The Golden Age of Gaia

from Golden Age of Gaia: 'DL Zeta: Eclipse Energies Amplify the Unified Field of the New Time'  - May 26.   Reposted from celestialvision.org - May 25

"The energies of the May 24/25 full moon eclipse in Sagittarius coincide with the Festival of Goodwill to help anchor and amplify the new time on planet Earth. The Festival of Goodwill each year seeks to create a unified field of love, corporation [sic]and peace, and over the next few days, those energies will be amplified by the powerful lunar eclipse…

"Expansion is a central theme of this lunar eclipse in Sagittarius…

"During the May 24/25 eclipse, we are asked collectively and individually to examine if anything stands in the way of our spiritual expansion, visions and ability to receive the love and abundance that is our natural birthright. Sagittarius seeks the path of expansion, justice, generosity, abundance, prosperity and optimism. These are the ingredients needed at this time to help shift humanity to timelines aligned with the new time. It is time to jettison old beliefs and world views that limit and enslave us and prevent us from recognizing our true spiritual nature and identity…"

I don't know much about astrology.  But I do know that we - on this planet, and the Earth herself - are subject to cosmic influences.  And that the Earth/solar system is moving into alignment with the Galactic Center, in a completion of what is known as a Grand Round - an approx. 26,000-year cycle, involving 'the precession of the equinoxes'.  So: who knows.

Or about a previous article in this (May 26) edition of Golden Age of Gaia, titled 'Genii Townsend: City of Light Update - Instaneous [sic[ Happenings',1 where the lady in question passes on information channeled to her recently about a subject that I know something about.  

Her information is about a 'City of Light' purportedly manifesting in Sedona, Arizona (purportedly a vortex center of Light) - where she lives; and a subject that she has written books about - as well as one in Australia (somewhere) and one in the UK (again, somewhere unknown at this time; or at least, unreported to the public).  I would be curious to know if the one purportedly to manifest in the UK has anything to do with the sense of the founders of the spiritual community up in the north of Scotland where I spent many years of my life, until just recently, as to what they were involved in anchoring there.  But I am more intrigued by an experience with this subject of my own, many years ago (which in part led me to, and to live in, that spiritual community). 

Briefly: I had a 'spiritual experience' in my third year at university that occasioned me to leave my formal education and set out on my own, looking for answers to the Big Questions, of Who am I, and Why am I here, and What is life all about anyway - you know; the usual.  After a year of such seeking (during which time I came up with some answers, but most assuredly not all of them) I had to go into the military for two years of service, as part of the Draft system that was in place at the time (this was just after the 'cessation of hostilities' in Korea).  I want in as a c.o. - i.e., conscientious objector; which meant that I wouldn't bear arms, was in the Medics - and came out, after two years over in Korea,  determined to try to create the kind of world that I wanted to live in; which had nothing to do with such puerile things as wars, and all that low-consciousness garbage.2  I felt rather alone in my position;but then I had been a bit of a loner in my life, anyway.  

Anyway, time passed - during which I continued in my studies; both as to spiritual matters, and as to the political scene in the world, i.e., as to who was really running the world, and what was their Plan3 -  and a day came when I was given an opportunity to come up with an idea for a film.  I was living in Hollywood at the time, and was interested in using the medium of film to help change the world (knowing how moving they could be, having experienced that myself from them occasionally); so I became self-taught, with the help of a couple of books, in the writing of screenplays.  The potential director wanted to locate it in Mexico, for cost purposes; and I set about thinking how I could use that requirement to come up with something of value. 

