great BTW) But the vanity of Zoon II he assumes the role of God old Testament as 'punisher' for the sins or lack of devotion by his folowers - their misdeeds, insecurities as if he were above us. Almost a 'God complex' if you will. But the head shrinker had failed in his songs here.

Image
Image
Image


Last edited by VisiGoth1 on Mon Oct 30, 2017 9:31 am, edited 1 time in total.

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 Post subject: Re: Nephilim Mailing Address ???
PostPosted: Mon Oct 30, 2017 8:55 am 
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VERY LONG Nefiim "Zoon" lyrical interpretation from now

offline/ discontinued Sumerland fan page ...



Interesting - take but I don't agree w/Beth Winegarners analysis here.
But I am including it for discussion purposes.

I always saw Zoon as McCoy using Greek metaphors or Biblical terms to describe himself in literal terms - working on his own inner demons. Aside from Shine and Zoon III, this record should be trashed. I first heard it and had fond memories of the latter two Nephilim tracks, which I put on a mix tape along w/ some Swervedriver, Catherine Wheel non album b-sides, and rarities. I was driving thru the Hollywood Hills for the first time in my new car, and as the car SWERVED around Mulholland, I thought - "Wow, McCoy is thrashing - awesome!"


Nephilim Reborn: Zoon
by Beth Winegarner


Upon first hearing the staggering violence of "Zoon," many Nefilim fans -- this one included -- didn't know how to adjust from the world of lush, ethereal melodies we'd come to know and love. It became clear from the start that "Zoon" was not an album about beauty, or of beauty -- at least not on the surface. Some people kept at it, trying to decipher lyric and meaning, but others -- like me -- put the album on the shelf, hoping it would be more palatable later, with time, and with patience.

It was actually Paula O'Keefe's essay that inspired me to try listening to it again. I find mythology irrestistable -- and I wanted to discover for myself whether I thought the album was retelling the Inanna myth. I began with the notion of the underworld journey; many albums are about this. About traversing the depths of the soul, and returning, transformed. It seemed possible -- even likely -- that "Zoon" described such a descent. But as I mentioned before, it wasn't until the Book of Enoch that I considered it might not be a descent from Earth to Hell, but rather a descent from Heaven to Earth.

Like many stories, "Zoon" begins with its ending, although there seems to be a double meaning here. At the end of the Enochian tale, the Watchers' fate is handed down by God -- they are sealed in a private tomb for eternity. Here we are given the "still life" painting of angels caught in an eternal coma, but also captured -- like a photograph -- in the moment before the tale begins. From the start they are also trapped outside of time, in Heaven, looking down upon Earth and Watching, but unable to make their mark upon the humans below.

Interestingly, a line from the Enoch story -- quoted above -- "And the high mountains shall be shaken," echoes almost perfectly a line from the Fields of the Nephilim epic, "Psychonaut:" "Let the mountain shake you to the core." That song was clearly a call to action, raising Leviathan and his Babylonian counterpart Tiamat -- giant undersea beings of immense power. "Zoon" seems, with every note and every line, to further that call.

Here it is: the exodus from Heaven by no less than 200 angels, who make a beeline for the women. This is one place where I have taken the chapters of Enoch out of order, because I feel this whole process -- they descend, they take wives, they teach the humans about magic and science and war -- go hand in hand in McCoy's retelling.

"The Nephilim was something I'd known about since I was really young. If you're familiar with the first book of the Bible, Genesis, you see the sons of God seduce some of the women on the earth and they produce a race of people known as the Nephilim. According to legend they taught man about war, astrology, and magic. I'm fascinated by the idea," he told Cornerstone Magazine in 1989. (In Enoch, the angels don't begin to teach the men various skills until after the giants are born and begin wreaking destruction -- a course of events which makes no sense. Wouldn't people be fleeing for their lives?)

Another translation of the Enoch chapter above, from Richard Laurence, says the angels landed on "Ardis, which is the top of mount Armon," and that the angels' names were "Samyaza, who was their leader, Urakabarameel, Akibeel, Tamiel, Ramuel, Danel, Azkeel, Saraknyal, Asael, Armers, Batraal, Anane, Zavebe, Samsaveel, Ertael, Turel, Yomyael, Arazyal (who is, later in the same translation, called Azazyel)." "Mount Armon" is also called "Harmon" or "Hermon," as above. According to one web site, "Mt. Armon, or Mt. Hermon, derives its name from the Hebrew word 'herem,' a curse (Charles, p. 63)" According to Andrew Collins, this mountain is associated with the real Mount Hermon, located north of Palestine.

