Battle Bridge Road

Which on the

 inddenta] subjedi of

 visual background

 refemsnce,Ishou]d]ilnstota]<el;hJs opporlLrnQ,r to point out that From Ha! has, Lf ="1»f"=hL_';8' been man dmorougzly redeem vuually than it has in terms of context Eddle's backgrounds are, more often than not, pneclsely referenced shots of the areas mentioned m the hsxt Whale an Thu c1..r.tent chapter he has need largely on the genes of reference photos thntl conveyed to Mm ahner my own jmmt around London, Lm other instances he ha managed to unearth tunrungly obeauve visual nefemenceofh1sown.TheMa.rylebone workhouse

 tenor dqncted Lm

 Chapter One, forexnmple, iS not just m authentic workhouse inhenor of that period Lt ng the actual tenor of the Marylebone workhouse itself felt down to the

 depressingly

 unhelpful leena 'Goa Is Good, God Is Holy,God Is JusE,carved into the clussbeams that support the high, da.rkcdlitg,Sufficeittosagr tllatanqt adequate edpgendbc listing Edd:e'x someone in wav that I am hstmg Mme would be twice as long as das current rnonstrouity, which in itself looks set to end up tunoe as longas the work Bo which it rderl.

 PAGE 6

 On this page, Gull may;

 nfezleneo to the various ways Lm wluch the mythological Figure of D1-ana may be oorssldered Hts statement that as a symbol she may be oonsldered to represent womanhood and the dreaming,

 l]IlDDII$0lol.ls turd LS bam out by most wmmentiltors upon

 symbologf, but m tins inetnme I shall Cate Dictionary Qr Symbols by Tom Chetwynd (Paladin Booius, 1982). The reference to Danna as being merely an ancient fairy-tale is self-explammtoxy, but his eeeeltio n that aha may perhaps aka have been a hnslsoneal figure, a "denied princess from lon8ago",needsmcne eaqalamutnon.

 The luetonan Dlodorus Siculus, inBook1II,Chapter5',>'oflnemaeu1ve Lllsrwary of Htl9£ol"y (Loeb Classical LlbraJ'y], states that aocondmg to legend, the moon goddess, Selena, and the sun god, Helios, were once mortdpnnoeendprmmusofanuent

 Atlantis IfAtla.nts were a folk-myth surrounding the culture of ancient Crete, as some wmmentabors have suggested, l;hen it may be Lhact the Sm Gd and his slsllBr the moon goddess wenejust what Gull suggests here, namely deified rulers One strand of evidence m support of tins theory 1: that the oddness, Artemis, yaanothername or the same lunar deity, is said to have been Cretan in on8m As ever, though, the verdict remains open

 PAGES 7 & 8

 Gu]]'l

 reference

 to Queen

 Boedlcea hen is according to standard lusuoned reference, but deserves some exparnwnThe Mme, Boadnwa, is based upon a m 1stranscrip|:ion of the works of Tacitus, made by Tudor hJsl1DriaJ1s.

 The 11am¢,a11e8edly, shouldbe more pluperly pronounced 'Boudlca' or 'Boudlgn' Strangely rough_ this 1: -»==="g81v ti! Celtlc eqluvalent of the m am English name, Victoria,

 with both names meaning simply 'vuztorious ons' This information comes from Folk Heroes ofBrituin bY Charles Knightly [Th1 nnes 8: Hudson, 1984) K , wtuy abp Vu an account of the reasoning b3md mppceing Boudioa's 1J'1be, the Iceni, no be rnatnlinenl in dmemr, of Ume rape of her daughters, and of Mr subsequentvengeance-

 clverzed reprisals upon the Roman perpetrators. S rnedbya

 n»=isl=b@w1ns ma

 , the Trlnova.nhls, Boudleds Item pound down upon the Roman eMM&1c; Nr, menacing

 time mI1.eb1tant5, burling the town M the ground and d¢=trv.vi1s the Rornnn 9thLegionwho arrivadfmrn Imearhgrlemolntoo lane to smpthe uprising. Colchester, 1 ncldentally, was later no be the birthplace of William Gull

 After

 Colchester, Boudiods

 army wept down upon London. At dleir qlpluach, the Roman garrison wisely wuahdrew, allowing the Item Mdou0Londonwhar:tl1eyhad done 'no Colchester, only on n much granderscals WhemnLondon next, Met a t1-up to the London Museum a.ndhavealookatthestl'lpod puree of fuck that represents a geological section of the ground bene.nd1 the city Ruling throujl it is n stripe of blackness n half-inch duck, this beingthererultofBoud:c¢'sbuming rage. In ma' wqnenenoe, when men $911 emu, they now at worst leave a dent in the side of the fudge. Heed and bake note

 The orgy of dest:ructl.on vlibed upon London was Boudil:a's

 undoing Had she followed the retreating Roman garrison she may have wiped them out before they were able to joi.n up unto the Fourteenth and Twentieth begmorss who were at the time positioned far away in Wales As it was, however, the Romans were able ho regroup and return to London with renewed forces. A suatamod auxprnse attack such as Boud¢a's revolt light actually have driven the Romans from Briton, at least for a while, but very few arnnescould wand agpmst the Roman war machine once it was properly prepared for battle The Romans recldmed London,

 with Lha Encl battle 11110115 place on the spot now called Battle Badge, _lust behind Kung; Clog: Station It seems that Boudloa and her daughter hook poison when it became wrtaill that the1.r forces would love die banttla. Aocolmts of what happened after this pool; vary: the moot popular legend is that the clamor queen is ounwontbr burned beneathplatform lo a K.zng's Clogs Station Another demon

 mainnnms that :ha was buried at a spot on Pnmroae Hill, one of the London mounds most sacred to the Dnuds, who were BoLld1ca's ashes.