What I hit on was the story of a youngish American male who was living down there, in a small coastal village, in an artist's colony, as a student assistant to the Hispanic woman who was running the colony.  (My image in mind was of the likes of Jack Lord - Hawaii 5-O?? Look it up - for my lead and Anna Magnani  - and look her up, too; how time flies - for the tough-as-leather colony director.)  I opened the film with shots of GIs leaving Korea while hostilities were still going on there, finished with their tour of duty; while others were rotating in. (Come and go; come and go.  And on and on it goes...)  Somewhere in the crowd of those leaving was, obviously, 'my man', though unintroduced at the time; just one of the many, caught up in the action of the times.  Now, in current time, there comes to this out-of-the-way village a young dark-haired American female, attractive, but a bit spoiled; uncomfortable with having to sit crammed in with the peasants on a rickety bus ride to this godforsaken place.  It turns out that she has come, not because of the artist colony, but because her father is there, holed up - on holiday as a cover - with a couple of other businessman types, doing something mysterious.  Motherless (mater; matter.  'Motherless' = still capable of being molded), she is seeing him before heading off to Europe, to study there for awhile.  I work with the subtle theme of her - standing for Innocent America - possibly being seduced by jaded Old World Europe if she 'went' that way/imbibed from that cup, and perhaps being 'saved' such an effete, corrupted outcome if she finds something in this simple, rustic, close-to-the-earth peasant village that could speak to her more deeply than that other world, and its forgotten dreams; 'alive' on and with the depleted sense of This is All there Is, so we might as well get used to it...  

But on the surface, what happens is that girl meets boy; girl is attracted to boy, who doesn't seem to want to have anything to do with her; girl persists, until he relents, and tells her that he would like to paint her.  He does so, through a series of paintings that get deeper into 'her', though we don't see them at the time.  All we get is a deepening sexual tension; which also involves a couple of the other male students, one of whom is very intrigued by 'the possibilities' unfolding here, in a hinted-at revolutionary way, and which also involves The Madame colony director, who is not sure that she likes the influence that her right-hand man and star pupil seems to have fallen under, with the advent of Miss Innocent America in his life here.  Cue various streams of intrigue; also involving the mysterious work that the Three business Wise Guys are engaged in (which has some appearances of a price-fixing conspiracy).

I could go on; but the essence is that Miss Innocence Abroad smokes Our Hero out of his safe sanctuary life, when she is killed via jealousy by one of the village young women, who has had her own eye on Our Hero (the best of Norte America), and resents La Gringa coming into her turf (read: Aztlan), thus wreaking revenge (read: La Raza.  With the 'issue' compounded by the growing in-certain-eyes 'affectation' of American Innocence in starting to wear the 'local color' of clothes and scarves; but which do indeed go well with her (relentlessly) turning browner under the local sun.  But to a true Razarian, it is seen as an insult).  With some regret evinced by Revolutionary Guy, who has, Iago-like, subtly schemed to bring the sexual tension to a head, for his own purposes; in a move calculated to bring about Our Americano Hero's downfall, since the villagers respected him too much to engage in what our two revolutionaries would prefer them to do.  (See a young Mexican Christopher Walken in this role; with a sinister background to his likeable appearance.)  And Father - Corrupt Modern America - seems genuinely bewildered by what he has caused, in having a role in the destruction of Innocent America, that has ended up affecting him personally.  And Madame Rojas?  (For that is her name.)  After enduring Our Hero's silent brooding for awhile over the death of Miss American Innocence - even as had tried to avoid any responsibility for anything, in a corrupt world, by dropping out and coming to live in this out-of-the-way place; simply minding his own business, and letting the world mind its; and carry the can accordingly - she calls him in and rebukes him, accusing him of hiding his artistic light under a bushel:  

"I know what you are up to, Raymundo," she says.  (For that is his name.)4  "I know why you came here.  You wanted to 'get away from it all'.  And when I happened to locate here, because of the sun and the sea, you saw an opportunity to develop your artistic talent, that you could then keep from the world, for its not living up to your expectations and desires.

"Well, let me tell you something, Expatriate.  You are not fooling anybody.  Least of all, yourself.  How do you expect the world to change, if you won't engage in the process?  You incarnated at this time.  Now live with it.  I don't want you using me to further your spiteful ends.  Get out there and be part of the solution.  Do you hear me?  Get out!"

As he leaves her presence, her true feelings well up, in tears, as she says, to herself, "Don't go…"  But she knows that that is what needs to happen, in the great drama of life.          

