Showing posts with label 1999. Show all posts
Showing posts with label 1999. Show all posts

Wednesday 13 July 2016

Ghostbusters Loves The Catholic Church



"Nobody steps on a Church in my town..!!"

"Mike, we're in a real fix, here..!"

One day, about 5 years ago, but more likely 10, it was a Sunday and for SOME reason o felt the need, the overwhelming compulsion to watch the last 25 mins of Ghostbusters, over and over and over again, something like 17 or even 30 times.

I didn't understand that at the time.

I do now.

And when I went to New York City for the first time in my life, I didn't want to see the Statue of Liberty, the Empire State Building, Times Square, the Metropolitan Museum of Art, NONE of that.

The minute I arrived on Manhatten Island, the FIRST thing I wanted to do, the ONLY thing I wanted to do was to go directly to Central Park West and take a look at that building. 
(And the Church that gets - very meaningfully - stepped on by Mr. Stay-Puft. I think it's called St. Patrick's)



I didn't understand that then.

But I do now.


ALL of the occult, Fortean and paranormal references embedded in the original Ghostbusters, along with all of the references to the Rockefellers and the Ford Foundation, Prometheus and their sponsorship of the Eugenics Movement, Sumerian religion and Ziggurats, the Temple on the top of the building, the SCIENCE of spirit entities and nuclear/particle physics is all 100% ACCURATE.

It just wouldn't LOOK like that.

It's also ALCHEMICALLY and MAGICKALLY accurate, far more importantly.

Ghostbusters is also probably second only to The Exorcist as probably being the best possible advert for the Catholic Church in the history of Hollywood.

Not a lotta Irish Catholic studio heads running Hollywood....

But don't quote me on that, Lenny...


The Catholic Church NEVER formally denounced, condemned or disapproved of the study or practice of alchemy, astrology, Angel Magicks, Angelic conversations of the kind conducted by Dee & Kelley in Prague (under the patronage and sponsorship of the Catholic Holy Roman Emperor), or any of the occult arts and sciences of Khemet (ancient Egypt) AS SUCH - in fact, the reality that particularly in the High Rennaissance, such careful study was specifically AUTHORISED by Papal Decry to certain knowledgable and pious learned men, under conditions of tight secrecy and control, we know that in fact the Papacy sought to REGULATE and police such work and such study in the way there were not able to and did not seem to do so in the purely materialist Sciences.

But then, just as things were getting interesting, and they began to make some real progress, they got interrupted by The Reformation, and got forced onto the defensive for the first time....

"The walls in the 53rd Precinct are bleeding - how do you explain that?"



There is a REAL, COFFEE-TABLE-SIZED BOOK of architectural photography, one inch thick, in print, entitled 

"Roof-Top Temples of New York City"

So these Temples are up there.

And the Vice-President of the United States, Henry A. Wallace, with the blessing and support of FDR was one of those people up there conduct "Bizarre Ceremonies" (meaning often sexual, with a young virgin placed upon the apex of the Ziggaurat to become the vessel for The Goddess (usually Ishtar, or perhaps Asherah)), up on the roof.

Spook Central EXISTS.

It was built by The Rockefellers and other New York Old Money "philanthropists" (so-called), at the urging of the Russian Mystic Nicholas Roeich, primarily.

It's called "The Master Building", and it's on the Upper West Side - and where does Janoz say he is from....? 

The Upper West Side.


