Wednesday, February 1, 2012

All-Us In Underland Waiting For The Ides of The March Hare are Painting the Roses Red ... Follow The White Rabbit into the Labyrinth

The New Creatures Magickal Mystery Tour

"Many, many years ago, in a sad, far away land, there was an enormous mountain made of rough, black stone. At sunset, on top of that mountain, a magic rose blossomed every night that made whoever plucked it immortal. But no one dared go near it because its thorns were full of poison. Men talked amongst themselves about their fear of death, and pain, but never about the promise of eternal life. And every day, the rose wilted, unable to bequeath its gift to anyone…forgotten and lost at the top of that cold, dark mountain, forever alone, until the end of time.” —From Pan’s Labyrinth


We announce the birth of a conceptual country, NUTOPIA.

Citizenship of the country can be obtained by declaration of your awareness of NUTOPIA.

NUTOPIA has no land, no boundaries, no passports, only people.

NUTOPIA has no laws other than cosmic.

All people of NUTOPIA are ambassadors of the country.

As two ambassadors of NUTOPIA, we ask for diplomatic immunity and recognition in the United Nations of our country and our people.

YOKO ONO LENNON (with signature)
JOHN ONO LENNON (with signature)

Nutopian Embassy
One White Street
New York, New York 10012
April 1, 1973
 Pagan: ORIGIN late Middle English : from Latin paganus ‘villager, rustic,’from pagus ‘country district.’ Latin paganus also meant ‘civilian,’becoming, in Christian Latin, ‘heathen’ (i.e., one not enrolled in the army of Christ). Here are some examples of standard pagans, by definition:

While reading the anthropological classic, The Golden Bough by Sir J. G. Frazer, I came across something familiar in the section heading: Chapter 60. Between Heaven and Earth 1. Not to touch the Earth 2. Not to see the Sun. "Not To Touch The Earth" is a song by the American rock band, The Doors. It first appeared on the album "Waiting For The Sun" in 1968.

Not to touch the earth 
Not to see the sun 
Nothing left to do, but 
Run, run, run 
Let's run 
Let's run 
House upon the hill 
Moon is lying still 
Shadows of the trees 
Witnessing the wild breeze 
C'mon baby run with me 
Let's run 
Run with me 
Run with me 
Run with me 
Let's run 
The mansion is warm, at the top of the hill 
Rich are the rooms and the comforts there 
Red are the arms of luxuriant chairs 
And you won't know a thing till you get inside 
Dead president's corpse in the driver's car 
The engine runs on glue and tar 
Come on along, not goin' very far 
To the East to meet the Czar 
Run with me 
Run with me 
Run with me 
Let's run 
Some outlaws lived by the side of a lake 
The minister's daughter's in love with the snake 
Who lives in a well by the side of the road 
Wake up, girl, we're almost home 
Ya, c'mon! 
We should see the gates by mornin' 
We should be inside the evenin' 
Sun, sun, sun 
Burn, burn, burn 
Soon, soon, soon 
Moon, moon, moon 
I will get you 
I am the Lizard King 
I can do anything
                    The King of Wands, or The Lizard King corresponds to the Scorpio-Sagittarius Cusp (20 degrees Scorpio to 20 degrees Sagittarius) meaning it actually corresponds to the sign of Ophiuchus, or the Serpent Barer: the 13th sign of the Zodiac
"Alright, Alright, Alright
Ah, listen, listen, listen man... listen man
I don't know how many of you people believe in astrology
Yeah that's right, that's right baby...
 I am a Sagitarius.
The most philosophical of all the signs
But anyway, I don't believe in it
I think is a much bullshit myself
But I tell you this man...
I tell you this... I don't know what's gonna happen man
but I wanna have my kicks before the whole shit house goes up in flames,
Jim Morrison
(December 8, 1943 – July 3, 1971)
"...The oak may have seemed the original storehouse or reservoir of the fire which was from time to time drawn out to feed the sun. But if the life of the oak was conceived to be in the mistletoe, the mistletoe must on that view have contained the seed or germ of the fire which was elicited by friction from the wood of the oak. Thus, instead of saying that the mistletoe was an emanation of the sun’s fire, it might be more correct to say that the sun’s fire was regarded as an emanation of the mistletoe. No wonder, then, that the mistletoe shone with a golden splendour, and was called the Golden Bough...

As Shropshire borders on Wales, the belief that the oak blooms on Midsummer Eve may be Welsh in its immediate origin, though probably the belief is a fragment of the primitive Aryan creed. In some parts of Italy, as we saw, peasants still go out on Midsummer morning to search the oak-trees for the “oil of St. John,” which, like the mistletoe, heals all wounds, and is, perhaps, the mistletoe itself in its glorified aspect. Thus it is easy to understand how a title like the Golden Bough, so little descriptive of its usual appearance on the tree, should have been applied to the seemingly insignificant parasite. Further, we can perhaps see why in antiquity mistletoe was believed to possess the remarkable property of extinguishing fire, and why in Sweden it is still kept in houses as a safeguard against conflagration. Its fiery nature marks it out, on homoeopathic principles, as the best possible cure or preventive of injury by fire."

"The Golden Bough attempts to define the shared elements of religious belief to scientific thought, discussing fertility rites, human sacrifice, the dying god, thescapegoat and many other symbols and practices which have influenced the 20th century. Its thesis is that old religions were fertility cults that revolved around the worship of, and periodic sacrifice of, a sacred king. Specifically, that man progresses from magic through religious belief to scientific thought.

This thesis was concocted around Turner's picture of The Golden Bough, a sacred grove where there grew a certain tree that grew day and night; a transfigured landscape in a dream-like vision of the little wood-land lake of Nemi -- "Diana's Mirror" where religious ceremonies and the "fulfillment of vows" of priests and kings were held.The book's title was taken from an incident in the Aeneid, illustrated by the British artist Joseph Mallord William Turner: Aeneas and the Sibyl present the golden bough to the gatekeeper of Hades in order to gain admission."
A key element to understanding the depth of influence this had in Morrison's philosophy is that he links this customs implications with the story of Oedipus. 
'Oedipus was the son of Laius and Jocasta, king and queen of Thebes.
After having been married some time without children, Laius consulted the Oracle of Apollo at Delphi. The Oracle prophesied that any son born to Laius would kill him. In an attempt to prevent this prophecy's fulfillment, when Jocasta indeed bore a son, Laius had his ankles pinned together so that he could not crawl; Jocasta then gave the boy to a servant to abandon ("expose") on the nearby mountain. However, rather than leave the child to die of exposure, as Laius intended, the sympathetic servant passed the baby onto a shepherd from Corinth and then to another shepherd.
Oedipus the infant eventually came to the house of Polybus, king of Corinth and his queen, Merope, who adopted him as they were without children of their own. Little Oedipus/Oidipous was named after the swelling from the injuries to his feet and ankles. The word oedema (British English) or edema (American English) is from this same Greek word for swelling: οἴδημα, or oedēma.
After many years of being son of the king and queen of Corinth, Oedipus was told by a drunk that Oedipus was in fact adopted by them. Oedipus confronted his parents with the news, but they denied every word. Oedipus sent word for the same Oracle in Delphi his birth parents consulted. The Oracle didn't tell him he was son of the king and queen of Thebes, but instead informed him he was destined to murder his father and marry his mother. In his attempt to avoid the fate predicted by the Oracle, he decided to not return home to Corinth. Oedipus decided to travel all the way to Thebes, as it was near Delphi.
As Oedipus traveled, he came to Davlia, where three roads crossed each other. Here he encountered a chariot driven by his birth-father, KingLaius. They fought over who had the right to go first and Oedipus killed Laius in self defense, unwittingly fulfilling part of the prophecy. The only witness of the King's death was a slave who fled from a caravan of slaves also traveling on the road at the time.
Continuing his journey to Thebes, Oedipus encountered a Sphinx, who would stop all travelers to Thebes and ask them a riddle. If the travelers were unable to answer her correctly, they would be killed and eaten; if they were successful, they would be free to continue on their journey. The riddle was: "What walks on four feet in the morning, two in the afternoon and three at night?". Oedipus answered: "Man: as an infant, he crawls on all fours; as an adult, he walks on two legs and; in old age, he uses a walking stick". Oedipus was the first to answer the riddle correctly and, having heard Oedipus' answer, the Sphinx was astounded and inexplicably killed herself by throwing herself into the sea, freeing Thebes from her harsh rule.

The people of Thebes gratefully appointed Oedipus as their king and gave him the recently widowed Queen Jocasta's hand in marriage. The marriage of Oedipus to Jocasta fulfilled the rest of the prophecy...'

JC: How did the ending of The End come about? Is the Whisky a Go-Go story true?
JM: I used to have this magic formula, like, to break into the subconscious. I would lay there and say over and over “Fuck the mother, kill the father. Fuck the mother, kill the father”. You can really get into your head just repeating that slogan over and over. Just saying it can be the thing...
That mantra can never become meaningless. It's too basic and can never become just words, 'cause as long as you're saying it, you can never be unconscious. That all came from up here.

The Doors signed with the record label Elektra
'In Neo-Freudian psychology, the Electra complex, as proposed by Carl Gustav Jung, is a girl’s psychosexual competition with mother for possession of father. In the course of her psychosexual development, the complex is the girl’s phallic stage formation of a discrete sexual identity; a boy’s analogous experience is the Oedipus complex.

An esoterically admitted influence of Morrison's was Aleister Crowley. Here is a bit of his take on the Fool card in Tarot taken from The Book of Thoth: 

 It is explained in this essay (see 16, 34, et al.) that the whole of the Tarot is based upon the Tree of Life, and that the Tree of Life is always cognate with Tetragrammaton. One may sum up the whole doctrine very briefly as follows:
The Union of the Father and the Mother produces Twins, the son going forward to the daughter, the daughter returning the energy to the father; by this cycle of change the stability and eternity of the Universe are assured.
It is necessary, in order to understand the Tarot, to go back in history to the Matriarchal (and exogamic) Age, to the time when succession was not through the first-born son of the King, but through his daughter. The king was therefore not king by inheritance, but by right of conquest. In the most stable dynasties, the new king was always a stranger, a foreigner; what is more, he had to kill the old king and marry that king's daughter. This system ensured the virility and capacity of every king. The stranger had to win his bride in open competition. In the oldest fairy-tales, this motive is continually repeated. The ambitious stranger is often a troubadour; nearly always he is disguised, often in a repulsive form. Beauty and the Beast is a typical tale. There is often a corresponding camouflage about the king's daughter, as in the case of Cinderella and the Enchanted Princess. Tale tale of Aladdin gives the whole of this fable in a very elaborate form, packed with technical tales of magic. Here then is the foundation of the legend of the Wandering Prince---and, note well, he is always "the fool of the family". The connection between foolishness and holiness is traditional. It is no sneer that the family nitwit had better go into the church. In the East the madman is believed to be "possessed", a holy man or prophet. So deep is this identity that it is actually embedded in the language. "Silly" means empty-the Vacuum of Air-Zero-"the silly buckets on the deck". And the word is from the German selig, holy, blessed. It is the innocence of the Fool which most strongly characterizes him. It will be seen later how important is this feature of the story.

