The Starman, and Scottish Independence

David Bowie is not renowned for a love of Scotland. He's more well known for his music. In his 1971 track, Quicksand, he wrote:

I'm closer to the Golden Dawn
Immersed in Crowley's uniform of imagery.

Last night he won the Best British male solo artist award at the annual Brits. He was not there to collect his trophy but supermodel Kate Moss stood in. Kate was wearing a "Ziggy Stardust" dress for the moment. Kate recited a short speech, composed by Bowie :

"In Japanese myth the rabbits on my old costume that Kate's wearing live on the moon.
Kate comes from Venus and I from Mars, so that's nice.
I'm completely delighted to have a Brit for being the best male but I am, aren't I Kate? (Gallagher: yes) I think it's a great way to end the day.
Thank you very very much - and Scotland, stay with us."

We learn more of Bowie's alter-ego Ziggy, his Rise and Fall, and the Spiders from Mars from wikipedia :

Ziggy is the human manifestation of an alien being who is attempting to present humanity with a message of hope in the last five years of its existence

From the same source, re Bowie's Starman song, we perhaps increase our understanding of his general thrust :

The lyrics describe Ziggy Stardust bringing a message of hope to Earth's youth through the radio, salvation by an alien 'Starman'. The story is told from the point of view of one of the youths who hears Ziggy. According to Bowie himself, speaking to William S. Burroughs for Rolling Stone magazine in 1973, Ziggy Stardust is not the Starman but merely his earthly messenger – contrary to received opinion which often paints Ziggy as an extraterrestrial. The song has inspired interpretations ranging from an allusion to the Second Coming of Christ, to an accurate prediction of the plot for the film Close Encounters of the Third Kind (1977).

Let's just reiterate, Bowie sees his "starman" as an earthly messenger. Kate Moss - Bowie's "messenger" @ the Brits - wears a Ziggy Stardust dress, surely confirming he is sending us a "message". Kate may even be symbolic of one of David's "pretty things", the "homo-superior".  Bowie's very short "message" references the planets Venus and Mars, concluding, almost bizarrely, by urging Scotland to stay part of the United Kingdom.

Again according to the Starman wiki article (I am no musician) :

The chorus is loosely based on Harold Arlen's "Over the Rainbow" from the film The Wizard of Oz, alluding to the "Starman"'s extraterrestrial origins (over the rainbow) (the octave leap on the word "Starman" is identical to that on the word "Somewhere" in "Over the Rainbow")

According to various researchers, the movie -and no doubt the soundtrack- of Wizard of Oz are used in forms of mind control... Wizard of Oz and Illuminati Mind Control.

Prince Charles' car after it's attack from "student rioters". The venue is the Palladium. The bill-posters advertise a forthcoming Wizard of Oz production.

...thus, if we assume that the Wizard of Oz "theories" have some substance, when Bowie overrides the "somewhere" with his "starman", is he sending a subliminal message ? Or, on later reflection, is he "supporting" it ?

Personally, we quite believe the WOZ "theories", simply because we refused to watch the film as a child. The opening music with the black and white imagery sent us straight behind the settee. We would add now, that thoughts revolve around IN OZ being an anagram of ZION, and that the "yellow brick road" takes us there. Zion itself suggests the New World Order, but possibly there is another story there. We will skip on the Frank Baum freemasonic angle for lack of time.

Horny back toad hunter, Elton John, recorded "his" Yellow Brick Road album in France, at Chateau_D'rouville. The lyrics of Yellow Brick Road seem to allude to turning one's back on "modern society" and returning to a more basic way of life.

Some say Elton is a bit "dodgy". Mysterious Elton John

Elton recommended the chateau to Mark Bolan, who in turn recommended it to Bowie. Bowie felt "supernatural" forces and strange energies on his visit there.

Here at newspaceman we now see independence as a single edged sword. We believe that it will make little difference to our way of life considering that society is rapidly becoming global. We believe that the elite want Scotland to be independent simply as part of a ritual; in alchemy one must reduce one's materials to their base state in order to make the gold. In this instance the gold is Zion, the New World Order, a global United Kingdom. Scotland appears to be firmly at base if we consider the freemasonic movement and historical colonisation.