So it's on Riverside Drive, and NOT Central Park West, right by Rockefeller Centre (30 Rock), and the Spanish-American War Memorial (commemorating the victory of the Big Lie and Dawn of the American Century, the rise of the American Empire and the defeat (for now) of American Repubican ideals))

Tuesday 12 July 2016

The Age of Men is at an End








From Publishers Weekly

This debut by Atlantic magazine senior editor Rosin bears witness to a paradigm shift currently turning the gender norms of American society upside down. "Plastic women," adaptable in a changing economy and culture,, dominate institutions of higher education and steadily infiltrate the cubicles and boardrooms of a corporate America, and no longer need men to be the breadwinners. . . "Cardboard men," especially working-class and unskilled men, forced out of their factory jobs by the growing industrial flight, struggle to find purpose and employment in an evolving economy that values brains over brawn and the ability to build teams over handiness with a hammer . Rosin explores these changing gender norms across several settings, from the bedroom to the jail cell (more women are being arrested for violent crime than in the past), and teases out the highs and lows experienced by women attempting to shoulder the breadwinner and housekeeper roles simultaneously. Rosin's passion for the subject is married with the depth of understanding gained from years of reporting to produce confident prose and thorough citation. She deftly balances academic research with relatable anecdotes, from sorority sisters to single mothers. Rosin ends with a vision of both genders putting aside outdated traditions and finding a new normal built on the strength of human connection.

Product Description

A landmark portrait of women, men, and power in a transformed world. 
Men have been the dominant sex since, well, the dawn of mankind. But Hanna Rosin was the first to notice that this long-held truth is, astonishingly, no longer true. At this unprecedented moment, by almost every measure, women are no longer gaining on men: They have pulled decisively ahead. And “the end of men”—the title of Rosin’s Atlantic cover story on the subject—has entered the lexicon as dramatically as Betty Friedan’s “feminine mystique,” Simone de Beauvoir’s “second sex,” Susan Faludi’s “backlash,” and Naomi Wolf’s “beauty myth” once did.  

In this landmark book, Rosin reveals how this new state of affairs is radically shifting the power dynamics between men and women at every level of society, with profound implications for marriage, sex, children, work, and more. With wide-ranging curiosity and insight unhampered by assumptions or ideology, Rosin shows how the radically different ways men and women today earn, learn, spend, couple up—even kill—has turned the big picture upside down. And in The End of Men she helps us see how, regardless of gender, we can adapt to the new reality and channel it for a better future.

Let she who hath understanding reckon the meaning...



Seven on Eleven,
Snake-Eyes watchin' U...

Tiger Feet

....but what else is there..?

"Is that all there is?
Is that all there is...?

Is that all there is...?! ?!"

Fergie, 
Shut Up (Black Eyed Peas)
2006



O, That's Nice...

GAMES4MAY

The Greatest Hits.

NEVER buy the Greatest Hits.

Except just this one time, it's okay.


"The Bardic tradition of magic would place a bard as being much higher and more fearsome than a magician.  

A magician might curse you.  
That might make your hands lay funny or you might have a child born with a club foot.  

If a Bard were to place not a curse upon you, but a satire, then that could destroy you.  

If it was a clever satire, it might not just destroy you in the eyes of your associates; 
it would destroy you in the eyes of your family.  
It would destroy you in your own eyes.  
And if it was a finely worded and clever satire that might survive and be remembered for decades, even centuries. 

 Then, years after you were dead people still might be reading it and laughing at you, and your wretchedness, and your absurdity.

The Sage of Northampton

I will pay to see that...


Teresa May was born on December 15, 1966 in Surrey, England as Teresa Betteridge. She is an actress, known for Nude & Naughty(1998), Petticoat Passions Vol. 1 (2001) and Lesbian Student Nurses (2000).


Performed under the name Ella for her glamour videos for the Fiona Cooper company (#283, #286, #287, #288, 289, #361, #363, #400, #431, #433, & 3864).


Star Sign
Sagittarius

Personal Details

Born
Teresa Betteridge
December 15, 1966 
Surrey, England, UK

Height: 5' 3" (1.6 m)




Did U Ever See The Rain..?

Monday 11 July 2016

Veni, Vidi, Iceni : Boudicca's Daughters are BACK


In 1984, the Men say 
"We Came, We Saw, We Kicked It's ass..!!"

In 2016, the Women say 
"We made some Magick today, that's all I'll say..."