The song begins with a quick downward-spiral of drums followed by a jackhammer of guitars that clearly delineates the descent, perhaps a violent exit from Heaven, a sudden landing on Earth, or both. Although most don't think that angels descending from Heaven would be blinded by the light of Earth, remember: these are like souls being born into new bodies. (And the lyrics almost clearly state this: "New altered states," and later, "If you are human, this is humanity," and later still, "the rites of change.") When he sings "Morning comes as light/Burning out my eyes," I think of that line from the Matrix when Neo says, "Why do my eyes hurt?" and Morpheus replies, "Because you've never used them before."

"1 And all the others together with them took unto themselves wives, and each chose for himself one, and they began to go in unto them and to defile themselves with them, and they taught them charms
2 and enchantments, and the cutting of roots, and made them acquainted with plants."

This song was where I began to really get the sense that "Zoon" is told not from the perspective of an outside observer to this angelic descent, but rather from the perspective of one of the angels -- any one of them -- as he falls to Earth. And falls in love.

From the start, "Shine" seems so clearly a love song it almost didn't seem to fit in with the Enoch story -- or with the Inanna interpretation. I was driving home one night listening to the song and watching the full moon on the horizon thinking how perfectly the song would work as a moon-dedication song. A few days later, I was searching for information about Endymion -- who is mentioned in the next song -- and found a myth all too perfect. Endymion and Selene.

According to one web site, "Endymion was a beautiful shepherd boy of Asia Minor, the mortal lover of the moon goddess Selene. Each night he was kissed to sleep by her. She begged Zeus to grant him eternal life so she might be able to embrace him forever. Zeus complied, putting Endymion into eternal sleep and each night Selene visits him on Mt. Latmus, near Milete, in Asia Minor. The ancient Greeks believed that his grave was situated on this mountain. Selene and Endymion have fifty daughters."

The first objection here would be in terms of the role reversal -- our narrator in "Zoon" is clearly male, and an angel, and he's singing about a human women for whom he's fallen. In the myth, Endymion is the mortal male and Selene is the supernatural figure. McCoy has pulled a fabulous trick here, showing that our narrator is so humbled by his love for this woman, that both are transformed -- he the low creature, she the goddess. While he trembles in her love, and is nearly broken by it, he isn't afraid of her.

There is an element of fairy tale here -- the song opens with "Mirror, mirror" -- the famous lines from "Snow White." We also meet Hecate here, the dark queen of wisdom, sometimes seen as the crone, often found at the crossroads. In the triple aspect of the moon goddess, the waning moon is sometimes associated with the crone and with Hecate as well. The ancient witch queen in "Snow White" was the one who brought the poisoned apple to Snow White, putting her into an endless sleep. The decent into sleep, like the descent into the underworld, leaves winter behind; it did for Inanna. It did for Persephone. And Snow White's own chilly, wintry name suggests that perhaps her own endless sleep shall bring about winter. But this time Hecate has a different kind of winter -- a different kind of death -- up her sleeve. A different gift.

"In a fatal world, they're afraid of what she brings." As the angel and his human lover consummate their passion, something new is sparked, the seed of something dark and destructive -- the zygote of the terrible giants who will soon be born. "She's gonna reach for the hearts of all of you/And I know her eyes are true."

Hecate and the human lover become something of a double image as it becomes unclear which "she" he is singing to; the woman he loves becomes the bringer of death as the seed of the giant grows within her. But she is the cause of her own undoing as well, and the cause of his undoing as this web weaves ever more intricately.

Malachi is also mentioned; literally translated, "Malachi" means "my messenger." Perhaps his appearance is a harbinger of things to come; in the Book of Malachi, God instructs men about what is proper and improper sacrifice: "'When you bring blind animals for sacrifice, is that not wrong? When you sacrifice crippled or diseased animals, is that not wrong? Try offering them to your governor! Would he be pleased with you? Would he accept you?' says the LORD Almighty." -- "Bow before Hecate/Man of fortune/Man of shame/She's gonna reach for the hearts of all of you." If you don't obey, there will be dire consequences. In consummating their love, the angels and humans have sinned -- and their actions will bring about the first Armageddon.

Secondly, the world "malachi" is often a euphemism for "angel." Andrew Collins writes, "Angels gain their name from the word angelos, the Greek rendition of the Hebrew word mal'akh, meaning 'messenger,' since they act as mediators between God and humanity."