To conclude, we are obviously not positive about Bowie's true intentions, but it was not a long speech.

cheers

The Palladium Rite

David Bowie and the Occult

BBC News

Monkey Business - 3

Part one, here, part 2 here.

This is probably more of the the same, but I have tried to condense and conclude. It's difficult to take everything back to base, one has to remember that everything in the performance was there for a purpose, subliminal or otherwise.  My overall impression is of Danny Boyle sitting with four record decks and a mixer. The  four records are the monarchy and it's army, revolution, Glastonbury Tor, the old and the new. Like all good disc-jockeys he speeds up and  slows down tracks, whilst utilising the crossfader to weave them together for the ultimate groove. It's a tapestry.  It appears "we" were participants in a global televisual performance, yet somehow it felt to me like a chimpanzees' tea party - with us as  sleep-walking chimps ushering in a new zookeeper - that's "their" comedy gold.


We began with the Green and Pleasant section, although no mention was made by the commentators of  Glastonbury Tor, nor indeed the tree which sat upon it. Previous media reports have suggested that Danny Boyle was inspired by William Blake's, And did those feet in ancient time, poem, which was, in itself, the source of the hymn Jerusalem. The background to it all is that Jesus is alleged to have visited Glastonbury and is linked to the idea of a second coming (wiki). Blake's poem includes the line, "Bring me my chariot of fire", the inspiration for  the film and a reference to the Biblical 2 Kings 2:11. The tree reminds me of the thorn allegedly planted at Glastonbury by Joseph of Arimathea. The movie image below is of a tartan attired Ben Hur, going to hear Jesus preach.

Suddenly though we submerged, then rose, at a stone marked Isles of Wonder, the source of the river Thames. We flew downstream following a dragonfly. From wiki we note that the insect has "sinister" connotations to some and that it's nicknames include "devil's darning needle". We hear the Sex Pistols, God Save the Queen, as we enter London, but only the first line, Lydon's voice in stark contrast to the previous scenes. Then it's the Clash and their London Calling, the B side  of which was Armagideon Time, a song originally written by Willi Williams. London Calling was inspired by the BBC World Service wartime broadcasts. We return to the stadium to see balloons bursting on a countdown (2 sixes fail) and the hymn Jerusalem sung by a young boy.


Isambard Kingdom Brunel appears from a horse drawn coach advertising biscuits, pre-requisite for a tea party. Swing Low Sweet Chariot is sung by the choir, a song accredited to Wallis Willis who was, like William Blake, inspired by 2 Kings 2:11.  Brunel recites Caliban from the Tempest, whilst the tree rises and people climb out the hole and down the Tor, surely some sort of reference to our "roots". Drums are omnipresent through the affair, their hypnotic effect is well documented.

Suddenly it's pandemonium, the word itself sourced from Milton's Paradise Lost. Suffragettes appear as do the entrepreneurs of the time - it's  the Industrial Revolution, but somehow the immigrant carrying Windrush ship of Midsummer 1948 has transpired. Individuals in brightly coloured Beatle-like outfits arrive at this time too.  Giant chimneys have popped up and molten metal flows down a tadpole shape to be hammered into rings, which float into the sky. Pearly Kings and Queens appear - "the other Royal Family". The vote-desiring ladies, and money-mad men, join the Tor.


Suddenly we are in a seamstress or tailors room. Remember the dragonfly. A Happy and Glorious patch is being embroidered, then sewn, onto a red military uniform. We are at Buckingham Palace. A taxi bearing a subliminal double 11 badge arrives with 007 inside. He meets the Queen at precisely 8.30pm. Twin corgis perform, Bond and HM leave in a helicopter -  a flying chariot which flies over iconic London landmarks  including the twin-towered bridge. Suddenly it's trickery, the Queen appearing to parachute into the stadium, her stunt double a Gary Connery, reinforcing the Bond aspect.