To ensure the succession, it was therefore devised: firstly, that the blood royal should really be the royal blood, and secondly, that this strain should be fortified by the introduction of the conquering stranger, instead of being attenuated by continual in-breeding.
In certain cases this theory was pushed very far; there was probably a great deal of chicanery about this disguised prince. It may well have been that the king, his father, furnished him with very secret letters of introduction; in short, that the old political game was old even in those primeval times.
The custom is therefore developed into the condition so admirably investigated by Frazer in the Golden Bough. (This Bough is no doubt a symbol of the King's Daughter herself). "The king's daughter is all glorious within; her raiment is of wrought gold."
How did such a development come to pass?
There may have been a reaction against playing politics; there may have been a glorification, first of all of the 'gentleman burglar', finally of the mere gangster-boss, rather as we have seen in our own times, in the reaction against Victorianism. The "wandering prince" was closely examined as to his credentials; unless he were an escaped criminal he was not eligible to compete; nor was it sufficient for him to win the king's daughter in open competition, live in the lap of luxury until the old king died, and succeed him in peace; he was obliged to murder the old king with his own hand.
At first sight it would appear that the formula is the union of the extremely masculine, the big blond beast, with the extremely feminine, the princess who could not sleep if there was a pea beneath her seven feather beds. But all such symbolism defeats itself; the soft becomes the hard, the rough the smooth. Tlie deeper one goes into the formula, the closer becomes the identification of the Opposites. The Dove is the bird of Venus, but the dove is also a symbol of the Holy Ghost; that is, of the Phallus in its most sublimated form. There is therefore no reason for surprise in observing the identification of the father with the mother.
Naturally, when ideas so sublime become vulgarised, they fail to exhibit the symbol with lucidity. The great hierophant, confronted with a thoroughly ambiguous symbol, is compelled, just because of his office as hierophant---that is, one who manifests the mystery---to "diminish the message to the dog". This he must do by exhibiting a symbol of the second order, a symbol suited to the intelligence of the second order of Initiates. This symbol, instead of being universal, and thus beyond ordinary expression, must be further adapted to the intellectual capacity of the particular set of people whom it is the business of the hierophant to initiate. Such truth accordingly appears to the vulgar as fable, parable, legend, even creed.
In the case of this comprehensive symbol of The Fool, there are, within actual knowledge, several quite distinct traditions, very clear; and, historically, very important.
These must be considered separately in order to understand the single doctrine from which all sprang.
The "Green Man" of the Spring Festival. "April Fool." The Holy Ghost.
This tradition represents the original idea adapted to the under- standing of the average peasant. The Green Man is a personification of the mysterious influence that produces the phenomena of spring. It is hard to say why it should be so, but it is so: there is a connectioi~ with the ideas of irresponsibility, of wantonness, of idealization, of romance, of starry dreaming.
The Fool stirs within all of us at the return of Spring, and be cause we are a little bewildered, a little embarrassed, it has been thought a salutary custom to externalise the subconscious impulse by ceremonial means. It was a way of making confession easy. Of all these festivals it may be said that they are representations in the simplest form, without introspection, of a perfectly natural phenomenon. In particular are to be noted the custom of the Easter Egg and the "Poisson d'avn.l". (The Saviour Fish is discussed elsewhere in this essay. The precession of the Equindxes has made Spring begin with the entry of the Sun into Aries the Ram, instead of Pisces the Fishes as was the case in the earliest times recorded.)

Jim Morrison's birth day coincides with the day of John Lennon's death, December 8th, the Catholic Holy Day known as the Feast of the Immaculate Conception. 'The Feast of the Immaculate Conception celebrates belief in the Immaculate Conception of the Blessed Virgin Mary. It is universally celebrated every December 8, nine months before the birthday of Mary, which is celebrated on September 8th'.
The ship of fools is an allegory that has long been a fixture in Western literature and art. The allegory depicts a vessel populated by human inhabitants who are deranged, frivolous, or oblivious passengers aboard a ship without a pilot, and seemingly ignorant of their own direction. This concept makes up the framework of the 15th century book Ship of Fools (1494) by Sebastian Brant, which served as the inspiration for Bosch's famous painting, Ship of Fools: a ship—an entire fleet at first—sets off from Basel to the paradise of fools. In literary and artistic compositions of the 15th and 16th centuries, the cultural motif of the ship of fools also served to parody the 'ark of salvation' (as the Catholic Church was styled).
In Instant Karma Lennon sings: "How in the world you gonna see? Laughing at Fools like me"

Here is a list of events from the life of John Lennon as they occurred on April Fools Day:

1964--John Lennon met with his father, Freddie Lennon, for the first time in 17 years. The meeting was arranged at the London Nems offices and George and Ringo were also present. The reunion lasted 20 minutes.

1965--Despite the fact that The Beatles were scheduled to film scenes for their second movie, Help!, at Twickenham Film Studios, John’s father, Freddie Lennon, showed up unexpectedly on the doorstep of John’s Kenwood home. Suspicious of his father’s motives, John was unresponsive and even hostile during the encounter. He opened the conversation with: “Where have you been for the last 20 years?” John found out that Freddie had been working as a dishwasher for a Hampton Court hotel. “His main objective was to rip off some cash from John,” said Cynthia Lennon. Freddie stayed at Kenwood for three days, then John threw him out.

1966--John and Paul visited Indica Books and Gallery in Mason’s Yard, London. John bought a copy of Timothy Leary’s The Psychedelic Experience (a reworking of The Tibetan Book of the Dead). In the book’s introduction he found the first line for the song Tomorrow Never Knows:“Turn off your mind, relax and float down stream.”

1969--Back in London, after their week-long Amsterdam Bed-In for Peace, John and Yoko staged an impromptu press conference at Heathrow Airport. They also appeared on the ITV show, Today, to explain their honeymoon activities to the British public. John and Yoko said that they were "willing to be the world's clowns" to spread the message of peace, and that it was especially appropriate since it was April Fool's Day.

1970--John and Yoko issued an April Fool's Day press release that announced that they would be having dual sex-change operations.

1972--John wrote again to Melody Maker, this time in response to the March 18 claim that “Marc Bolan was now as important as Lennon or Dylan and that people like Lennon and Jagger were now checking him out.” John wrote: “I ain’t never heard Jeepster, tho I heard and liked Get It On and his first hit. Anyway, we know where all these ‘new licks’ come from--right, Marc? By the way, Marc’s checking us out not vice-versa! He called us, babe! Anyway, he’s ok--but don’t push yer luck. Love, Lennon, Ono.”

1973--John and Yoko held a press conference to announce the creation of their conceptual community, Nutopia. John said that the national flag of Nutopia would be a tissue, which he and Yoko proudly waved. To read all about Nutopia, CLICK HERE.

1974--After having attended, the night before, John Lennon’s Sunday night jam session, Paul and Linda McCartney returned to John’s rented Santa Monica beach house. John awoke at around 3 p.m. and joined a group of his friends who were relaxing by the pool. Keith Moon’s friend and assistant, Dougal Butler, snapped a picture of John and Paul together poolside. This polaroid snapshot turned out to be the last photo ever taken of John and Paul together.
1976--John Lennon's father, Alfred 'Freddie' Lennon, died at Brighton General Hospital in England at the age of 63. John's relationship with his father, who had deserted him as a child and then showed up years later to sponge off of John's wealth, had been strained, but they had become somewhat reconciled in recent years. Over the final weeks of Freddie’s life, John did what he could to make further amends: knowing that his father was dying of cancer, he had many trans-Atlantic phone conversations with him in an attempt to finally make peace.

1979--John hired a small yacht for a cruise around Palm Beach, Florida. Accompanying him and Yoko are Yoko’s nieces Reiko, Akiko, and Tokato, as well as Julian, Sean, Fred’s aunt, Helen Seaman, and the 12-year-old daughter of their Palm Beach real estate agent. (At the end of April, Julian returned to England; it was the last time he would see his father.)  
1. Not to touch the Earth
AT THE OUTSET of this book two questions were proposed for answer: Why had the priest of Aricia to slay his predecessor? And why, before doing so, had he to pluck the Golden Bough? Of these two questions the first has now been answered. The priest of Aricia, if I am right, was one of those sacred kings or human divinities on whose life the welfare of the community and even the course of nature in general are believed to be intimately dependent. It does not appear that the subjects or worshippers of such a spiritual potentate form to themselves any very clear notion of the exact relationship in which they stand to him; probably their ideas on the point are vague and fluctuating, and we should err if we attempted to define the relationship with logical precision. All that the people know, or rather imagine, is that somehow they themselves, their cattle, and their crops are mysteriously bound up with their divine king, so that according as he is well or ill the community is healthy or sickly, the flocks and herds thrive or languish with disease, and the fields yield an abundant or a scanty harvest. The worst evil which they can conceive of is the natural death of their ruler, whether he succumb to sickness or old age, for in the opinion of his followers such a death would entail the most disastrous consequences on themselves and their possessions; fatal epidemics would sweep away man and beast, the earth would refuse her increase, nay, the very frame of nature itself might be dissolved.

To guard against these catastrophes it is necessary to put the king to death while he is still in the full bloom of his divine manhood, in order that his sacred life, transmitted in unabated force to his successor, may renew its youth, and thus by successive transmissions through a perpetual line of vigorous incarnations may remain eternally fresh and young, a pledge and security that men and animals shall in like manner renew their youth by a perpetual succession of generations, and that seedtime and harvest, and summer and winter, and rain and sunshine shall never fail. That, if my conjecture is right, was why the priest of Aricia, the King of the Wood at Nemi, had regularly to perish by the sword of his successor.But we have still to ask, What was the Golden Bough? and why had each candidate for the Arician priesthood to pluck it before he could slay the priest? These questions I will now try to answer.
It will be well to begin by noticing two of those rules or taboos by which, as we have seen, the life of divine kings or priests is regulated. The first of the rules to which I would call the reader’s attention is that the divine personage may not touch the ground with his foot. This rule was observed by the supreme pontiff of the Zapotecs in Mexico; he profaned his sanctity if he so much as touched the ground with his foot. Montezuma, emperor of Mexico, never set foot on the ground; he was always carried on the shoulders of noblemen, and if he lighted anywhere they laid rich tapestry for him to walk upon. For the Mikado of Japan to touch the ground with his foot was a shameful degradation; indeed, in the sixteenth century, it was enough to deprive him of his office. Outside his palace he was carried on men’s shoulders; within it he walked on exquisitely wrought mats. The king and queen of Tahiti might not touch the ground anywhere but within their hereditary domains; for the ground on which they trod became sacred. In travelling from place to place they were carried on the shoulders of sacred men. They were always accompanied by several pairs of these sanctified attendants; and when it became necessary to change their bearers, the king and queen vaulted on to the shoulders of their new bearers without letting their feet touch the ground. It was an evil omen if the king of Dosuma touched the ground, and he had to perform an expiatory ceremony. Within his palace the king of Persia walked on carpets on which no one else might tread; outside of it he was never seen on foot but only in a chariot or on horseback.