“It is not as a woman descended from noble ancestry, but as one of the people that I am avenging lost freedom, my scourged body, the outraged chastity of my daughters. Roman lust has gone so far that not our very persons, nor even age or virginity are left unpolluted.”

“But heaven is on the side of the righteous vengeance; a legion which dared to fight has perished; the rest are hiding themselves in their camp, or are thinking anxiously of flight. They will not sustain even the din and the shout of so many thousands, much less our charge and our blows.

“If you weigh well the strength of the armies, and the causes of the war, you will see that in this battle you must conquer or die. 

This is a woman’s resolve. 
As for the men, they may live and be slaves!


ANDRASTE



(Also: Andrasta, Adraste and Andred)
(Romano-Celtic; British; Breton; Anglo-Celtic; Continental Europe)
Some of her correspondences are: 
Animal: Raven (occasionally, the Hare)
Astral Body: Moon (probably waxing)
Color: Red
Tarot: Death
Weapon: Sword

Tidbit: Some Celtic coins are thought to show images of Andraste.
Andraste is a warrior goddess, the goddess of victory, of ravens and of battles, similar in many ways to the Irish war goddess, Morrigan.  Besides "the invincible one," her name is also known to mean "she who has not fallen".  It is told that her presence was evoked on the eve of battle to curry favor, and as a goddess of divination, she was probably called upon to divine the outcome of battles and war. 

She was venerated in woodland groves throughout Southern Britain and there is told of a sacred grove dedicated to Andraste somewhere in Epping Forest.  She is known symbolized by the hare, partly due to Boudicca’s veneration of her, and due to some misinterpretations of lore.

As Andred (her Roman name is Andraste – Macha notes: how cunning she’d call the goddess by her Roman name while engaged in battle with the Romans!), she was a lunar mother-goddess figure associated with fertility and love.  In her dark aspect however, she was associated primarily with warfare and specifically with victory.  She is sometimes compared to the goddess Andarte, a deity worshipped by the Vocontii of Gaul.

A warrior goddess or goddess of war, Andraste was invoked on the eve of battle to curry favor, and ritual sacrifices may have been made to her.  

In Celtic Britain, in 61 CE, the widow of King Praesutagus of Iceni, Queen Boudicca (Latin: Boadicea), was the leader of a rebellion against the Roman occupation.  She allegedly sacrificed captive Roman women to this goddess.  According to Dio Cassius, Andraste was a Celtic goddess thanked by Boudicca while fighting against the Roman occupation of Britain, and she is mentioned only once.  She may be the same as Andante, mentioned later by the same source, and described as 'their name for Victory', i.e. the Goddess Victoria.  Boudicca released a hare as part of the rite of appeasement to Andraste, and she devoted the spoils of her battles to the goddess as well.

There is a misconception concerning Andraste.  Many neo-pagan sources describe the hare as sacred to Andraste.  This seems to derive from a misreading of the passage in Dio Cassius, in which Boudicca releases a hare from the folds of her clothing:

"‘Let us, therefore, go against (the Romans), trusting boldly to good fortune.  Let us show them that they are hares and foxes trying to rule over dogs and wolves.’  

When she had finished speaking, she employed a species of divination, letting a hare escape from the fold of her dress and since it ran on what they considered the auspicious (lucky) side, the whole multitude shouted with pleasure, and Buduica, raising her hand toward heaven, said: 

‘I thank thee, Andraste, and call upon thee as woman speaking to woman...’”

The hare's release is described as a technique of divination, with an augury (omen) drawn from the direction in which it runs.  This appears to be similar to Roman methods of divination which ascribe meaning to the directions in which birds fly, with the left side being favorable and the right side unfavorable.

Taking an omen at this point before a battle is a means of testing the 'good fortune' of which Boudicca speaks, with no suggestion that the hare is sacred to Andraste.  More importantly, the unflattering comparison of the Romans with 'hares and foxes' is not consistent with the reverence one would expect if the hare were a symbol of the Goddess.  Boudicca is evidently giving thanks to Andraste for the omen of victory and not addressing the hare as Andraste or a symbol of Andraste per se.