The Queen is in her seat, just in front of Rowan Williams, archbishop and druid. Members of the military carry in the Union flag (Jack) and take it to the Tor. A sign-language choir, Kaos, sing God Save the Queen in their pyjamas as the banner is tediously hoisted. It's time for the children's literature and National Health Service section - and grizzly it is, I can hardly bear it. JK Rowling appears, as do hairy monkeys and a giant puppet Potter's Voldermort. It's all very dark. Nannies, not goats but Mary Poppins, save the day, the children end up happy in their beds which resemble prison bars, or even cattle pens. It's a nanny state.


Mr Bean next, along with a red and white rucksack and  pentagram embossed drink container and a straw at a thirty three degree angle. Allegedly it's "evil" because two points of the star are uppermost, rather than one (wiki - European Occultism). Bean, after looking at his 'phone, retrieves a tissue from the backpack whilst the London Philharmonic Orchestra play Chariots of Fire. Bean dreams that he is involved in the movie.


A new act has opened, the house, which has also inflated from below, like the towers and puppets. Michael Fish, the weatherman, warns of a  hurricane. It's a false alarm but there is definitely a change of tempo. It's now like Boyle is hitting the crossfader on a the mixer, the old being blended with the new. Old skool favourites are mashing into new ones. Anyone got any ecstacy. The dancers go wild, the majority colourful, although they are infused with black and white clad performers. A lost-phone love story is  acted out; overall the generations are coming together as one. The Sex Pistols', Pretty Vacant, inclusion speaks for itself, as does the inclusion of New Order's Blue Monday. Frankie goes to Hollywood tell us to relax as the house resembles a giant, perhaps all-seeing, eye whilst Annie Lennox wishes us sweet dreams. Trainspotting and Edinburgh's Princes Street  follow with the Prodigy's Firestarter, we conclude with a lot of kissing, since perhaps we are loved up. Kate 'n Wills and Planet of the Apes are imaged. 

Dizzee Rascal and grime music follow, Dizzee in red and white, notes he's bonkers believing he's free whilst dancers ascend the Tor. The double edged sword, Muse, play, they are telling us of the "conspiracy" whilst apparently embracing it as they urge revolution. Yeah, but revolution into what, a repackaged version of the same? Suddenly the music stops and the house rises to reveal the inventor of the world wide web. The stadium lights up - "This is for everyone". We are visually reminded  of the 1948 Olympics, army and monarchy are de rigueur. Nothing changes.


Another montage, this time the Olympic Torch Relay. Beckham, Edinburgh, red, white and blue, more monarchy, more army, more police, more London iconic landmarks. Then we are up to date again, with David Beckham in the manner of James Bond. Time to slow down, an unusual sun-drenched, yet dark, 7/7 tribute, and Scottish girl, Emile Sande, sings Abide with Me. The commentator, Trevor Nelson, ties this up with football. It's a funny old game and it's time for the athletes parade.


Last out are team GB, in quasi Druidic sports apparel, all white and gold, with hoods. Chris Hoy - The Flying Scotsman -  leads the charge, he shares the same nickname as Eric Liddell, the main man from Chariots of Fire. Bowie's "Heroes" (see the Berlin Wall)  plays as the ticker-paper falls - resonating a "vote" for every human being in the one-world democracy. More monarchy again from the Royal Box, and the Tor, covered in all the nation's flags. We are one, the walls are tumbling down. 

The Artic monkeys remind us of 1984 and robots, their drummer's surname, Helders, jumps out from the back of his Orange Order like sash-top. A firework crown and then a cover of  Come Together by the Beatles. Curious winged cyclists appear from under the Monkey's, they are allegedly doves. 

Another focus on the Tor, Coe and Rogge wax lyrical. Then back to the Royal Box for the Queen to officially open the games. Then back to the Tor for some-more military flag raising. Then, yet again, to Beckham and eventually seven young athletes, led by a Scottish boy. Eventually we are at the cauldron, it ignites and Pink Floyd's, Eclipse, plays.


We close with scarlet-stripe adorned Paul McCartney and Hey Jude.  Jude the short form of Judas and the German for Jew; the B side of the single release - Revolution. 

The magic is over, but not for long.

cheers

wiki - Joseph of Arimathea

wiki - Glastonbury Tor

Tsarion - The Scarlet Thread

wiki - Glastonbury Thorn

wiki - Chimpanzees' Tea Party