"And they
3 became pregnant, and they bare great giants, whose height was three thousand ells: Who consumed
4 all the acquisitions of men. And when men could no longer sustain them, the giants turned against
5 them and devoured mankind. And they began to sin against birds, and beasts, and reptiles, and
6 fish, and to devour one another's flesh, and drink the blood. Then the earth laid accusation against the lawless ones."

... And all Hell breaks loose

The Nephilim are born, and they are destruction personified. They are "shining like gods," the "new body, new blood" of the love between the angels and human women. Their violence seems uncontainable, uncontrollable -- like a fire in the soul which cannot be quenched. The "magical sons" first turn against the humans -- including their own mothers -- leaving a path of destruction and chaos in their wake.

(It's also worth noting that the "ziarahs" McCoy mentions are defined (albeit a bit proprietarily) by Anton LaVey in his book "Satanic Rituals:" "From Mount Lalesh near the ancient city of Nineveh, the Yezidi empire stretched in an invisible band approximately three hundred miles wide to the Mediterranean junction of Turkey and Syria on one end, and the mountains of the Caucasus in Russia on the other. At intervals along this strip were seven towers - the Towers of Satan (Ziarahs) - six of them trapezoidal in form and the seventh, on Mount Lalesh, shaped like a sharp, fluted point. Each tower was topped by a brilliant heliographic reflector, and was intended to serve as a 'power house' from which a magician could beam his will to the 'descendants of Adam' and influence human events in the outside world. Like the Watchers, the fallen angels of the Book of Enoch, the Yezidis claimed to be the descendants of Azazel." It's also worth noting that the Yezidis do not worship Satan; they worship Malak Tawus, the Peacock Angel, a spiritual brother to the Watchers.)

The birth of the giants brings out the meaning behind the album's title. O'Keefe writes: "Zoon; from the Greek zoion, 'animal,' as in zoology and zodiac. A creature produced from a single egg. Its plural is zoa: ZO-ah. More precisely: a zoon (pronounced ZOH-on) is 'one of the perfectly developed individuals of a compound animal; the asexually produced progeny of a sexually produced individual.'" Although the Nephilim are sometimes identified as all male, they are without doubt all one gender; hence, asexual. They, themselves, are the Zoon of which McCoy speaks.

It has occurred to me, although it is not written anywhere explicitly in Enoch, that perhaps the simple act of giving birth to the giants may have killed many of the women. In many myths, and especially in horror tales, a woman who gives birth to a child who is part-demon or part-supernatural creature of any kind, she usually dies in childbirth, or is brought very near death. Given that, and the size of these beings, it would be impossible for a human woman to survive such an ordeal. I am hesitant to use this possibility as a translation for what we see in "Penetration" and "Melt," but it certainly seems plausible.

Our narrator begins to regret; he sees what his love has done and insists that the angels turn back from their course. "We must go back now... I can't look in, and I can't look back." But then he acknowledges that nothing can be done. "We cannot stop, no."

n a way, "Melt" is another love song; our narrator goes to find his human love, but when he discovers her, the Nephilim have already found her; she is dying, nearly dead. He prays over her: "Now have your place with god... innocence can be Hell" and at the same time is appalled at what he has done: "Matter... blood... Oh, forgive me."

"Melt" can be seen as a meditation on how passion and lust can turn on those who wield it carelessly; certainly the Book of Enoch felt that way. In their eyes, the love between humans and angels is strictly forbidden and leads to the first Armadeddon -- the flood. In lyrics no less than poetry McCoy retells the crux of this message: "Of the passions that see and destroy us/This subtle fire, this secret flame/Torture by desire/Transformation from flesh to spirit."

As he watches her die, he feels a profound sadness. There is a stillness, and a light -- a place he cannot go himself -- and then she lets go.

Although the idea that this album is a tale not just about a mythological destruction of the earth that took place ages ago, but is also about our modern destruction of the planet, does not really arise until we came to "Venus" and "Pazuzu," there are certainly signs that this could be a song about Mother Earth as well and how our actions have laid her to waste. Food for thought.

As on 'Shine,' here the musicians lower their weapons, giving way to eerie, dark shimmers of sound. We hear a woman's breathing in the beginning, labored and shallow; the bass guitar snakes through the darkness. McCoy himself cries out in a foreign tongue before whispering the lyrics. In the background, a beep like a heart monitor fades in and out. The woman begins to cry out in pain; McCoy's voice begs for forgiveness. The instrumentation builds slowly, but never completely lets loose with the pain and anguish it suggests.