Andraste may be considered as the patron Goddess of the Iceni tribe due to Boudicca’s reverence of her.

In "The White Goddess," Robert Graves speaks of a "taboo" in Britain against hunting hares for fear that killing one might afflict the hunter with cowardice.  He considers the likelihood that Boudicca in fact released the animal hoping that the Romans might strike at it, and loose their courage.

The army of Queen Boudicca sacked the cities of Camulodunum (Clochester), Londinium (London) and Verlanium (St. Albans), and it appears that the conquering of London was exceptionally savage.  According to Roman historian Tacitus, the Roman women were rounded up, taken to a grove that was dedicated to the worship of the Celtic war goddess, Andraste, where they were murdered, had their breast cut off and stuffed into their mouths; then were impaled with large skewers.  This sacred grove was known to the Britons as Andraste's Grove and is thought to have been somewhere in Epping Forest. 

Incidentally, there is also a possible link from Queen Boudicca to the Celtic goddess, Boudiga (Welsh root, 'budd'), whose name means "victory."  It is possible that the name is a religious title, perhaps given to Boudicca during the early part of the rebellion. 

It is therefore likely that Boudicca occupied a dual position both as tribal leader and as the manifestation of a Druidic or Celtic Goddess.  There is the mystery of Boudicca’s name; Boudicca means ‘victory’ as well.  She has also been identified with Brigantia, the war goddess of the Brigantes (the Romans called Brigantia, ‘Victory,’ and even by 200AD altars were still being erected to her).  Brigantia/Brigantes (& perhaps Queen Boudicca herself) is linked with Morrigan, known as the Great Queen in Ireland.  She is also associated with the triple war goddess whose three persons are Nemain (Frenzy), Badb Catha (Battle Raven) and Macha (Crow) whose sacred birds fed upon the stake impaled heads of those slaughtered in battle.

Boudicca, it is said, sacrificed those she defeated in battle to Andrasta, she took no captives; therefore, it could possibly be deduced that Boudicca was not her personal name, but perhaps an official or religious title which would mean that from the point of view of her followers that she was the personification of a goddess. 
This would help to explain the fanaticism of her followers who were drawn to her from a variety of tribes and their unusual willingness to unite so completely, and to follow the leadership of a woman in battle.  Tacitus’ observation that Boudicca released a hare between the two armies before the battle, suggests that this is indication of a priestess seeking augury.  Further that the mutilation of the dead, indicating that many were not just killed but sacrificed to the Celtic Goddess Andrasta, indicates Boudicca's status as a priestess of that goddess. 

Boudicca gave a speech before her final battle:

"It is not as a woman descended from noble ancestry, but as one of the people that I am avenging lost freedom, my scourged body, the outraged chastity of my daughters.  Roman lust has gone so far that not our very persons, nor even age or virginity is left unpolluted. 

But heaven is on the side of the righteous vengeance; a legion which dared to fight has perished; the rest are hiding themselves in their camp, or are thinking anxiously of flight.  They will not sustain even the din and the shout of so many thousands, much less our charge and our blows.

If you weigh well the strength of the armies, and the causes of the war, you will see that in this battle you must conquer or die.  This is a woman's resolve.  As for the men, they may live and be slaves!" 

So, we have alluring glimpses of a Goddess to whom very little is known.  Andraste, warrior Goddess of the Iceni tribe, who accepted sacrifices of hares, and perhaps humans, represented the darkest, and perhaps the most needed, aspects of war-craft to be called upon in times of dire emergency and propitiated with the sacrifice of blood which is considered the most potent magic of all. 

Here in her darkest aspect, she would be seen as the Crone, the Dark Mother, represented by the waning Moon, the Cutter of the Threads, the one to whom all return.  It is not so strange since death is so much a part of warfare.  