In old days the king of Siam never set foot upon the earth, but was carried on a throne of gold from place to place. Formerly neither the kings of Uganda, nor their mothers, nor their queens might walk on foot outside of the spacious enclosures in which they lived. Whenever they went forth they were carried on the shoulders of men of the Buffalo clan, several of whom accompanied any of these royal personages on a journey and took it in turn to bear the burden. The king sat astride the bearer’s neck with a leg over each shoulder and his feet tucked under the bearer’s arms. When one of these royal carriers grew tired he shot the king onto the shoulders of a second man without allowing the royal feet to touch the ground. In this way they went at a great pace and travelled long distances in a day, when the king was on a journey.

 The bearers had a special hut in the king’s enclosure in order to be at hand the moment they were wanted. Among the Bakuba, or rather Bushongo, a nation in the southern region of the Congo, down to a few years ago persons of the royal blood were forbidden to touch the ground; they must sit on a hide, a chair, or the back of a slave, who crouched on hands and feet; their feet rested on the feet of others. When they travelled they were carried on the backs of men; but the king journeyed in a litter supported on shafts. Among the Ibo people about Awka, in Southern Nigeria, the priest of the Earth has to observe many taboos; for example, he may not see a corpse, and if he meets one on the road he must hide his eyes with his wristlet. He must abstain from many foods, such as eggs, birds of all sorts, mutton, dog, bush-buck, and so forth. He may neither wear nor touch a mask, and no masked man may enter his house. If a dog enters his house, it is killed and thrown out. As priest of the Earth he may not sit on the bare ground, nor eat things that have fallen on the ground, nor may earth be thrown at him. According to ancient Brahmanic ritual a king at his inauguration trod on a tiger’s skin and a golden plate; he was shod with shoes of boar’s skin, and so long as he lived thereafter he might not stand on the earth with his bare feet.
But besides persons who are permanently sacred or tabooed and are therefore permanently forbidden to touch the ground with their feet, there are others who enjoy the character of sanctity or taboo only on certain occasions, and to whom accordingly the prohibition in question only applies at the definite seasons during which they exhale the odour of sanctity. Thus among the Kayans or Bahaus of Central Borneo, while the priestesses are engaged in the performance of certain rites they may not step on the ground, and boards are laid for them to tread on. Warriors, again, on the war-path are surrounded, so to say, by an atmosphere of taboo; hence some Indians of North America might not sit on the bare ground the whole time they were out on a warlike expedition. In Laos the hunting of elephants gives rise to many taboos; one of them is that the chief hunter may not touch the earth with his foot. Accordingly, when he alights from his elephant, the others spread a carpet of leaves for him to step upon.

Apparently holiness, magical virtue, taboo, or whatever we may call that mysterious quality which is supposed to pervade sacred or tabooed persons, is conceived by the primitive philosopher as a physical substance or fluid, with which the sacred man is charged just as a Leyden jar is charged with electricity; and exactly as the electricity in the jar can be discharged by contact with a good conductor, so the holiness or magical virtue in the man can be discharged and drained away by contact with the earth, which on this theory serves as an excellent conductor for the magical fluid. Hence in order to preserve the charge from running to waste, the sacred or tabooed personage must be carefully prevented from touching the ground; in electrical language he must be insulated, if he is not to be emptied of the precious substance or fluid with which he, as a vial, is filled to the brim. And in many cases apparently the insulation of the tabooed person is recommended as a precaution not merely for his own sake but for the sake of others; for since the virtue of holiness or taboo is, so to say, a powerful explosive which the smallest touch may detonate, it is necessary in the interest of the general safety to keep it within narrow bounds, lest breaking out it should blast, blight, and destroy whatever it comes into contact with.

2. Not to see the Sun

THE SECOND rule to be here noted is that the sun may not shine upon the divine person. This rule was observed both by the Mikado and by the pontiff of the Zapotecs. The latter “was looked upon as a god whom the earth was not worthy to hold, nor the sun to shine upon.” The Japanese would not allow that the Mikado should expose his sacred person to the open air, and the sun was not thought worthy to shine on his head. The Indians of Granada, in South America, “kept those who were to be rulers or commanders, whether men or women, locked up for several years when they were children, some of them seven years, and this so close that they were not to see the sun, for if they should happen to see it they forfeited their lordship, eating certain sorts of food appointed; and those who were their keepers at certain times went into their retreat or prison and scourged them severely.” Thus, for example, the heir to the throne of Bogota, who was not the son but the sister’s son of the king, had to undergo a rigorous training from his infancy; he lived in complete retirement in a temple, where he might not see the sun nor eat salt nor converse with a woman; he was surrounded by guards who observed his conduct and noted all his
actions; if he broke a single one of the rules laid down for him, he was deemed infamous and forfeited all his rights to the throne. So, too, the heir to the kingdom of Sogamoso, before succeeding to the crown, had to fast for seven years in the temple, being shut up in the dark and not allowed to see the sun or light. The prince who was to become Inca of Peru had to fast for a month without seeing light...

In a former chapter we saw that primitive man seeks to preserve the life of his human divinities by keeping them poised between earth and heaven, as the place where they are least likely to be assailed by the dangers that encompass the life of man on earth. We can therefore understand why it has been a rule both of ancient and of modern folk-medicine that the mistletoe should not be allowed to touch the ground; were it to touch the ground, its healing virtue would be gone. This may be a survival of the old superstition that the plant in which the life of the sacred tree was concentrated should not be exposed to the risk incurred by contact with the earth...

To conclude these enquiries we may say that if Balder was indeed, as I have conjectured, a personification of a mistletoe-bearing oak, his death by a blow of the mistletoe might on the new theory be explained as a death by a stroke of lightning. So long as the mistletoe, in which the flame of the lightning smouldered, was suffered to remain among the boughs, so long no harm could befall the good and kindly god of the oak, who kept his life stowed away for safety between earth and heaven in the mysterious parasite; but when once that seat of his life, or of his death, was torn from the branch and hurled at the trunk, the tree fell—the god died—smitten by a thunderbolt.
And what we have said of Balder in the oak forests of Scandinavia may perhaps, with all due diffidence in a question so obscure and uncertain, be applied to the priest of Diana, the King of the Wood, at Aricia in the oak forests of Italy. He may have personated in flesh and blood the great Italian god of the sky, Jupiter, who had kindly come down from heaven in the lightning flash to dwell among men in the mistletoe—the thunder-besom—the Golden Bough—growing on the sacred oak in the dells of Nemi. If that was so, we need not wonderthat the priest guarded with drawn sword the mystic bough which contained the god’s life and his own. The goddess whom he served and married was herself, if I am right, no other than the Queen of Heaven, the true wife of the sky-god. For she, too, loved the solitude of the woods and the lonely hills, and sailing overhead on clear nights in the likeness of the silver moon looked down with pleasure on her own fair image reflected on the calm, the burnished surface of the lake, Diana’s Mirror.
"(Windows work two ways, mirrors one way.)
You never walk through mirrors or swim through windows."
-J Morrison

Hei is often used to represent the name of God, as He stands for Hashem, which means The Name and is a way of saying God without actually saying the name of God. In print, Hashem is usually written as Hei with a geresh: ה׳... ḥasir "court". In the Phoenician alphabet, ḫayt and ḥasir are merged into Heth "fence", while hillul is replaced by Heh "window". God's omnipresence (with reference to Jer. xxiii. 24) is illustrated by two mirrors, the one convex, the other concave, magnifying and contracting respectively the image of the beholder (Gen. R. iv.). YHVH contains 2 'windows' 
Microsoft's Windows 3.x logo has 42 little squares forming its left side trail
4 Way Window Pane 
Window Pane is a name given to lsd encapsulated in gelatin. “4 way” describes a grouping of four standard size square “panes” resembling the four panes in an actual glass window. The "4 way” grouping is most noticeable in printed lsd blotter where one complete design is contained within 4 standard size hits. Also, “4 way” or window pane have nothing to do with the quality or potency of the lsd contained within them.
In the Wizard of Oz Dorothy is struck by a Window Pane during the twister sequence. This hit to the head is what leads her into Oz. 
 Diana Nemorensis,"Diana of Nemi" also known as “Diana of the Wood”, was an Italic form of the goddess who became Hellenised during the fourth century BCE and conflated with Artemis. Her sanctuary was to be found on the northern shore of Lake Nemi beneath the cliffs of the modern city Nemi (Latin nemus Aricinum). This lake is referred to by poets as speculum Dianae, “Diana's Mirror.” But the town of Aricia was situated about three miles off, at the foot of the Albanus Mons, the Alban Mount, and separated by a steep descent from the lake, which lies in a small crater-like hollow on the mountainside. According to one of several Hellenising foundation myths, the worship of Diana at Nemi would have been instituted by Orestes, who, after killing Thoas, king in the Tauric Chersonesus (the Crimea), fled with his sister Iphigenia to Italy, bringing with him the image of the Tauric Diana hidden in a faggot of sticks. After his death, the myth has it, his bones were transported from Aricia to Rome and buried in front of the Temple of Saturn, on the Capitoline slope, beside the Temple of Concord. The bloody ritual which legend ascribed to the Tauric Diana is familiar to classical readers; it was said that every stranger who landed on the shore was sacrificed on her altar, but that, when transported to Italy, the rite of human sacrifice assumed a milder form.
"In ‘Through the Looking Glass’ which was the sequel, the White Queen and the Red Queen set Alice a test to find out whether she should become a Queen. You may remember that ‘Alice’s Adventures in Wonderland’ is based on cards. Whereas ‘Through the Looking Glass’ is based on a game of Chess. And the idea is that as the chapters progress Alice starts as a pawn and then moves up right to the other end of the board and becomes a Queen. But she can’t become a Queen until she’s been examined by the White Queen and the Red Queen.
And the White Queen said “Can you do addition? What’s one and one and one and one and one and one and one and one and one?”
Poor Alice didn’t know, she’d lost count. She can’t do addition.
“Can you do subtraction? Take nine from eight.” “Nine from eight I can’t you know, but” “She can’t do subtraction.”
“Can you do division? Divide a loaf by a knife.” What’s the answer to that? Bread and butter of course was the answer.
But anyway the Queens decided, came to the conclusion that Alice could not do sums at all."