"1 And then Michael, Uriel, Raphael, and Gabriel looked down from heaven and saw much blood being
2 shed upon the earth, and all lawlessness being wrought upon the earth. And they said one to another: 'The earth made without inhabitant cries the voice of their cryingst up to the gates of heaven.
3 And now to you, the holy ones of heaven, the souls of men make their suit, saying, "Bring our cause
4 before the Most High."' And they said to the Lord of the ages: 'Lord of lords, God of gods, King of kings, and God of the ages, the throne of Thy glory (standeth) unto all the generations of the
5 ages, and Thy name holy and glorious and blessed unto all the ages! Thou hast made all things, and power over all things hast Thou: and all things are naked and open in Thy sight, and Thou seest all
6 things, and nothing can hide itself from Thee. Thou seest what Azazel hath done, who hath taught all unrighteousness on earth and revealed the eternal secrets which were (preserved) in heaven, which
7 men were striving to learn: And Semjaza, to whom Thou hast given authority to bear rule over his associates. And they have gone to the daughters of men upon the earth, and have slept with the
9 women, and have defiled themselves, and revealed to them all kinds of sins. And the women have
10 borne giants, and the whole earth has thereby been filled with blood and unrighteousness. And now, behold, the souls of those who have died are crying and making their suit to the gates of heaven, and their lamentations have ascended: and cannot cease because of the lawless deeds which are
11 wrought on the earth. And Thou knowest all things before they come to pass, and Thou seest these things and Thou dost suffer them, and Thou dost not say to us what we are to do to them in regard to these.'"

The Nephilims' destruction has finally gotten to the point that those in Heaven are beginning to take notice. The "slaughter house religion" that has overtaken Earth is appalling to those above -- and to the angels still on earth, whose entire reason for descending to the planet has been wiped out as a result of their actions. It has become a place of "evil for all" -- a hallucination of Hell itself. The lines from "Melt" are mocked -- "forgive me..." he says. "She feels... still warm." But then he punishes himself for what has been done, and he knows she was dead from the moment he laid eyes on her: "As I reached her from inside/Love could have killed her just the same." But it is all an act of futility in the end, and forgiveness will not be his: "My words/dead to the world."

Love itself breaks down as Venus decomposes.

This song also suggests other levels to the meaning of the myth; there are times throughout the album where it sounds like McCoy is not only retelling a story of past world destruction, but suggests that it is happening again, right now, on the planet. Earth herself is slowly destroyed by the actions of human beings -- whether it be pollution and greed or development, or war, or hatefulness towards one another. There seems to be a clear double meaning to the message, that what happened before can happen again as the "giants" of industry chew up everything in their path. This thought continues in "Pazuzu."

The sound of sirens throughout the song, with all its chaos and bludgeoning melody, is a suggestive touch.

"1 Then said the Most High, the Holy and Great One spake, and sent Uriel to the son of Lamech,
2 and said to him: Go to Noah and tell him in my name "Hide thyself!" and reveal to him the end that is approaching: that the whole earth will be destroyed, and a deluge is about to come
3 upon the whole earth, and will destroy all that is on it."

"Venus" ends -- and "Pazuzu" begins -- with the sounds of hymns, gasping, buzzing and churchlike swells of synthesizer, which fall away to the opening guitar wails of "Pazuzu" and the chant "This generation shall not pass." We are clearly in the presence of something higher, God himself, come to lay waste to what has become an abomination. That chant is taken from a passage in Matthew 24:33-35: "So likewise ye, when ye shall see all these things, know thatt it is near, even at the doors. Verily I say unto you, 'This generation shall not pass, till all these things be fulfilled. Heaven and earth shall pass away, but my words shall not pass away.'" These verses refer to the generation of Christians who will witness the signs that point to the apocalypse and the Second Coming.

But God's wrath comes first in the form of the demon Pazuzu -- who, according to Patricia O'Keefe is the only demon to ever be featured in a major motion picture (he is the demon who stands face to face with the elder minister in the beginning of "The Exorcist"). Not much is known about Pazuzu -- or Zu, as he is sometimes called. According to one web site, "This little-known demon from Babylonian myth was represented as a very thin, emaciated man with the feet and wings of an eagle, and the forepaws and head of a lion. He is nearly always shown with the right paw raised and the left held at his side.