Her dark side is tempered by her aspect as Andred; here she is a lunar mother-goddess figure associated with fertility and love, the creator and bringer of life.  It’s also possible that another of her aspects, her maiden or youthful side (whose name we don’t know) was also worshipped as a goddess of the hunt.  As a lunar Goddess, the Maiden, Mother, Crone triplicity would most certainly have been venerated.
Andraste does not appear in Celtic Gaul, though a deity named Andraste is mentioned by the Roman writer, Dio Cassius.  Adrasta (and Andred), however, seems to be related to Andarta in some way.  Andarta is a probable fertility goddess revered by the Gallic Celtic tribe, Vocontii, as their patron.  Her name seems to have derived from either “artos” meaning bear, or “ar” meaning ploughed land.

Incidentally, another goddess, Andrastae, a Hellenized Phrygian mountain goddess of southwestern Turkey, is believed to be a derivative of an Anatolian mountain deity who is known from inscriptions in Greece from Circa 400 BC as a deity who defends the righteous; however, it is uncertain as to whether or not Andrastae is a derivative of the Andraste entreated by Boudicca.
In closing, there are very few documented sure references to or about Andrasta and her aspects and counterparts.  The little information there is has been recounted and retold over again.  Her true origins and purpose are still a mystery, and it is insinuated that this goddess’ myth may be so ancient that we may not know her true story or myth.  All we have are spotted inklings of her and the story of her insinuated by Queen Boudicca’s tale.

In magick and meditation, you can work with Andraste to overcome enemies, but be very mindful of how you approach her and work with her.  Do not approach Andraste (or any war deity or warrior deity) while you are confused, upset, sad, hurt or angry as these feelings may fuel your work as well as hers!  Be very thorough in voicing what it is you want from her and tell her exactly what outcome you want.  Even if you invite her only to be present during your ritual and are not asking for her aid, still be careful; leave no room for this goddess to misunderstand you.  Also, be sure to thank her lavishly and wholeheartedly.  

Since we cannot be sure what types of veneration to give Andraste, the war goddess, Macha’s recommendation is to try hearty things such as mead (or beer) and fine cuts of meat (hare or rabbit, venison, beef, pork, buffalo or ox perhaps) for gifts and offerings.
The best advice is, not to invoke a goddess like Andraste without first studying her and meditating with her and establishing a positive relationship and open lines of clear communication with her.
**
Sources:
Books:
-A History of Pagan Europe by Prudence Jones & Nigel Pennick
-Celtic Myth & Magick by Edain McCoy
-Celtic Gods and Goddesses by R.J. Stewart
-Encyclopedia of Gods by Michael Jordan
-The White Goddess by Robert Graves
Website sources:
Encyclopedia Mythica

Boudicca's Army Attacks

Led by Boudicca, about 100,000 British attacked Camulodunum (now Colchester), where the Roans had their main center of rule. With Suetonius and most of the Roman forces away, Camulodunum was not well-defended, and the Romans were drive out. he Procurator Decianus was forced to flee. Boudicca's army burned Camulodunum to the ground; only the Roman templewas left.
Immediately Boudicca's army turned to the largest city in the British Isles, Londinium (London). Suetonius strategically abandoned the city, and Boudicca's army burned Londinium and massacred the 25,000 inhabitants who had not fled. Archaeological evidence of a layer of burned ash shows the extent of the destruction.
Next, Boudicca and her army marched on Verulamium (St. Albans), a city largely populated by Britons who had cooperated with the Romans and who were killed as the city was destroyed.