"Perhaps the most extraordinary use of the number 42 (in Carroll's works) is when the White Queen says, "Now, I'll give you something to believe. I'm just one hundred and one, five months and a day." Edward Wakeling, editor of Carroll's diary's, and also a mathematician, has worked out that since the story was specifically set on 4 November 1859, when Alice was exactly 7 and a half (Alice Liddell's birthday was 4 May 1852), then the White Queen, taking account of leap years, was exactly 37,044 days old at the time when she spoke. The Red Queen, being a member of the same chess set, was, of course the same age as the White Queen, giving the two queens a total combined age of 74,088 days- the sum of 42 x 42x 42! " 
-The Mystery of Lewis Carroll: Discovering the Whimsical, Thoughtful, and Sometimes Lonely Man Who Created "Alice in Wonderland"

"The Queen turned crimson with fury, and after glaring at her for a moment like a wild beast, began screaming, 'Off with her head!'"
—Lewis Carroll (from Alice in Wonderland)
"The Pont D’Alma Tunnel was a sacred site dedicated to the Moon Goddess Diana, where they used to practice ritual sacrifices. During those ceremonies, it was of an utmost importance that the sacrificed victim died inside the underground temple. The assassination of Diana was a reenactment of this ancient pagan tradition. Shortly after Diana was killed, Rayelan Allan (a researcher of esoteric history since the early 1970′s, who was also married to Gunther Russbacher, a deep cover CIA/ONI operative) wrote an article called “Diana, Queen of Heaven”. The article was picked up by numerous newspapers across the United States and Europe. Several authors who have written books about the death of Princess Diana used Rayelan’s article as reference. However, no one fully understood the deeper meaning of the article. Therefore, Rayelan decided to expand it into a book. The book states that in pre-Christian times, the Pont d’Alma area had been the site of a pagan temple of the goddess Diana and a direct gateway to heaven. Mindful of this safety net, the place was chosen by the Merovingian kings (AD500-751) to fight their duels, with the loser going directly to paradise. ”Pont” means “bridge” and “Alma” means “soul” and for Merovingians, the site was a bridge across the “river of souls”. So, Pont de L’Alma, the site of the accident which killed Princess Diana, means “Bridge of the Soul.”"
In some part of Wales a very extraordinary rite was observed. "When a person died, the friends sent for the sin-eater of the district, who on his arrival places a piece of salt on the breast of the defunct, and upon the salt a piece of bread. He then muttered an incantation over the bread, which he finally ate; thereby eating up all the sins of the deceased. This done, he received the fee of two shillings and sixpence, and vanished as quickly as possible from the general gaze; for as it was believed that he really appropriated to his own use and behoof the sins of all those over whom he performed the above ceremony, he was utterly detested in the neighbourhood -- regarded as a mere Pariah -- as one irremediably lost."

Sin-eating was not a Bardic idea, it seems to have been a perverted and perverse tradition, probably reaching Wales by an oriental channel, in which the Jewish scape-goat and Christian Eucharistic Sacrifice are blended in disguise and distortion. "The popular notion in Pembrokeshire, with reference to the placing of salt on the bodies of the dead, was that it kept away the evil spirit."
-- From Welsh sketches, by Ernest Silvanus Appleyard
"Jabberwocky" is a nonsense verse poem written by Lewis Carroll in his 1872 novel Through the Looking-Glass, and What Alice Found There, a sequel to Alice's Adventures in Wonderland. The book tells of Alice's adventures within the back-to-front world of alooking glass.

In a scene in which she is in conversation with the chess pieces White King and White Queen, Alice finds a book written in a seemingly unintelligible language. Realising that she is travelling through an inverted world, she recognises that the verse on the pages are written in mirror-writing. She holds a mirror to one of the poems, and reads the reflected verse of "Jabberwocky". She finds the nonsense verse as puzzling as the odd land she has walked into, later revealed as a dreamscape.
                                                                        "Twas brillig, and the slithy toves
Did gyre and gimble in the wabe.
All mimsy were the borogoves,

And the mome raths outgrabe.

"Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!"

He took his vorpal sword in hand,
Long time the manxome foe he sought --
So rested he by the Tumtum tree,
And stood awhile in thought.

And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!

One, two! One, two! And through and through!
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.

"And, hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!'
He chortled in his joy.

`Twas brillig, and the slithy toves
Did gyre and gimble in the wabe.
All mimsy were the borogoves,
And the mome raths outgrabe"

Interesting to note that 2012, Year of the Dragon resonates the 'Jabberwocky', while 2011 Year of the Rabbit resonated the 'White Rabbit'; 'late for a very important date: the Equinox of the Gods 
'The Ouroboros (or Uroborus) is an ancient symbol depicting a serpent or dragon eating its own tail. The name originates from within Greek language; οὐρά (oura) meaning "tail" and βόρος (boros) meaning "eating", thus "he who eats the tail".

The Ouroboros represents the perpetual cyclic renewal of life, and infinity the eternal return, and represents the cycle of life, death and rebirth, leading to immortality, as in the phoenix.

It can also represent the idea of primordial unity related to something existing in or persisting before any beginning with such force or qualities it cannot be extinguished. The ouroboros has been important in religious and mythological symbolism, but has also been frequently used in alchemical illustrations, where it symbolizes the circular nature of the alchemist's opus. It is also often associated withGnosticism, and Hermeticism.

'The cross stands wound densely round with roses.
Who has put roses on the cross?...
And from the middle springs a holy life
Of threefold rays from a single point.'

— Goethe, Die Geheimnisse (1784-1786)
"In alchemy, the white and the red rose are well-known symbols for the lunar and the solar tincture, from which the "precious rose-coloured blood" of Christ-Lapis flows..."

"Alice is a 1990 film written and directed by Woody Allen and starring Joe Mantegna, Mia Farrow and Alec Baldwin. The film is a loose reworking of Federico Fellini's 1965 film Juliet of the Spirits."
 In this film Mia Farrow plays Alice Tate. 
"Rosemary's Baby is a 1968 American horror film written and directed by Roman Polanski, based on the bestselling 1967 novel Rosemary's Baby by Ira Levin. The cast includes

Both films take place in the same same area of New York...
Roman Polanski's wife, Sharon Tate (seen above in Valley of the Dolls) was ritualistically murdered by followers of Charles Manson under the influence of 'Orange Sunshine' L.S.D. 
Later, John Lennon was shot and killed in front of the Dakota, where Rosemary's Baby was filmed
 As Marla Singer leaves the Paper Street house in Fight Club,
 she sings, "Gotta get off. Gotta get off this merry go round ..."
In Real Life: She's singing the theme from "Valley of the Dolls," which, sung by Dionne Warwick, got as high as No. 2 on the charts in 1968. This re-emphasizes the Marla-as-Judy Garland theme -- 
Garland was supposed to star in "Valley of the Dolls" and sing the theme song, but was fired from the film after three days.
The song was written by Dory and Andre Previn:
"Gotta get off, gonna get Out of this merry-go-round Gotta get off, gonna get Need to get on where I'm bound When did I get, where did I Why am I lost as a lamb ..."
  "Yew've got to pick up every stitch...
 The Rabbit's running in the ditch...
Must be the Season of the Witch"
In Big Fish...
"At his son's wedding party, Edward Bloom (Albert Finney) tells the same tale he's told many times over the years: on the day Will (Billy Crudup) was born, he was out catching an enormous uncatchable fish, using his wedding ring as bait. Will is annoyed, explaining to his wife Joséphine (Marion Cotillard) that because his father never told the straight truth about anything, he felt unable to trust him. He is troubled to think that he might have a similarly difficult relationship with his future children. Will's relationship with his father becomes so strained that they do not talk for three years. But when his father's health starts to fail, Will and the now pregnant Joséphine return to Alabama. On the plane, Will recalls his father's tale of how he braved a swamp as a child, and met a witch (Helena Bonham Carter) who showed him his death in her glass eye. With this knowledge, Edward knew there were no odds he could not face..."

The title 'Big Fish' is here synonymous with 'Tall Tale'.

In my last entry it was pointed out that a coven of witches traditionally consists of 13 witches, while it is interesting that Jesus and his disciples number 13 if you include Jesus. Jesus' symbol is well known to be the fish, 
This image is not simply a fish, occultly speaking; in geometry it is known as the vesica piscis.
The vesica piscis is a shape that is the intersection of two circles with the same radius, intersecting in such a way that the center of each circle lies on the circumference of the other. The name literally means the "bladder of a fish" in Latin. The shape is also called mandorla ("almond" in Italian).
This has been commonly associated as a female symbol, (wonder why?)
The number 13 has been associated with the feminine since ancient times due to woman's menstrual flow being in sync with the 13 Moon cycle calendar.  
 The cover of the Chalice Well in Glastonbury (Somerset, United Kingdom) depicts a stylized version of the vesica piscis design.

'Archaeological evidence suggests that the well has been in almost constant use for at least two thousand years. Water issues from the spring at a rate of 25,000 gallons per day and has never failed, even during drought. Iron oxide deposits give water a reddish hue, as dissolved ferrous oxide becomes oxidized at the surface and is precipitated. Like the hot springs in nearbyBath, the water is believed to possess healing qualities.
In addition to the legends associated with Glastonbury, the Well is often portrayed as a symbol of the female aspect of deity, with the male symbolised by Glastonbury Tor. As such, it is a popular destination for pilgrims in search of the divine feminine, including Neopagans. The Well is however popular with all faiths and in 2001 became a World Peace Garden.
 The vesica piscis has been used as a symbol within Freemasonry, most notably in the shapes of the collars worn by officiants of the Masonic rituals. It was also considered the proper shape for the enclosure of the seals of Masonic lodges.
The Vesica Piscis is also used as proportioning system in architecture, in particular Gothic Architecture. The system was illustrated in Cesar Cesariano's Vitruvius (1521), which he called "the rule of the German architects".
In Christian art, some aureolas are in the shape of a vertically oriented vesica piscis, and the seals of ecclesiastical organizations can be enclosed within a vertically oriented vesica piscis (instead of the more usual circular enclosure).
Christ is often seen portrayed like the image below while also being surrounded by Seraphim, or the 4 cherubim in this case, respectively
This is very similar to the way the final card of the Tarot's major arcana, The World is represented. This card will come up later in this entry with it's relationship to Saturn.
On an interesting side note;
The origin of the word matrix, comes from ‘madrigal.’
Dictionary of Word Origins pg 332 ‘Madrigal’
“Etymologically, madrigal denotes ‘a simple song, such as might just have sprung from the mother’s womb.’ It comes ultimately from medieval Latin matricalis ‘simple, primitive,’ a derivative of Latin matrix womb.
"In the womb we are blind cave fish"
-J Morrison
Amazingly, all matter comes forth from a matrix of water in the beginning and was manifested through sound/a song.
Apparently, the earliest connection of  Friday the 13th being unlucky has to do with the fact that the name Friday comes from the Goddess Freyja
'Freyja and her afterlife field Fólkvangr, where she receives half of the slain, has been theorized as connected to the valkyries. Scholar Britt-Mari Näsström points out the description in Gylfaginning where it is said of Freyja that "whenever she rides into battle she takes half of the slain," and interprets Fólkvangr as "the field of the Warriors". Näsström notes that, just like Odin, Freyja receives slain heroes who have died on the battlefield, and that her house is Sessrumnir (which she translates as "filled with many seats"), a dwelling that Näsström posits likely fills the same function as Valhalla. Näsström comments that "still, we must ask why there are two heroic paradises in the Old Norse view of afterlife. It might possibly be a consequence of different forms of initiation of warriors, where one part seemed to have belonged to Óðinn and the other to Freyja. These examples indicate that Freyja was a war-goddess, and she even appears as a valkyrie, literally 'the one who chooses the slain'.
Siegfried Andres Dobat comments that "in her mythological role as the chooser of half the fallen warriors for her death realm Fólkvangr, the goddess Freyja, however, emerges as the mythological role model for the Valkyrjar and the dísir."
13 is also the number the Death Trump in Tarot is attributed to. This card corresponds to the Hebrew letter Nun (bottom left of the card), which means Fish
In Japanese culture, the number 42 is considered unlucky because the numerals when pronounced separately — "shi ni" (four two) — sound like the phrase, "unto death".
"French Deck. Solitary stroker of cards. He
dealt himself a hand. Turn stills of the past in
unending permutations, shuffle and begin. Sort
the images again. And sort them again. This
game reveals germs of truth, and death.