"The demon first appeared in early Babylonian myth in the guise of the "storm-bird" Zu, who stole the Tablets of Destiny from the dragoness Tiamat. In the later Babylonian civilization, he once again appeared, this time under the name of Pazuzu, and was said to be the child of the chief wind-demon, Hanpa. When Pazuzu is summoned by worshippers, he appears in a statuesque form, frozen into the position described above. However, he metamorphoses out of the statue form to his living form. In this form, he is fully capable of movement."

Curiously, the Yezidi tribes of Kurdistan, who worship a Watcherlike god called Malek Taus, or the Peacock Angel, tell a very similar story to the one about Zu and Tiamat. In their mythology, a creature -- who is half-lion, half-eagle -- called Imdugud, or Anzu. "This monster was said to have stolen the Tablets of Destiny from the god Enlil (Ellil) in Akkadian which, in its possession, gave 'him power over the Universe as controller of the fates of all,' enough to endanger 'the stability of civilization,'" Collins writes.

Perhaps Zu is Anzu; but certainly Enlil, the kingly god of the Sumerian people, is not cognate with Tiamat. Still, the double vision -- of a half-lion, half-eagle demon who steals the tablets of destiny -- speaks doubly to the fate of the civilization we witness on "Zoon."

It may be important to point out here that the Tiamat-Leviathan-Cthulu corollary has always been important to McCoy; he's been summoning the undersea beast Cthulu (and calling this traditionally male character "she" from the outside) since early Neph recordings. Leviathan is mentioned in "Psychonaut" but Tiamat is the original. She was seen by the Babylonians as the divine mother, the creator, Mother Earth. Some say she is the "salt waters of creation," thus uniting her with the sea; others say she is the earth itself. Her relationship to Pazuzu only makes the song more complex; Pazuzu is a winged creature who steals destiny from the creator. McCoy seems to draw a clear comparison between his tale and the tale of the Watchers.

Interestingly, images of Pazuzu can still be found in Kuwait, not far from where the original Babylon was situated, in the Tigris-Euphrates valley of what is now Iraq.

Another site gives some hint as to Pazuzu's nature, and why he might appear on "Zoon:" "Pazuzu dwelt in dark, hot arid places and was a nasty, sexy, demonic entity, probably used as a primitive bogey man to frighten children at night: 'If you're not good, I'll send for Pazuzu.' But basically, Pazuzu was probably a destroyer who came to strike blight into lush places and into people's hearts." However, the image of Pazuzu is also the enemy of the Lamashtu demon, who is the bringer of sickness, especially to women and children -- an image of him on an amulet is strong protection, especially for women in childbirth.

So is Pazuzu meant to protect the women in this tale? Protect their childbirth and their children? Or is he an avenger? Or is he a metaphor for what we've been observing since the beginning of the story? Perhaps all of these are possible.

Pazuzu's description as an emaciated man is reinforced in the quote toward the end of the song: "They stood him before a mirror. He was emaciated and covered with wounds, his back was bent, his hair was gone. There was not a single depravation he had not known."

The "black rain" of the story falls, and falls, and falls, bringing about the flood waters. In Enoch there is clear reference to Noah, and making sure Noah gets away before the destruction begins. We know from the Bible that Noah and his wife -- and the animals they took with them -- were the only ones to survive this onslaught.

And again there is an undercurrent of criticism for this modern world, this time pointed at the religious world: "In a world of fcuking hypocrites and liars/Man made God/Sorrow for Satan and priests like dogs/No one here remembers the bending of our minds/Pray for today/Tomorrow you die." Christianity is clearly brought to bear for the mess we're in today -- where humans are nothing but low, dumb, broken creatures. McCoy calls us back to the time when we were awake and alive in our minds and bodies -- a message he's spent the past decade weaving into his music.

The destruction of the humans and giants -- for the sake of humankind no less -- is held as a metaphor for the hypocrisy of modern-day religion: "As the fourteen hundred and forty nails upon the cross, you are destroyed in the name of my savior." The angels turn against their own kind, the ones in Heaven tattling to God about what the ones on Earth are doing. Just as humans on earth turn against one another, each condemning the other for his actions. Using religion to justify actions of hatred and destruction. And so it goes...

And as the rain continues, the world grows darker and darker. We flash on the Nephilim momentarily -- this is the first time McCoy has ever called them by name. He then quotes a line from the Chaldean Oracles of Zoroaster -- "Stoop not down to the dark-infested world" -- as the world is slowly enveloped in chaos, darkness and disorder, becoming "unluminous formless and void" -- as it was when it was first made. And so it shall be remade.