Changing Fortunes

Boudicca's army had counted on seizing Roman food stores when the tribes abandoned their own fields to wage rebellion, but Suetonius had strategically seen to the burning of the Roman stores. Famine thus struck the victorious army, weakening them.
Boudicca fought one more battle, though its precise location is not sure. Boudicca's army attacked uphill, and, exhausted, hungry, was easy for the Romans to rout. Roman troops of 1,200 defeated Boudicca's army of 100,000, killing 80,000 to their own loss of 400.
What happened to Boudicca is uncertain. It is said she returned to her home territory and took poison to avoid Roman capture.
A result of the rebellion was that the Romans strengthened their military presence in Britain and also lessened the oppressiveness of their rule.
Boudicca's story was nearly forgotten until Tacitus' work, Annals, was rediscovered in 1360. Her story became popular during the reign of another English queen who headed an army against foreign invasion, Queen Elizabeth I.

Wednesday 29 June 2016

The Alchemy of Ghostbusters



"Only a Carpathian would come back to life now and choose New York! 

If you had brain one in that huge melon on top of your neck, you would be living the sweet life out in Southern California's beautiful San Fernando Valley!* "

[ * The Jerusalem of Sex ]

Dr. Peter "Pete" Venkman
President of the Largest Paranormal Investigation and Elimination etc. Etc....


The World is Changed.

We are now experiencing life in The World after 2012, and women have all the power.

Though many do not get know it yet, there are billions more that feel it, even if they do not see it.

And this will increase.

Boudicca is awake, and all her slaughtered daughters and Grand Daughterhood hear her cry to arise and turn again to glory.

The world is becoming more female.


The Mighty Thor Odinson, God of Thunder, Lord of the Storm, Malkeith's Bane, Slayer of the Wyrm, Guardian of the World-Ash Tree, Troll-Smasher, Hammer of the Goblin Horde, Crown Prince of Asgard and Conqueror of the Nine Worlds says :

"Hello, Ghostbusters, whaddya want?!"


"And will that be cash or charge?
No Diner's Club, American Express or Luncheon Vouchers.
Yes, we can accept a cashier's check or Visa."


THIS DOESNT APPEAR TO BE WORKING...

WHY ISNT THIS WORKING?

THIS USUALLY WORKS...

THIS SHOULD BE KILLING YOU...

WHY CAN'T I MAKE YOU DIE?!?


I learnt the by reading JLA : Earth2 by Grant Morrison - Gozer CAN'T win by manifesting in 1984 the way she did - because she's a girl.

Affect all of the Sheena Easton 9 to 5 hairdos you like, lady - as a deity, you absolutely cannot manifest physically in female form in the year 1984 and win...!!

She has no power here - she cannot even smite three ordinary mortal males.

They challenge her with maleness.


 They meet her at The Gate with autistic bureaucratic authoritarian pedantry, shouting, name calling, abusive language, mysogeny and finally, with their cocks, before ultimately rubbing all of their cocks together to make her go away, and are successful in their efforts to block her claim to power.

Four mortal men embarrass and humilate and vanquish a goddess, and weren't even killed.

There is essentially a nuclear detonation on the roof of that building, with a wall of flame and Godzilla-style atomic fire so intense it instantly incinerates and liquifies several hundred tonnes of highly processed sugar in barely a fraction of a split second and there isn't even a scratch on them.

Their hair isn't even burnt. 

Dan Ackroyd, Ivan Reitman and Harold Ramis claim  on the commentary track that this is "a joke", but I don't think it is - for one thing, it lacks a punchline or a point at which you are obviously meant to reflect on the absurdity and laugh, especially as it is so deeply embedded in the absolute complete dramatic apex of the entire picture.

I think this is intended (on some level) to reflect the fact that Gozer, as a girl, coming into The World of 1984 in the dying days of The Age of Men can't  hurt them because the dominant patriarchy makes them invincible.

No Bitches Don't B catchin no Ghosts.


[Mr. Stay-Puft is still too female because he is soft, sweet and gooey inside - YIELD to my nuclear physics!!]

All of the Politically Correct Anglophones out there are now racing to call that last series of remarks sexist and mysogonist. Well, only in America. And England.

The Universe is GENDERED, along with everything in it.