The world becomes an apparently infinite, yet
possibly finite, card game. Image combinations,
permutations, comprise the world game.
A mild possession, devoid of risk, at bottom
sterile. With an image there is no attendant

-The Lizard King
I feel the 'tail' of the Jesus fish suggests to continue the circumference. Whether intended or not, it seems to imply the formation of what has now been popularized as the Seed of Life and Flower of Life
This is a key to understanding how the Tree of Life helps to express the dynamics of the vacuum of space

Atziluth, or Atzilut (also Olam Atzilut, עולם אצילות, literally World of Emanation), is the highest of four worlds in which exists the Kabbalistic Tree of Life.Beri'ah follows it. It is known as the World of Emanations, or the World of Causes. In the Kabbalah, each of the Sephiroth in this world is associated with a Name of God. The Sephirith belonging to this world are known as the Supernal Triad; Kether, the Crown, corresponds to the all Aces in Tarot. While simultaneously, all cups belong to Binah (Understanding), and all wands belong to Chochmah (Wisdom). 
Atziluth is the realm of pure divinity. The four worlds of Kabbalah relate to the Tree of Life in two primary ways:
Firstly, it is taught that the whole tree is contained in each of the four worlds, and in this manner they are described one on top of another, and in symbolic form, by a diagram called Jacob's Ladder.

Secondly, is taught that the Tree of Life can be subdivided into four horizontal sections, each representing one of the four worlds.
It should be remembered that in Kabbalah each of the ten Sephirot of the Tree of Life also contains a whole tree inside itself. In this philosophy of the "whole in the part," Kabbalastic theories are in harmony with David Bohm's model of implicate order
The realm of Atziluth is thus related to the top three Sephirot of the Tree of Life; these three spheres of Kether, Chokmah and Binah are considered to be wholly spiritual in nature and are separated from the rest of the tree by a region of reality called the Abyss (Called the abyss by European Occultists, the Hebrews called it the Da'at, or Knowledge, which connects it to the Tree of Knowledge in the Garden) 

Atziluth is derived from "atzal" in reference to Numbers 11:17; and in this sense it was taken over into the Kabbalah from Solomon ibn Gabirol's Meḳor Ḥayyim (The Fountain of Life),
which was much used by Kabbalists. The theory of emanation, which is conceived as a free act of the will of God, endeavors to surmount the difficulties that attach to the idea of creation in its relation to God. These difficulties are threefold:
the act of creation involves a change in the unchangeable being of God;
it is incomprehensible how the absolutely infinite and perfect being could have produced such imperfect and finite beings;
a creatio ex nihilo is difficult to imagine.

The simile used for the emanation is either the soaked sponge that emits spontaneously the water it has absorbed, or the gushing spring that overflows, or the sunlight that sends forth its rays—parts of its own essence—everywhere, without losing any portion, however infinitesimal, of its being. Since it was the last-named simile that chiefly occupied and influenced the Kabbalistic writers, Atziluth must properly be taken to mean "eradiation" (compare Zohar, Exodus Yitro, 86b).
Early in the 1930s two ships were recovered from the mud of lake Nemi. It was not just any ships - they were over 70 m long and 20 wide, and had a gross tonnage of up to 1100 tonns. The deck of oak were covered with a marble mosaic floor. Findings showed that there had been running water, heating, and possibly even bathing facilities. These ocean-going, floating palaces are attributed to Caligula, maybe the most decadent of all the emperors.
The boats were finally salvaged under orders of Mussolini as an attempt to relate himself to the Roman Emperors of the past. From 1936 the ships were exhibited in a newely constructed museum with a "hangar" for each, and here it was possible to admire them for the next nine years, until the 31st may in 1944, when then were taken by the flames lit by retreating german soldiers.

We do not know wether the ships are connected with the cult of Diana, but we may certainly take them as a symbol that there is more under the surface than meets the eye at Nemi (Diana's mirror), and more surprises to be had.  In the sacred Grove of Diana, by Pia Guldager Bilde et al. 
Jack Sparrow=Mad Hatter
( Jack) informal used as a form of address to a man whose name is not known. [ORIGIN: familiar form of the given name John.
A playing card bearing a representation of a soldier, page, or knave, normally ranking next below a Queen.

The Hatter explains to Alice that he and the March Hare are always having tea because, when he tried to sing for the Queen of Hearts at her celebration, she sentenced him to death for "murdering the time," but he escapes decapitation. In retaliation, Time (referred to as a "Him") halts himself in respect to the Hatter, keeping him and the March Hare stuck at 6:00 forever. As such, he exclaims "Tea Time!" at random occasions. The tea party, when Alice arrives, is characterized by switching places on the table at any given time, making short, personal remarks, asking unanswerable riddles and reciting nonsensical poetry, all of which eventually drive Alice away. He appears again as a witness at the Knave of Hearts' trial, where the Queen appears to recognize him as the singer she sentenced to death, and the King also cautions him not to be nervous "or I'll have you executed on the spot." 
1. an unprincipled, untrustworthy, or dishonest person.
2. Cards . jack1 ( def. 2 ) .
3. Archaic .
a. a male servant.
b. a man of humble position.
before 1000; Middle English; Old English cnafa; cognate with German Knabe boy; akin to Old Norse knapi page, boy

"Why did you throw the Jack of Hearts away, why did you throw the Jack of Hearts away, it was the only card in the deck that I had left to play"
-Mr Mojo Risen

Knights and Knaves is a type of logic puzzle devised by Raymond Smullyan.
On a fictional island, all inhabitants are either knights, who always tell the truth, or knaves, who always lie. The puzzles involve a visitor to the island who meets small groups of inhabitants. Usually the aim is for the visitor to deduce the inhabitants' type from their statements, but some puzzles of this type ask for other facts to be deduced. The puzzle may also be to determine a yes/no question which the visitor can ask in order to discover what he needs to know.
One type of this puzzle was further popularized by a scene in the 1986 fantasy film, Labyrinth, in which Sarah (meaning Princess) (Jennifer Connelly) finds herself faced with two doors each guarded by a two-headed knight. One door leads to the castle at the centre of the labyrinth, and one to certain doom.

"The society of simulations thus comes to control an individual's range of responses and options for choice and behavior ...individuals are forced to respond to pre-coded messages and models in the realm of economics, politics, culture and everyday life ...Although one is allowed a range of choices - indeed such choice is constantly demanded - the options are predetermined and precoded ...For Baudrillard, this binary system constitutes a 'deterrence model' in which all radical change is ruled out, since the very fact of an option between different political parties, products, life-styles and so forth acts as a deterrent against demands for radical social change" (80-81). Douglas Kellner 
 The god Saturn is the god of Time and Death.
   In Tarot Saturn corresponds to The Universe of the major arcana, whose symbol can be seen in the bottom left corner.
Saturn can also be represented by the Tav Cross, being that this card corresponds to the Hebrew Letter Tav, seen in the bottom right of the card, 

Taw, Tav or Taf is the twenty-second and last letter in many Semitic abjads, including Phoenician, Aramaic, HebrewTaw (Modern Hebrew: Tav) ת and Arabic alphabet Tāʾ ت. Its original sound value is /t/.

The Phoenician letter gave rise to the Greek Tau (Τ), Latin T, and Cyrillic Т.

Now, when the Hebrew alphabet is represented as a musical scale (which is a relatively common practice being that the Bible is intended to be sung) Tav becomes a half step between scales. 

‘All movements are accomplished in six stages, and the seventh brings return. Thus the winter solstice, with which the decline of the year begins, comes in the seventh month after the summer solstice. So too sunrise comes in the seventh double hour after sunset. Seven is the number of the young light, and it arises when six, the number of the great darkness, is increased by one. In this way, the state of rest gives place to movement. In winter the life energy, symbolized by thunder, the Arousing, is still underground. Movement is just at its beginning.’ 
I Ching: Book of Changes Chapter 24: Fû/Return – The Turning Point Richard Wilhelm, translator, 1950
So, it is oddly appropriate then that the Hatter and the Hare should be stuck at '6 o'clock' preforming a T ceremony.
The 7th day of the week, Saturday, is named after the god Saturn, this is taken as the Sabbath, while Sun-day brings the weeks return to moon-day. 

Also, this reflects the celestial story of Saturn/Kronos when his son Jupiter/Zeus usurps the thrown:

A Great Conjunction is a conjunction of the planets Jupiter and Saturn. The last Great Conjunction took place on May 31, 2000, while the next one will be in late December 2020. Great Conjunctions take place regularly, every 18–20 years, as a result of the combined ~12-year orbital period of Jupiter around the Sun, and Saturn's ~30-year orbital period. The 2000 conjunction fell within mere weeks after both had passed conjunction with the Sun, and it was very difficult to observe without visual aid because the two planets rose only 30–45 minutes before sunrise, depending upon the location of the observer.
Greatest conjunction is a conjunction of Jupiter and Saturn at or near their opposition to the Sun. In this scenario, Jupiter and Saturn will occupy the same position in right ascension on three separate occasions over a period of a few months. Such tripled occurrences are actually known as triple conjunctions.
The so-called "Star of Bethlehem" — thought to have appeared c. 7 BC — was theorized to be a greatest conjunction; and some went so far as to assert that it was an occultation of Saturn by Jupiter, with the two planets appearing to merge into a single object as seen from Earth. However such an event did not take place at historic times. At the greatest conjunction in 7 BC, which is said to be the "Star of Bethlehem",the minimum distance between Jupiter and Saturn was around 1 degree, this is twice the Moon's diameter. The next occultation of Saturn by Jupiter will take place in 7541.
There is no obvious period for the occurrence of greatest conjunctions: the last greatest conjunctions took place in 1682/1683, 1821 (only in right ascension), 1940/1941 and 1981, while the next one will take place in the year 2238/2239.
In The Dark Crystal:
The Great Conjunction is the event that occurs when the three suns of Thra - the Great Sun, the Rose Sun, and the Dying Sun - align in the sky. The alignment of the suns form an intense beam of light that shines directly onto the Crystal.

A Great Conjunction occurs every nine-hundred and ninety-nine trine and one trine.

The burning light focused towards Thra during the very first Great Conjunction is responsible for creating the Great Shaft and revealing the Crystal deep within the mountain.

When a sun shone down the shaft of the Crystal, all life on Thra could feel the trembling from the Crystal. The Crystal sings quietly at the lesser conjunctions of the two Suns; but at the Great Conjunction, the song of the Crystal resounded through all the rocks of Thra.