"And again the Lord said to Raphael: Bind Azazel hand and foot, and cast him into the darkness: and make an opening
5 in the desert, which is in Dudael, and cast him therein. And place upon him rough and jagged rocks, and cover him with darkness, and let him abide there for ever, and cover his face that he may
6,7 not see light. And on the day of the great judgement he shall be cast into the fire. And heal the earth which the angels have corrupted, and proclaim the healing of the earth, that they may heal the plague, and that all the children of men may not perish through all the secret things that the
8 Watchers have disclosed and have taught their sons. And the whole earth has been corrupted
9 through the works that were taught by Azazel: to him ascribe all sin. And to Gabriel said the Lord: Proceed against the bastards and the reprobates, and against the children of fornication: and destroy [the children of fornication and] the children of the Watchers from amongst men [and cause them to go forth]: send them one against the other that they may destroy each other in
10 battle: for length of days shall they not have. And no request that they (i.e. their fathers) make of thee shall be granted unto their fathers on their behalf; for they hope to live an eternal life, and
11 that each one of them will live five hundred years. And the Lord said unto Michael: Go, bind Semjaza and his associates who have united themselves with women so as to have defiled themselves
12 with them in all their uncleanness."

Alone in the darkness, a single guitar shimmers and glistens like a faint star. Everything is quiet and still, and the void is omniscient. "Zoon" is the beginning of the end, the union of all that came undone, the creation of a new creature altogether.

Part I is a kind of reunion; but in the darkness, we cannot know for sure who is reunited. The angels are bound together in the void, in the silence; the angels are also returned to God. But are the souls of the men and women who commingled with the angels -- either in lust or in learning -- here with them, suffering the same punishment? That is less clear. The subtitle, "saturation" is suggestive; saturated in darkness, in sorrow, in nothingness, in punishment, in regret, in loss.

And yet a love remains constant here. "I'm here with you, you know -- no need to hide. Lay your head in mine. Just close your eyes." There is a sense of trust and togetherness, reunion, peace. But by the next verse McCoy's voice transforms from soft and melodic to a low, demonic growl as the guitars hammer in: "You even know my name, but it will never, ever be the same... I'm always with you when you fall asleep."

My sense is that these songs are God speaking directly to the Watchers, almost as a father would to sons who have disappointed him beyond belief. There is the sound of hydraulic machinery, chanting in an unknown language, distant thunder, and McCoy repeats a word -- is it "sleep" or "slave?" Or both?

The narrator -- God? -- continues to torment his subject, insulting and berating him, showing his power over the other: "I blind you like the sun... you only feel me tear you apart. You only fear you were dead from the start. You're lost for life." The Watchers are not only banished to the void for eternity, but they must live with the knowledge that they are nothing; they were created and they can be destroyed. Destroyed from within, by their own anguish and inner torment.

By the end of Part II the music has reached a pummeling peak, then descends in silvery chords into near-silence. There's a shiver, a hum, almost electrical -- then a slow, steady heartbeat, echoed by the bass. This is the true ending, the beginning of the healing process and the acceptance of a fate handed down. The reunion is complete: "We live together, forever. Every breath that you will take I'll breathe."

And yet, there's a spirit of hope: "I will live again until it hurts to be me. My name, my face, my spirit. Now leave me. Now go." One wonders who is lost for eternity -- and who remains.

"And when their sons have slain one another, and they have seen the destruction of their beloved ones, bind them fast for seventy generations in the valleys of the earth, till the day of their judgement and of their consummation, till the judgement that is
13 for ever and ever is consummated. In those days they shall be led off to the abyss of fire: and
14 to the torment and the prison in which they shall be confined for ever. And whosoever shall be condemned and destroyed will from thenceforth be bound together with them to the end of all
15 generations. And destroy all the spirits of the reprobate and the children of the Watchers, because
16 they have wronged mankind. Destroy all wrong from the face of the earth and let every evil work come to an end: and let the plant of righteousness and truth appear: and it shall prove a blessing; the works of righteousness and truth shall be planted in truth and joy for evermore."