This has nothing to do with sex or sexuality.

This has mostly been eliminated from the English Language, except where it relates to ships and boats, but EVERYTHING in nature, like nature has a male and a female aspect to it, with one or other or them dominating - speakers of French or any romance language will be easily able to tell you why rivers and streams are called "she" while the planet Jupiter is a "he".

Gozer is a god - and as such, whenever he/she/it decides to vibrate it's energy downwards and intersect with the world of materialism and make it's pressence felt by intersecting with this dimensional plane of our three dimensions as a projection of her higher dimensional being, 

"It's whatever it wants to be." 

In 1984, in the Age of Men, females were wives, girlfriends, secretaries, mistresses, mothers, sisters, whores, nuns....

In 2016, Woman was The Goddess. 

But that's because the aeon flipped around in 2012 and the Age of Men has now passed.

Men were the Big Swinging Dicks on the block in 1984.

They didn't have time to mess around with no "goddess" back in the Reagan years.

Not since Boudicca, Asherah and Judy left town.

So let's just show this Pre-historic Bitch how we do things down town


Conversely, as a man and former earthly King, Vigo CAN win, and is far more successful because he manifests as a male destroyer warrior / sorcerer and seizes a baby man-child whilst brutalising her mother - but he can back at a point way too near to the end of the æon, in its dying twilight when the power of Men was failing and about to fall.

And as soon as he fully coporealises and vibrates down to BECOME a man (Ray), he can only do so parasitically by latching onto an existing male soul to draw in strength and anchor himself to this spiritual and material plain, which renders him vulnerable to attack (and defeat) by other mortal men, which then IMMEDIATELY occurs.

And Men are able to do effectively and totally vanquish Vigo when he manifests by using a combination attack volley of Male and Female weaponry to destabilise and disrupt his manifestation on this plain, jam all his frequencies and exorcise him completely from this level of reality - 

2 particle beams + 1 hose-down of vulva-pink mood slime =


"Vhi am I covered in goo...?"

Hey, man - I LOVE YOU."

A 1989 solution


[ I think it may be one of the Fettucchinis... ]


It's actually VERY interesting, there is Millenialism all over Ghostbusters 2, even down to the promotional campaign; just like with the Paul McGann 8th Doctor TV-Movie, although seemingly even MORE arbitrary and pedantic.

When Prince wrote about the End of the World and Judgement Day and called it 1999, he knew full well and never intended it to literally mean that the world would come to an end at midnight on Dec. 31st 1999 (or Dec. 31st 2000, come to that), just as when Rod Steiger talks of images and numbers sometimes appearing upside down in dreams and prophecy, such as 666 instead of 1999 in my personal favourite guilty apocalyptic action flick pleasure, End of Days. It's self-evidently tongue-in-cheek, ironic and intended to take the piss out of Bible Literalists and fundamentalists generally.

Vigo's intended takeover and manifestation, his little interdimensional happening is specifically scheduled to occur (he PLANNED it that way) at mid-night on New Years' Eve - just after 11:59pm Eastern Standard Time, on December 31st 1989.... Which means absolutely NOTHING...

Unless we are talking symbolically and alchemically and thinking magickally about somebody DESPERATE to get in early and beat the deadline to get as much prep time in as possible ahead of 2012.

And the trailer even plays this up even more than it already is present in the movie itself :


"At the stroke of midnight of the last decade of the Twentieth Century...!"

Which means WHAT, exactly....?

Well, means that we're on The Clock, man.

IF you are a man...

Time's running short.

Time's almost up.

And Vigo, (who, as Dan Ackroyd points out, unlike Gozer, has indeed "Lived Before" in This World as a man, as a King, and therefore actually is a ghost, and not a god (or so he thinks, in his mortal arrogance)) is determined to live (here) again as a man.

The idea of soul-hopping into a willing female host vessel never even occurs to him in his male-chauvinist arrogance.