On July 29, 1981, the fairytale wedding of Prince Charles and Lady Diana Spencer took place at St. Paul’s Cathedral in London. Hundreds of thousands of people flooded the streets, trying to catch a glimpse of the new princess, while an estimated 750 million watched on T.V. Twenty year old Lady Diana was taken to the cathedral in a glass coach. She wore a dress of ivory taffeta and antique lace, with a 25-ft train, designed by David and Elizabeth Emmanuel. Lady Diana’s walk down the aisle took three and a half minutes.

After the ceremony, conducted by Archbishop of Canterbury Dr. Robert Runcie, the Prince and Princess of Wales travelled in an open-topped carriage through the streets to Buckingham Palace, where they appeared on the balcony and shared a kiss, to the delight of the crowds below, They then withdrew to a private wedding breakfast attended by 120 guests. Less than a year later, the princess gave birth to a son, William. A second son, Harry, was born two years later. By that time the couple’s marriage was already showing signs of strain. The couple officially separated in 1993. Source “History through the Headlines”.

The large scale wedding took place during an exact Jupiter-Saturn conjunction in Libra.
An edition of Ripley's Believe It or Not, published in 1934, noted the coincidental 20 year pattern of presidential deaths between 1840 and 1920, with question marks inserted for the upcoming 1940 entry. This implied that there could be a continuation of the cyclic pattern, which was fulfilled when Franklin Roosevelt was re-elected in 1940 and subsequently died in office in 1945. Based on this 20 year death cycle, many astrologers correctly predicted the death of President John F. Kennedy when he was elected in 1960. Similarly, it was expected that President Reagan would also die in office, which almost came to pass with the attempted assassination on March 30, 1981. The following chart shows the pattern of past Jupiter/Saturn conjunctions.
Year electedPresidentYear strickenCause of deathSign
1840William Harrison1841pneumonia
Capricorn 8�
1860Abraham Lincoln1865assassination
Virgo 18�
1880James Garfield1881assassination
Taurus 1�
1900William McKinley1901assassination
Capricorn 14�
1920Warren Harding1923heart attack
Virgo 27�
1940Franklin Roosevelt1945stroke
Taurus 8�
1960John Kennedy1963assassination
Capricorn 25�
1980Ronald Reagan1981 / 2004
assassination attempt
Libra 8�
2000George W. Bush2001assassination attempt
Taurus 22�
Astrologers believe that Reagan was spared assassination because the Jupiter/Saturn conjunction was a special one in that it was also a "Grand Mutation" - when the conjunction switches to "AIR" signs. All the previous conjunctions involved "Earth" signs. According to one astrologer, "The Grand Mutation symbolically corresponds to enormous changes in the law and order of man on Earth, his administration of the globe, that last for about 240 years until the next mutation; the internal Great Conjunctions project a symbolism for about twenty years in time until the next conjunction." (Tyl, 1977).

In the chapter "A Mad Tea Party", the Hatter asks a notable riddle: "Why is a raven like a writing desk?" When Alice gives up, the Hatter admits he does not have an answer himself. Lewis Carroll originally intended the riddle to be just a riddle without an answer, but after many requests from readers, he and others, including puzzle expert Sam Loyd, thought up possible answers to the riddle. In the preface to the 1896 edition, Carroll wrote:
Enquiries have been so often addressed to me, as to whether any answer to the Hatter’s Riddle can be imagined, that I may as well put on record here what seems to me to be a fairly appropriate answer,: "Because it can produce a few notes, though they are very flat; and it is nevar put with the wrong end in front!". This, however, is merely an afterthought; the Riddle as originally invented, had no answer at all"
Although the name "Mad Hatter" was clearly done and inspired by the phrase "as mad as a hatter", there is some uncertainty as to the origins of this phrase. Mercury was used in the process of curing felt used in some hats, making it impossible for hatters to avoid inhaling the mercury fumes given off during the hat making process; hatters and mill workers thus often suffered mercury poisoning, causing neurological damage, including confused speech and distorted vision. Hat making was the main trade in Stockport, near where Carroll grew up, and it was not unusual then for hatters to appear disturbed or confused; many died early as a result of mercury poisoning.

In Western Hermetic sphere work 42 is the sum of the values of the 'true' spheres, 3,4,5,6,7,8 & 9 each of which represent one aspect of the body of God through which we observe the world. 1 and 2 are considered modalities of existence and 10 is the completion we see from our own sphere, 11. The sum of the squares of each of these numbers make 216, or 6 x 6 x 6, the number of the beast, which is also the number of the names of God the Jews had to say once a year in the holy of holies to assure blessings from on high. The 'beast' is the perfect sphere, represented in 3 dimensions by 3 bounding circles, each with 6 radii, hence 666 being the number of the beast and directly being linked to 216 and 42. This is the foundation of Western Hermetic sphere work and is echoed in Pythagoreanism.
Mercury is poisonous, and thus the sign for it has often been used in pharmacology to mean dangerous poison. 
Hermes was, contrary to the other Greek gods, both male and female, a hermaphrodite. For this reason the sign has been used both in biology and botany to mean double-sexed.

"I've Seen All Good People", or "Your Move" is a song performed by the band Yes and written by Jon Anderson and Chris Squire. It is included on 1971 The Yes Album.

I've seen all good people turn their heads each day
so satisfied I'm on my way
I've seen all good people turn their heads each day
so satisfied I'm on my way
Take a straight and stronger course to the corner of
your life
Make the White Queen run so fast she hasn't got time
to make you a wife
'Cause it's time is time in time with your time and
its news is captured...for the queen to use!
Move me on to any black square
Use me anytime you want
Just remember that the goal
Is for us all to capture all we want
(Move me on to any black square)
Don't surround yourself with yourself
Move on back two squares
Send an instant karma to me
Initial it with loving care
(Don't surround yourself)
'Cause it's time is time in time with your time and
its news is captured...for the queen to use!
Diddit diddit diddit diddit diddit diddit diddit didda
Diddit diddit diddit diddit diddit diddit diddit didda
(Don't surround yourself with yourself)
Don't surround yourself with yourself
(Don't surround yourself)
Move on back two squares
Send an instant karma to me
(Send an instant karma to me)
Initial it with loving care
(Don't surround yourself)
'Cause it's time is time in time with your time and
its news is captured...for the queen to use!
Diddit diddit diddit diddit diddit diddit diddit didda (All we are saying)
Diddit diddit diddit diddit diddit diddit diddit didda (Is give peace a chance)
Diddit diddit diddit diddit diddit diddit diddit didda (All we are saying)
Diddit diddit diddit diddit diddit diddit diddit didda (Is give peace a chance)
'Cause it's time is time in time with your time and
its news is captured...
"Instant Karma! (We All Shine On)" is a song written by John Lennon, released as a single in 1970 on Apple Records, catalogue Apple 1003 in the United Kingdom, Apple 1818 in the United States. It is the third solo single issued by Lennon, and it peaked at #3 on both the Billboard Hot 100 and Cash Box Top 100 singles charts in the US, #2 on Canada's Singles Chart and #5 on the UK Singles Chart. The song's first appearance on album was the 1975 compilation Shaved Fish. In the US, the song peaked at #3 asThe Beatles' single "Let It Be" was rising to #1. While both songs competed for position in the Top 3, the Beatles officially announced their dissolution."!

The title, The Shining, was inspired by the John Lennon song "Instant Karma!", which contained the line "We all shine on…"The book is dedicated to King's son, Joseph: "This is for Joe Hill King, who shines on."
The biblical Joseph was the 11th son of Jacob. He was born to Jacob’s favorite wife, Rachel, in Paddan-Aram after she had been barren for seven years. Joseph fathered two of the twelve tribes of Israel: Ephraim and Manasseh. Information about Joseph is found in Genesis chapters 37-50...
  The Shining Soundtrack - The Awakening of Jacob
Nearby Luz en route to Haran, Jacob experienced a vision of a ladder or staircase reaching into heaven with angels going up and down it, commonly referred to as "Jacob's ladder". From the top of the ladder he heard the voice of God, who repeated many of the blessings upon him.

According to Rashi, this ladder signified the exiles that the Jewish people would suffer before the coming of the Jewish Messiah: the angels that represented the exiles of Babylonia, Persia, and Greece each climbed up a certain number of steps, paralleling the years of the exile, before they "fell down"; but the angel representing the last exile, that of Rome or Edom, kept climbing higher and higher into the clouds. Jacob feared that his children would never be free of Esau's domination, but God assured him that at the End of Days, Edom too would come falling down.

Jacob awakened, and continued on his way to Haran in the morning, naming the place "Bethel", "God's house".

The Awakening of Jacob was composed in 1974. It first plays at the film's beginning when Danny talks to Tony in the bathroom before 'blacking out.' Used, very appropriately, as Jack awakens from his bad dream while at his desk. Also plays during Danny's dream sequences and when Jack enters room 237.

Danny wears a shirt numbered 42, 

and watches 'Summer of '42' with Wendy, the sum of the numbers of room 237 when multiplied together equals 42 (2 x 3 x 7 = 42).

42 is 21 doubled and 24 mirrored. The picture of Jack is dated July 4 1921 and is one of 21 pictures arranged in three horizontal lines on the gold corridor wall). The sum of adding the numbers in the date 4 July (7th month) 1921 adds up to 24 (4+7+1+9+2+1=24)

The number 12 is also a mirror image of 21, the Overlook's radio call number id KDK12, and the screen titles in part three (8am and 4pm) add up to 12. The sum of adding the numbers 237 together also adds up to 12 (2+3+7=12)

Kubrick swathes his film in repeated numerical patterns. Wendy swings the bat at Jack 42 times. Tony says “Redrum” 42 times. Danny looks up and sees the door of room 237 at exactly :42 minutes into the movie and Wendy finds Jack’s novel at exactly 1:42, her fingers stopping at line 21 in the typewriter.

Danny and Wendy watch “The Summer of 42” at exactly 1:21 minutes and the scene used by Kubrick is exactly :24 minutes into that movie. Likewise, “Redrum” is written on the door 2 separate times, combining a total of 24 lipstick strokes. The timecode in the last scene (2:21), corresponds to 21 pictures on the wall, the middle of which says 1921, a date which itself adds up to 24. Wendy also reveals 21 (or is it 12?) pages of Jack’s book and the staircase she lures him up is comprised of 42 steps.

Jack breaks down their apartment door with his ax only once and it takes him exactly :42 seconds, from first frame to last to do it (when we see him first hit it with the ax to when he pulls the ax out before opening the door). We also hear Jack hit the bathroom door 12 times with his ax.