There are almost no lyrics to "Coma;" just these few lines, which emerge out of a confusion of voices and chanting. Then out of the chaos comes lines of English, asking for the wake-up call, feeling the pain of the end and of the beginning again. These lines echo words from the first Enochian Call, which (in its English translation) includes the line, "Moreouer you lifted vp your voyces and sware [obedience and faith to him that liueth and triumpheth] whose begynning is not, nor ende can not be, which shyneth as a flame in the myddst of your pallace, and rayngneth amongst you as the ballance of righteousnes and truth." (Emphasis mine) This song is about the eternal silence that follows God's punishment of the watchers (and it is surely no mistake that the cover of "Zoon" bears the image of Aleister Crowley, dressed in ritual robes and making the Harpocrates sign of silence).

What follows is a series of industrial noises; a throbbing hum, the sound of gears turning, electrical buzzing, footsteps; then a door slams, echoing into eternity. The door is shut on the disobedient Watchers, and their endless coma begins. Like Leviathan and Cthulu they are trapped, kept away from humanity, eternally asleep, "dead but dreaming." Like Endymion they can never awaken, although no loving light falls upon their restful faces. For them, there is no peace.


Last edited by VisiGoth1 on Mon Oct 30, 2017 2:43 pm, edited 4 times in total.

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 Post subject: Re: Nephilim Mailing Address ???
PostPosted: Mon Oct 30, 2017 9:15 am 
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Mr. Paul Wright gets HAMMERED !
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Image <<< BEST !


Here - McCoy contradictions are apparent:

when asked what disc of his is his favourite ?


................................................................

*cthulhu*

Quote:

Interview with: Carl McCoy, vocalist of the legendary "Fields of the Nephilim"

Q. Another thing I have to ask you is what is your favorite song and favorite album out of your releases?

A:“Dawnrazor”- the song itself and the “Dawnrazor” album.

http://alternative-zine.com/interviews/en/60


*cthulhu*

then years later, McCoy says:

Quote:

Into The Subconscious: Fields Of The Nephilim Interviewed

Q: Of all the studio albums you've done, what's your favourite; which do you think comes closest to realising your intentions or vision?

CM: My favourite albums are probably the second album we did, and Zoon. The Nephilim, being our second album, was the first album where we really concentrated on crafting our sound,


http://thequietus.com/articles/08546-fi ... -interview


*cthulhu*

And here McCoy has conflicted views on both Elizium and Zoon

Quote:

FIELDS OF THE NEPHILIM A CAGE OF ICE
ELEGY, NOVEMBER 2005
Interview by Yannick Blay


Q:Mourning Sun shows a Fields of the Nephilim as always, haunted and dense, but it seems a little too much like Elizium, no?

A:You don't like it?

Q:Yes, but I'm a little disappointed. I expected something a bit more like Zoon, without a doubt...

A:All the albums that I've done are different from one another. And it is evident that it is that way on it's own. I wasn't particularly happy with Elizium when it came out. For me it seemed incomplete, not all finished. It lacked light and shadow, I think. When you must play these very long, slow songs on tour, it's a lot of work. I think that Zoon was written in reaction to that, and I even had it in me before Elizium. Then when I wrote Zoon, I had too many ideas for a single album. This is the reason it's so excessive. As for Mourning Sun, it is the fruit of a certain maturation, of my roots: it is what it is, in fact. It perfectly represents me, in any case.

http://sumerland.devin.com/articles/mcc ... 2005.shtml



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Quote:

JOHN HARFORD commenting about Dawnrazor

"I once heard it said that music is just music and that it should not be treated as religion. While I tend to agree when discussing religion in the fundamentalist sense, good music can be transformative in the same way a religious experience can. There are moments when music causes epiphany, especially when you treat art and music as more than accessory or entertainment."





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 Post subject: Re: Nephilim Mailing Address ???
PostPosted: Tue Nov 07, 2017 4:38 pm 
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Good effing grief, somebody drank the koolaid didn’t they.

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"Never attribute to malice that which is adequately explained by stupidity." — Robert J. Hanlon


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 Post subject: Re: Nephilim Mailing Address ???
PostPosted: Wed Nov 08, 2017 10:11 pm 
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well my guess would be to drop an email to the manager / 6th bandmember that you find in many pictures nowadays... why else would he be the 6th guy in the pictures? a further guess is that he wrote the last piece of crap published as well... but thats off subject now. if you cant find the address, go to the website of bros, he „manages“ them as well, maybe youll find a way to get in contact with him....seriously... stop trying to ride dead horses.


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 Post subject: Re: Nephilim Mailing Address ???
PostPosted: Thu Dec 07, 2017 11:22 am 
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ojopaj wrote:
Good effing grief, somebody drank the koolaid didn’t they.