The Egyptian Mystery Religion and the African tradition of spirituality teaches us that we are 

BORN DEAD into this world, we BECOME ALIVE, and then we ASCEND...

This is why Vigo needs a child, a baby (and, due to his vast excess of male vanity and presumption, a male child) to attach himself to and bond with as his new host body and live again in This World

Oscar Barrett is an empty vessel (an "ARK") of life and experience (practically), so there is nothing there to displace - it's like Professor X's soul-hopping into the brain of an adult "vegetable" at the end of X-Men : The Final Stand, but done logically and rationally.

Oscar has not yet lived and so thus is not yet fully alive, and thus fresh meat to sustain the necromancer.

He can mesmerize and corrupt Janoz to do his bidding and be his eyes and ears and hands on Earth, whilst empowering him with Earthly and spirit-realm magicks, but he can't occupy his body and displays his rather annoying and toadying personality.

This is why he doesn't just jump straight out of the painting and fully possess Ray in the first place - Ray is fully and truly alive, so he has to first enslave his will using magicks and hypnosis from the painting before he can get anywhere near actually manifesting inside Ray's body, but there is also far too much life there, of Ray's life to displace - it must require an enormous effort to push Ray's soul out of the way, and it's quite simply not sustainable

Vigo, for those few seconds, is a true parasite rather than Vigo reborn as Ray. 




Something truly awesome I only just realised :


I always dismissed that final scene in Ghostbuster 2 as being silly, goofy and nonsensical - why would exorcising Vigo's shade from his evil portrait using mood slime make a new painting of the four Ghostbusters as Gregorii Watchersrs as protectors over the infant Oscar? 

That's stupid, right? That doesn't make any sense.

That's not what's happening - Egon specifically says, whilst examining the painting up close,  "Early Rennaissance, I think...", when we know that Vigo['s head] died in 1505, which is LATE Rennaissance, which would have been when he cursed the painting and pur a portion of his essence into it to act as his talisman or mandala to anchor his spirit and act as a guide-rail drag his full consciousness back into our physical realm of material reality.

Such dark magicks doubtless called for a ritual sacrifice, destruction or corruption of something pure or innocent or beautiful to serve some awful, cruel and wicked, meaning that Vigo, or the artist he commissioned to capture a portion of his soul in the painting must have painted over an existing pure and beautiful image already on the canvas and trapped it underneath the paint to sustain its own need for corrupt destruction and irrational domination whilst he remained locked inside the portrait trapped inside various museum vaults, locked in storage, waiting for the right person to possess to once his strength began to ooze back out the canvas  and break free.

But his reliance on the mood slime was ultimately his downfall, and it betrayed and abandoned him when he thought his control over it was complete, certain and absolute.

He thought himself the Master of the Ooze, but he proved to wanting in his  attempts to weild it - he took Her for granted, She proved herself a fickle beast and a subtle vixen and ultimately allied with his enemies to precipitate his downfall and ultimately She destroyed him totally.

And this is how we learn....

So, to reiterate the point, it doesn't resemble an early-Rennaissance painting from the mid-1400s it is an early-Rennaissance painting from the mid-1400s created by some mad visionary prophet of the Italian Golden  Rennaissance who really managed to capture Egon's hair right, that Vigo didn't want anybody else seeing or knowing about prior to The [his] End of the World.


Such is Male Ego....


And the moral of the story is :


Feminism cannot be controlled or brought to heal - She will always turn against you if you try to break or train Her, and she cannot be domesticated; 

Only a Fool or an Idiot would even try. 


She is of The Wild, and She is Eternal

She is the Storm and She Reaps the Whirlwind, for Hell Hath No Fury.... 

And She is my Queen.





Serve the Black Dot.

I give you 

Thor Odinson, 

Conqueor of the Nine Realms, 
Hammer of the Goblin Horde, 
Midgard's Light 
and Crown Prince of the Fabled Halls of Asgard.

Aka "Kevin".