Similarly, Danny says “REDRUM!” 42 times (in Tony’s voice) and Wendy tugs at the pantry latch 24 times. The use of 42, 24, 21 and 12 in a movie already filled with doublings and mirrors seems odd and uncanny and this is exactly the intention Kubrick hoped to create.
"Carroll seems to have an obsession with the number 42. In Alice's Adventures in Wonderland, which has 42 illustrations, the number features in the Court scene:
At this moment the King, who had been for some time busily writing in his note-book, called out "Silence!" and read from his book, "Rule Forty-two: All persons more than a mile high to leave the court."                                                                           In The Hunting of the Snark, which Carroll started to write at the age of forty-two, the preface mentions: Rule 42 of the Code, "No one shall speak to the man at the helm"While the Baker managed to lose all of his luggage: He had forty-two boxes, all carefully packed,With his name painted clearly on each: But, since he omitted to mention the fact, They were all left behind on the beach. And in an earlier poem, called Phantasmagoria, Carroll wrote: "No doubt," said I, "they settled who was fittest to be sent: Yet still to choose a brat like you, To haunt a man of forty-two,Was no great compliment!" More interesting is Alice's comment after falling down the rabbit-hole: I'll try if I know all the things I used to know. Let me see: four times five is twelve, and four times six is thirteen, and four times seven is- oh dear! I shall never get to twenty at that rate! However, the multiplication Table doesn't signify...
These calculations have been explained by means of different number basis. In everyday arithmetic we use numbers in base 10, where '42' means (4 x 10) + 2. However, when counting shillings and pence or calculating with feet and inches, we use a number system based on 12: for example,
9d. + 5d. = 1s. 2d. and 9 in., + 5 in. = 1 ft. 2 in., so '9' + '5' = '12'
Returning to Alice's calculations, we note that
in base 18 arithmetic, 4 x 5 = 20 = (1 x 18) + 2, which we write as '12'
in base 21 arithmetic, 4 x 6 = 24 = (1 x 21) + 3, which we write as '13'
Continuing in this way, we have:
in base 24 arithmetic, 4 x 7 =28 = (1x 24) + 4, which we write as '14'
in base 27 arithmetic, 4 x 8 =32 = (1 x 27) + 5, which we write as '15'
in base 30 arithmetic, 4 x 9 = 36 = (1 x 30) + 6, which we write as '16'  
in base 33 arithmetic, 4 x 10 = 40 = (1x 33) + 7, which we write as '17'
in base 36 arithmetic, 4 x 11 = 44 = (1 x 36) + 8, which we write as '18'
in base 39 arithmetic, 4 x 12 = 48 = (1 x 39) + 9, which we write as '19'
But now things go wrong:
in base 42 arithmetic, 4 x 13 = 52 = (1 x 42) + 10, which we write as '1X'
where X is the symbol for 10 in base 42- we do not get '20', 
which in base 42 corresponds to (2 x 42) + 0 = 84.
So Alice was right!"
-from Lewis Carroll in Numberland: His Fantastical Mathematical Logical Life by Robin Wilson

There are 42 principles of Ma'at, the Ancient Egyptian personification of physical and moral law, order, and truth. In the judgement scene described in the Egyptian and the Book of the Coming/Going Forth by Day (the Book of the Dead (which evolved from the Coffin Texts and the Pyramid Texts)), there are 42 gods and goddesses of Egypt, personifying the principles of Ma'at, who ask questions of the departed, while Thoth records the answers, and the deceased's heart is weighed against the feather of Truth (Ma'at). These 42 correspond to the 42 Nomes (Governmental Units) of Egypt. If the departed successfully answers all 42, s/he becomes an Osiris. This court of the afterlife lies in the Western land or Underworld.

Alice in Wonderland was originally titled 
Alices Adventures Underground.

The 42 Letter Name of G-D

This is one of the most obscure names of G-d. Rashi comments that ‘this name was not given over to us’. Hence, the derivation of the name is not well known. The name of Moses’s mother Yocheved – יוכבד has the gematria of 42. Since Yocheved (Jochebed) was head midwife in Israel, she is considered the mother of 600,000 souls, symbolizing her relation to creation. The gematria for mother – אמא is also 42. Also the phrase ‘my heart’ – לבי has a value of 42. This parallels the tzimtzum creation story where G-d withdraws into himself leaving a space like His heart where creation begins. Kabbalists teach this Name is from the first 42 letters of the Bible with each portion, each line of 6 letters bearing the “magical potency” of the entirety.

The Forty-two Letter Name associates with the seven days of creation. The ‘workings of creation’ – Ma’aseh Bereshis has the initials Mem Bet in Hebrew. The gematria value of Mem Bet –מב is 42. The gematria value of the Name, Eloah –אל*וה is also forty-two.The prayer Nishmas Kol Chai contains the phrase “Eloah Kol Briyot – G-d of all Creation”.This phrase also teaches that the name, Eloah – אלוה associates with creation. El is an abbreviation for Elohim and refers to the natural law of the world, while ‘oh’ refers to Hashem and G-d’s personal relationship with humanity through mercy. Creation requires both natural law and mercy.
The 42 Letter Name is also the force behind the mitzvah for a man to marry and procreate. The antithesis of procreation is death.
Text ‎10-18: Isaiah on the Repentance of King Hezekiah
And Isaiah ... came to him and said unto him:
‘Thou shalt die, and not live’
(Kings 2 20:1)
“Thou shalt die” in this world “and not live” in the world-to-come.
When Hezekiah asked him, “Why is the punishment so severe?” Isaiah replied,
“Because you did not try to have children.” Hezekiah replied,
“because it was shown to me by the holy spirit that children issuing from me
will not be worthy.” Isaiah replied,
“What have you to do with the secrets of the Holy One?
What you have been commanded, you should have done,
and let God do what He pleases.”
(Ber 10a. – Book of Legends 632:196)
The Forty-two Letter Name associates with the seven days of the week, six letters for each day. The letters on each line correspond with the sefirot Hesed, Gevurah, Tiferet, Netzah, Hod, and Yesod respectively with the whole line corresponding to Malchut. The line for Shabbat is שקו צית. Each line corresponds to a thousand years of creation. The last line refers to the last 1000 years of creation. Each 1000 years is also associated with a sefira and the last 1000 years for the age of moshiach that is kingship and Malchuts. Since the name begins with Aleph – א the first Hebrew letter and ends with Tav – ת, the last Hebrew letter, we know that all creation is contained within this Name.
"You should know a decryption [lit. kabbalah] of this second section in Genesis has been passed down to us, beginning from the verse 'In the beginning...' up to the letter b[beyt; the 42nd letter in Genesis] which contains a name of 42 letters that hints at God's activities before the creation—but only by means of 'many permutations.' Bachya was referring to a little-known observation made two centuries earlier by another sage, Rabbenu Tam (and even earlier by one Nechunya ben HaKanah, discussed below). Tam had observed that encoded into the opening passages of Genesis was a 42-letter name of God. But more than that, Bachya claimed, there lay within its compass the necessary information for calculating the unfolding of the "days and seasons," starting with the moment of the creation of the sun and moon and ever after, according to the ancient tradition that "...the luminaries were created on the fourth day, and by them we count the years of the world." Tam did not commit the details of this calculation to writing, however. Two centuries later, Rabbenu Bachya did so, by describing in one of his books what he called "the date which is the true starting point of all calculations of the astronomers" (hence the date to be used for "prophetic" calculations as well.) He explained: "...if the eyes of your heart will be illumined, you will find this date encoded in the text, such that between each of its numbers lies as well 42 letters. The wise will understand that this is not by chance, but a clear sign involving the very birth of the world."
Table 10-7: The 42 Letter Name and First 42 letters of Genesis
Forty-two Letter Name
אבג יתץ
ברא שית
קרע שטן
ברא אלה
נגד יכש
ימא תהש
בטר צתג
מים ואת
חקב טנע
האר צוה
יגל פזק
ארץ הית
שקו צית
התה ווב
During the fourteenth century, Rabbi Rabbenu Bachya identified patterns of letters and numbers encoded within the Torah. He explained: "If the eyes of your heart will be illuminated, you will find [the starting date of the world] encoded in the text, such that between each of its numbers lies [the 42-letter name of God]. The wise will understand that this is not by chance, but a clear sign involving the very birth of the world." 
A 13th-century Cabalistic rabbi, Bachya ben Asher of Saragossa, Spain, wrote of certain hidden information that was revealed to him by reading every 42nd letter in a portion of Genesis. This method of skipping over letters according to a particular sequence in an attempt to discover hidden messages is the basis for the modern Bible-code concept.
Given 27 same-size cubes whose nominal values progress from 1 to 27, a 3×3×3 magic cube can be constructed such that every row, column, and corridor, and every diagonal passing through the center, comprises 3 cubes whose sum of values is 42.
Forty-two is a pronic number and an abundant number; its prime factorization 2 · 3 · 7 makes it the second sphenic number and also the second of the form { 2 · 3 · r }. As with all sphenic numbers of this form, the aliquot sum is abundant by 12. 42 is also the second sphenic number to be bracketed by twin primes; 30 is also a pronic number and also rests between two primes. 42 has a 14 member aliquot sequence 42, 54, 66, 78, 90, 144, 259, 45, 33, 15, 9, 4, 3, 1, 0 and is itself part of the aliquot sequencecommencing with the first sphenic number 30. Further, 42 is the 10th member of the 3-aliquot tree.
42 is the product of the first three terms of Sylvester's sequence; like the first five such numbers it is also a primary pseudoperfect number.
It is a Catalan number. Consequently; 42 is the number of noncrossing partitions of a set of five elements, the number of triangulations of a heptagon, the number of rooted ordered binary trees with six leaves, the number of ways in which five pairs of nested parentheses can be arranged, etc.
It is the reciprocal of the sixth Bernoulli number.
It is conjectured to be the scaling factor in the leading order term of the "sixth moment of the Riemann zeta function". In particular, Conrey & Ghosh have conjecturedwhere the infinite product is over all prime numbers, p.[1][2]
42 is a perfect score on the USA Math Olympiad (USAMO)
"Among interpreters who see the Shining reflecting more subtly the social concerns that animate other Kubrick films, one of the earliest and most well-known viewpoints was discussed in an essay by ABC reporter Bill Blakemore entitled "The Family of Man" first published in the San Francisco Chronicle in July 1987. He believes that indirect references to the American slaughter of Native Americans pervade the film as exemplified by the Indian logos on the baking powder in the kitchen and Indian artwork that appears throughout the hotel, though no Native Americans are ever seen. Stuart Ullman tells Wendy that when building the hotel a few Indian attacks had to be fended off since it was constructed on an Indian burial ground
Blakemore's general argument is that the film as a whole is a metaphor for the genocide of Native Americans. He notes that when Jack kills Hallorann, the dead body is seen lying on a rug with an Indian motif. The blood in the elevator shafts is, for Blakemore, the blood of the Indians in the burial ground on which the hotel was built. As such, the fact that the date of the final photograph is July 4 is meant to be deeply ironic. Blakemore writes,