"Who and where are a person's demons? Those are the reflections of the unsolved enigmas of his own humanity. What are his ideals? Those are the symptoms of his grasp of life."
--Joseph Campbell




Joseph Campbell , eh?

I am referring to the archetypal The Christ or The Buddha in the same way Joseph Campbell regards the teachings. Joseph Campbell was a Jungian, and as such he spoke in Jungian terms. One of his great quotes is "All babies are Buddha babies." - meaning that anyone can embody The Christ or The Buddha.

Image

I didn't exactly consider him a favourite, but read a couple of his books, and at our impromptu book club my friend had a dozen tapes of his old audio lectures. We listened intently. We weren't taking ourselves so seriously that we were above laughing at ourselves or our subjects.

We'd make jokes after hearing Peter Coyote read Carlos Casteneda audio books, my friend would chime in that his anthrpology teacher regarded reading New Agey Carlos Casteneda books as "doing research on a fraud, " we'd dismiss Campbell or Jung as 'a lousy Christians' because their latent function as authors and spokespersons was to promote Christianity. It was 1992. We had already read all the Carlos Casteneda books, and were deciding what lecture tapes to put on one Friday nite. I suggested Peter Coyote reading a Don Juan book, when the host chimed in, "Fruitless journeys, anyone?" holding up the box. We all laughed. Of course the host insisted on Edgar Poe read by Christopher Lee afterward. Gosh - I wish I had that one for posterity.

(we'd all rejected the Christian myth, as simply myths and symbols codified in dark ages for societal conduct like the code of hammurabi based roman law)

Even HP Loveraft did not take his work that seriously, and wanted any of his manuscripts aside from his "best of HP Loveraft" stories burned after his death, because he did not consider his other short stories and novellas worthy of publication. Howard stated in his own letters, the stories known as "the Dream Cycle" or "Dunsany Period" sketches were just practice work and development of his ideas, but not at all up to quality for publication. This is according to Lovecraft himself in letters after writing feverishly thru serious illness, leaving him a shut-in. Lovecrafts work was collected, edited, and translated from crabbed handwriting for publishers by August Dereleth. Apparently Lovecraft did some short story ghost writing published by Arkham House (eg) "The Horror in the Museum" which some question as to their authenticity. Writers are odd, somewhat crazy personages as Conan the Barbarian legend Robert Howard shot his wife then himself to death - but the first 12 Conan weird fiction novels are considered classic. When Edgar Poe was editor of a newspaper, he often wrote letters to himself adressed "To the Editor" under various false names. Farenheit 451 author Ray Bradbury was known to personally detest black people, etc. Hemingways exploits as boxer, big game hunter, big fish catcher were all due to an intense insecurity complex created by his father constantly calling Ernest a "sissy" during his childhood, the author confessed in a letter before his death. My old Prof. had an audio of Hemingways speaking in a high squeaky voice about once obtaining the svcs of a hooker for three dollars. A really weird guy, Ernie was.


So - you never can seperate the man from the art - we all know Major Tom was a junkie, although from Oddity to Scary Monsters, I loved some of the music but hardly the man.

Likewise - it is a mistake to characterize Hesus, Cthulu, Magic, Chaos magick from Simon, or whats his name, Campbell, or Jung, Casteneda as anything but mythology, fiction, symbolism, if not outright nonsense. The false cults created by millions of Castaneda readers who consider the "Ally" real is tragic. Casteneda was simply a talented yarn spinner. Don Juan, a fiction. His philosophy, a four dollar and ninety five cent circus act.

Take this page from Glimpse After Glimpse by Sogyal Rinpoche and see why Campbell used archetypal language

"Know all things to be like this:
a mirage, a cloud castle,
a dream, an apparition,
Without essence, but with qualities that can be seen.

Know all things to be like this:
As the moon in a bright sky
In some clear lake reflected,
Though to that lake the moon has never moved.

Know all things to be like this:
As an echo that derives
From music, sounds, and weeping,
Yet in that echo, is no melody.

Know all things to be like this:
As a magician makes illusions,
Of horses, oxen, carts and other things,
Nothing is as it appears.."

–Buddha

or this one from

Zen Mind / Beginners Mind by Shunryu Suzuki


Image





see also: Myths to Live By by Joseph Campbell
https://www.amazon.com/Myths-Live-Josep ... 0140194614
...


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