 Other vananta suggest that the Quaens's body was taken away from Roman-occupled London by faithful followers Md burred at a8;ot called Deadquenesmove, near vlllalge of Sllversbom> Northampton fire, dlisaleabemgthe Iutremfilgeof the anc:.ent Britons that the Roman mvaslon had dwplnced.

 Other aourcas consLLl1Jed upon Boad1¢:ajBoudlca Include Aurora by Jenifer Westwood [Paladln Books, 1987), Landon by Christopher Hilbert (lnllglnans, Green 8: Co Ltd 1969); ad TheAquanan Gide to Legendary London, opined by John Manltews 8: Chesca Potter (Aquamn Pleas, 1990) amongst others, mcludmga helplial pamphlet by Chesca Potter entitled Mysterious Kmgis Crwoss (Golden Dawn, 1987).

 Battle Badge Road is a dismal back street bounded by a large gasometer on one side and n vow of Victorian slum housman the other.

 The 1egend'6o People hw Hara' ha boon panned on the aide off endterrace house by some embmtbeved lender: deposited tzherem by the Department al' Social Security Off ho one side Mn: .n winnow and dervelid dleywav name Clarence Passage, the Windows now blind and smashed, with weeds thrusting up between die paving stones. Gu11's eommenizary upon the matriwntral ongms of human society are n paraphraslllg of the notions put forward by Robert Graves M his book The Musa Goddess, iN 'l"l110h he suggests that hanan soclety was mother-cenNerled urltll males finally Figured out their role m procreat1on, at which point some form of

 pnnnarchfd rvevoluutlon took place While Glavss' informedqaeculntions prone a basis l'Qr the theammg of most contemporary feminist hutonans and commentators upon women? mysteries, Lt 1.9 worth poring out that they an Jud thzut: informed spoculatnorn This 1: mt to saythnttheyazeuntrueq amply that Um me unproven.

 For further information and

 speculation upon the l.uurping of female power by men, the reader is referred to Beyond Power': On Melt, Woman 8 Morals by lW=ri]yl:1 French [Jonathan Cape Ltd , 1985) French providesan e:0:el1en1t commentary upon the technique of subjugating womanhood by

 first demoing and destlowing the symlxnls of womanhood, namely the mother goddesses that formed Ume b8sls for our earnest religions, at leestnccordm8to Robert Gravis and has [partly inltultivws) sources.

 PAGES g & no

 G.Lll's amoral n Albion Dive would seam a good aplaoe as any to mentor the bash for the musings upon the all.gl1Jnuentl oflandon that make Up so much of the substance of this chapter. In his ]engLhy and t_fyp 1ca1l5r dense nanatlve poem Loa' Heat (Goldnnuk, Up]>i.nghl.nn, 1987), lam Sinclair bangs the 1eader's attantuon to the clwnmches of Nlcholas Hawksmoor and that aeemmg ahgnnnents, both with each other and wldu other London monuments of note and Important As part of the narrative, Sinclair includes a map Qr the 8 Gveut Churches The £13168 of influence, the mullstble pods qfforce active m this did, which I believe wm drawn by a friend of S 1nclaJr's, the remarkable poet and sculptor Brian Catljng Tels map, while suggestive ofmnany shapes, do not provide the shape that I was looking for until a couple of further points wen added 

Ivo Shandor

You 

Egon Spengler: 

The structure of this roof cap is exactly like the kind of telemetry tracker that NASA uses to identify dead pulsars in deep space.

Ray Stantz: 

Cold riveted girders with cores of pure selenium.

Peter Venkman: [to jailbirds] 

Everyone getting this so far? So what? I guess they just don't make them like they used to.

Stantz: [slaps Venkman up the head] 

No! Nobody ever made them like this! The architect was either a certified genius or an authentic wacko!

Venkman: 

Ray, for a moment, pretend that I don't know anything about metallurgy, engineering, or physics, and just tell me what the hell is going on.

Stantz: 

You never studied. The whole building is a huge super-conductive antenna that was designed and built expressly for the purpose of pulling in and concentrating spiritual turbulence. 

Your girlfriend, Pete, lives in the corner penthouse of Spook Central.

Venkman: 

She's not my girlfriend. I find her interesting because she's a client and because she sleeps above her covers. 

Four feet above her covers! She barks, she drools, she claws...

Spengler: 

It's not the girl, Peter, it's the building! 

Something terrible is about to enter our world, and this building is obviously the door. 

The architect's name was Ivo Shandor. I found it in Tobin's Spirit Guide. 

He was also a doctor. Performed a lot of unnecessary surgery. 

And then in 1920, he founded a secret society.

Venkman: Let me guess: Gozer worshippers?

Spengler: Right.

Venkman: [to Stantz] 

"No studying"!

Spengler: 

After the First World War, Shandor decided that society was too sick to survive. 

And he wasn't alone; he had close to a thousand followers when he died. 

They conducted rituals up on the roof, bizarre rituals intended to bring about the end of the world, and now it looks like it may actually happen!

Venkman: [singing] 

So be good, for goodness sake! Whoa! Somebody's coming! Somebody's coming!

Ray Stantz: 

We have to get out of here. We've gotta get a judge or something.

Zeddemore: 

Hey, wait a minute! Hold it! Now are we actually gonna go before a federal judge, and tell him that some moldy Babylonian god is gonna drop in on Central Park West and start tearing up the city?!

Spengler: 

Sumerian, not Babylonian.

Venkman: 

Yeah. Big difference.

Zeddemore: 

No offense, guys, but I gotta get my own lawyer.

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))

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)