"As with some of his other movies, Kubrick ends The Shining with a powerful visual puzzle that forces the audience to leave the theater asking, "What was that all about?" The Shining ends with an extremely long camera shot moving down a hallway in the Overlook, reaching eventually the central photo among 21 photos on the wall. The caption reads: "Overlook Hotel-July 4th Ball-1921." The answer to this puzzle, is that most Americans overlook the fact that July Fourth was no ball, nor any kind of Independence day, for native Americans; that the weak American villain of the film is the re-embodiment of the American men who massacred the Indians in earlier years; that Kubrick is examining and reflecting on a problem that cuts through the decades and centuries."
Blakemore also sees this film as similar to other Kubrick films where evil forces get weak men to do their bidding.
Film writer John Capo sees the film as an allegory of American imperialism. This is exemplified by many clues; the closing photo of Jack in the past at a 4th of July party, or Jack's earlier citation of the Rudyard Kipling poem "The White Man's Burden".The poem has been interpreted as rationalizing the European colonization of non-white people, while Jack's line has been interpreted as referring to alcoholism, from which he suffers."
Of course, there is an avalanche of evidence beyond this in this theories support:
I find it especially interesting that the maze can be taken as a mayan pyramid mirrored 
Dominating the North Platform of Chichen Itza is the Temple of Kukulkan (a Maya feathered serpent deity similar to the Aztec Quetzalcoatl), usually referred to as El Castillo ("the castle"). This step pyramid stands about 30 metres (98 ft) high and consists of a series of nine square terraces, each approximately 2.57 metres (8.4 ft) high, with a 6-metre (20 ft) high temple upon the summit.The sides of the pyramid are approximately 55.3 metres (181 ft) at the base and rise at an angle of 53°, although that varies slightly for each side. The four faces of the pyramid have protruding stairways that rise at an angle of 45°. The talud walls of each terrace slant at an angle of between 72° and 74°. At the base of the balustrades of the northeastern staircase are carved heads of a serpent.
Mesoamerican cultures periodically superimposed larger structures over older ones, and El Castillo is one such example. In the mid 1930s, the Mexican government sponsored an excavation of El Castillo. After several false starts, they discovered a staircase under the north side of the pyramid. By digging from the top, they found another temple buried below the current one. Inside the temple chamber was a Chac Mool statue and a throne in the shape of Jaguar, painted red and with spots made of inlaid jade. The Mexican government excavated a tunnel from the base of the north staircase, up the earlier pyramid’s stairway to the hidden temple, and opened it to tourists. In 2006, INAH closed the throne room to the public.
On the Spring and Autumn equinoxes, in the late afternoon, the northwest corner of the pyramid casts a series of triangular shadows against the western balustrade on the north side that evokes the appearance of a serpent wriggling down the staircase. Some have suggested the effect was an intentional design by the Maya builders to represent the feathered-serpent god Kukulcan.
Here is Jim Morrison visiting this sight in 1970
Wendy to Danny: "I'll race you! Loser has to clean up America!" as they enter the Labyrinth 
Sir James George Frazer writes of this sacred grove in the often-quoted opening of The Golden Bough, basing his interpretation on brief remarks in Strabo(5.3.12), Pausanias (2,27.24) and Servius' commentary on the Aeneid (6.136) Legend tells of a tree that stands in the center of the grove and is guarded heavily. No one was to break off its limbs, with the exception of a runaway slave, who was allowed, if he could, to break off one of the boughs. Upon breaking off a limb, the slave was then in turn granted the privilege to engage the Rex Nemorensis, the current king and priest of Diana in the region, in one on one mortal combat. If the slave prevailed, he became the next king for as long as he could defeat challengers.
By the time Caligula interfered in the succession of priest-kings, the murder-succession had   devolved into a gladiatorial combat before an audience.
'Cinema is most totalitarian of the arts.  All
energy and sensation is sucked up into the skull,a cerebral erection, skull bloated with blood.Caligula wished a single neck for all his subjectsthat he could behead a kingdom with one blow.Cinema is this transforming agent. The bodyexists for the sake of the eyes; it becomes adry stalk to support these two soft insatiable jewels.' -J Morrison

At the end credits of American Beauty...
 a special thanks is given to Pete Townshend of The Who, who did a rock opera called Tommy overtly about Rosicrucianism
  A special thanks is also given to Dr. Bill and Alice, an obvious nod to Kubrick's main characters from Eyes Wide Shut.

"The Latin Diana was conceived as a threefold unity of the divine huntress, the Moon goddess, and the goddess of the nether world, Hekate," Alföldi interpreted the numismatic image, noting that Dianamontium custos nemoremque virgo ("keeper of the mountains and virgin of Nemi") is addressed by Horace as diva triformis ("three-form goddess"). Diana is commonly addressed as Trivia by Virgil and Catullus."

"Hecate or Hekate is an Greco-Roman goddess of triple nature - chthonic, celestial and maritime - variously associated with crossroads, gates and other entrances, passages, light in darkness, childbirth, nurturing the young, lunar lore, the night sky, the sea, the wilderness, the restless dead, dogs, snakes, healing and poisonous plants, magic and witchcraft, as well as a more universal role as World Soul in Hellenistic times. She is attested in poetry as early as Hesiod's Theogony. An inscription from late archaic Miletus naming her as a protector of entrances is also testimony to her presence in archaic Greek religion."                       

A memorial over the The Pont D’Alma Tunnel, where Princess Diana died, is unmistakably similar to the torch the Statue of Liberty holds in her hand. The statue was a gift to the US from France. While one would assume this statue represents the Roman Goddess 'Libertas', it seems to resemble other figures more dominantly. There are numerous takes for who this is actually meant to be, the most consistent being being Isis. I take no ultimate position here, but that does become an interesting possibility in this context:
The universal character of Diana Nemorensis meant that she was venerated in the same sancturay together with the Egyptian goddess Isis with whose identity she became partly assimilated. Here we recognize the all-powerful Goddess whose origin is lost in the remotes stirrings of the religious consciousness of the Mediterranean lands. Linguistic evidence indicates that Diana was a very old Italic goddess, and historical evidence shows that she had a cult at Nemi as far back as the sixt century B.C.E. The Rex Nemorensis, indicates that the cult is in fact far older than that.
                            Before Rick Clay's untimely death he had this interview with Red Ice:

Wonder Woman is a warrior Princess of the Amazons (based on the Amazons of Greek mythology) and was created by Marston, an American, as a "distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to a world torn by the hatred of men." Known in her homeland as Diana of Themyscira, her powers include superhuman strength, flight (even though the original Wonder Woman did not have this ability), super-speed, super-stamina, and super-agility. She is highly proficient in hand-to-hand combat and in the art of tactical warfare. She also possesses animal-like cunning skills and a natural rapport with animals, which has been presented as an actual ability to communicate with the animal kingdom. She uses her Lasso of Truth, which forces those bound by it to tell the truth, a pair of indestructible bracelets, a tiara which serves as a projectile, and, in some stories, an invisible airplane.
Themyscira is a fictional island nation in the DC Comics universe that is the place of origin of Wonder Woman and her sister Amazons. Known as Paradise Island since Wonder Woman and the island's first appearance in All Star Comics #8 (December 1941), it was renamed "Themyscira" with the character's February 1987 relaunch in Wonder Woman (vol. 2) #1. The island is named after the mythological city of Themiscyra, the capital of the Amazon tribe in Greek mythology.
Another main topic in The Golden Bough is The Wicker Man; the massive structure used to hold the sacrifice for the crops. These were called Giants.
In the 2006 remake of the 1973 film, The Wicker Man, starring Nicolas Cage,

 he stands in front of a black board where teacher, Sister Rose as written the opening lines to William Black's The Marriage of Heaven and Hell
"Once meek, and in a perilous path,
The just man kept his course along
The vale of death.
Roses are planted where thorns grow.
And on the barren heath
Sing the honey bees."
This Book happens to be where Aldous Huxley got the name for his well known book on his mescaline experimentation as well as where The Doors got their name:

"The ancient tradition that the world will be consumed in fire at the end of six thousand years is true, as I have heard from Hell.
For the cherub with his flaming sword is hereby commanded to leave his guard at the tree of life, and when he does, the whole creation will be consumed and appear infinite and holy whereas it now appears finite & corrupt.
This will come to pass by an improvement of sensual enjoyment.
But first the notion that man has a body distinct from his soul is to be expunged; this I shall do, by printing in the infernal method, by corrosives, which in Hell are salutary and medicinal, melting apparent surfaces away, and displaying the infinite which was hid.
If the doors of perception were cleansed every thing would appear to man as it is, infinite.
For man has closed himself up, till he sees all things thro' narow chinks of his cavern."
Ellen Bernstein plays Sister Summerslsle, the "spiritual heart" of the village. Ellen Bernstein had previously played the mother in The Exorcist, and Requiem for a Dream, as well as a supporting role in The Fountain. Her part in The Fountain is especially intriguing sync wise due to it centering around the Tree of Life. See last post:
The Wicker Man centers around a sacrifice which centers around the villages honey production. At one point Cage runs around getting stung in the area designated to their hives. In an arial shot it is shown that hexagons cover the area.
Tiling a plane using regular hexagons, which is honeycomb in appearance, is approximated in a topological sense to an accuracy of better than 1% using a stretcher bond brick pattern with bricks of 42 squares (6 by 7)
The I-Ching is part of a numerological system, with even numbers as Yin, and odd numbers as Yang. In the hexagrams, Yin is represented by a broken line, Yang is represented by a whole line. It takes 6 broken lines, and 6 whole lines to form a star Tetrahedron 
There are 64 possible combinations in the IChing

By following the code of The I Ching, the 64 hexagrams fit together to form a three dimensional Star Tetrahedron Grid.

This is the most stable structure in all of geometry. From it all four platonic solids can be extrapolated.  

Another character in The Wicker Man is a Sister Honey played by Leelee Sobieski
I was watching this this morning and recognized her from Eyes Wide Shut
In the film Tom Cruise's character returns to the Mansion and the Mysterious/Sinister music that is heard was first used in the 1946 'David Niven' film, A Matter of Life and Death (1946) when Niven's character is being judged in heaven. This film was released as Stairway to Heaven in the U.S. 
Interestingly, the classic Led Zeppelin song, Stairway to Heaven was inspired by an obscure poem by Occultist Aleister Crowley titled The May Queen ( This being the vestal virgin who may have been placed inside the Wicker Man on May Day, or Beltane to be sacrificed as a burnt offering for the crops.  
The parallel of the masks in The Wicker Man to those in Eyes Wide Shut is worth noting, as well as the undercover element of both Cruise and Cage. I must say, the masks in the original Wicker Man were more akin.

The Burning Man Festival which takes place once a year in Nevada occurs on an ancient lake bed. 
Close by is Pyramid Lake.

It's called Jack Rabbit Slims...
An Elvis man should love it.
"I am a guide to the labyrinth
Come & see me
in the green hotel
Rm. 32
I will be there after 9:30 p.m.

I will show you the girl of the ghetto
I will show you the burning well
I will show you strange people
haunted, beast-like, on the
verge of evolution

-Fear The Lords who are
secret among us"

-J Morrison 


  1. Wow!
    I came here expecting a snack and you have put out an entire buffet lunch for me.
    I've had a quick bite,but I will definitely be back for more from this fine selection of just about everything that I find appealing in the blog-sphere.
    My complements to the chef.

    UN, World, Words (Cosmic)

    UN, World, Words (Cosmic)

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