It all results in Our Hero leaving the colony and village, regretful of what his attempts to stay safe in life - and keep his light hidden under a bushel; as Madame Rojas perceived about him - have caused, and striking out into the unknown. Having to be on about his better business... He bequeaths all his artwork to The Madame, which, it turns out, is formidable, and includes the painting of the inner walls of his one-room adobe house with various nature scenes, including one wall of a seared desert with a solitary crucifix-like cactus 'below' and 'above', a sun about to leap out of the scene and fry the viewer; and one wall having been turned into the edge of a jungle, with the yellow eyes of a cat of prey staring malignantly at us from within its confines.  The sense is that he doesn't trust his own passions, if aroused; could become such a ferocious beast himself, if not kept in check, by - whatever.5  

He leaves, on foot; with Revolutionary Guy asking to join him: deeply moved by what has transpired, including inside himself, and seeing in Our Hero another way to help make change on the planet, than the traditional revolutionary way.  Which is brought into 'the light' when, at a rest stop in the mountains that they are passing through on their way, to wherever, Revolutionary Guy asks Our Hero - in a somewhat kidding way, but telegraphing his seriousness, willing to forsake his old path and follow this mystery man - where they are going. Our Hero pauses in thought, and then says, to his unbid acolyte:

"I'd like to be in on the building of a city…"

It is left there, at that point.  But what came to me - all those years ago, and before I had ever heard of any such a thing, or even of 'the New Age' - when I thought of what Our Hero would think of, was the idea of being in on the building of a City of Light.  

And that is what happens at the end of a film.  Whereby Our Hero could come back to the world - through an act of Love and Sacrifice - and not worry about all of his pent-up anger at The Way Things Are spilling out in rage against Humanity, but could channel his energy creatively.  In a final, crowning work of art. 

Oh; and The Madame, and all of Our Hero's secret paintings (that even we haven't seen much of)?  We see her in an art gallery in Mexico City  at an exhibition of her students' work, airing their wares particularly to the wealthy benefactors who have backed her colony dream.  They graze through them, mostly making superficial comments ('Oh, I like that one.  The colors?  Wouldn't that go well in my living room, darling??').  When they come to a section that features Our Hero's work, they can't understand it; especially not a series, that starts with a simple portrait of a Mona Lisa-like, secret-smiling (pregnant with promise) young white woman, that then morphs into a painting of a darker-skinned young woman, who however is obviously the same person, though somewhat bronzed now, and now in native costume and more serious in demeanor; that then morphs - in the time that they had together - into, not a 'full-blooded' native-looking young woman, but a Rosy Cross: dark brown stubby-necked cross with black shading and a blood-red rose bound tightly at the crux of the matter. 

The essence of the Mystery Schools that have come onto the planet over the years.  And gone...6  

Our benefactor bunch just don't know what to make of it all; to the disgust of The Madame, who, however, doesn't say anything.  After all, they're paying the bills……talk about pearls before swine………

And just before we close out the scene, we overhear a couple of the ladies mentioning in passing a rumor that there are some people out in the desert, building a strange city; and what do you make of that?……and 'Oh, here's another one, that I like.  It could go in my - '

wherever.            

                       

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footnotes:

1 originally posted at sedonalightcenter.org on May 25

2 I have written previously about my turn-off from things military whilst a pre-med student at university, somewhat forced to take ROTC. 

   

3 I came across the Illuminati, aka the Cabal, a long time ago; and have kept an eye on them, and their shenanigans, ever since.


4 More 'properly, Raymond; or Ray for short.  But Madame Rojas always calls him Raymundo; as if to remind him of, and call him on - something...
     At the least, of what artistic (i.e., creative) ability there is in him, that it is her 'job', role, to help tease out, and into the light of our day and age.  Here.  On a world of such need: of individuals giving of their creative best.  In its hour of great need, of quality, and integrity.  Not kitsch, and falsity.
     Of absolute.  Not relative, to the times.  Like those who have sold out to the times.
     And a P.S. about names herein: Miss Innocent America's name is Joyce.  As in Ray-Joyce, if they happen to get 'married', and his spiritual integrity can keep America's youthful energy from going the way of the Old World, symbolized by her heading for Europe, and just 'happening' to stop off here - with the Third World energy of the Hispanics - on the way.  Which, unfortunately, is tarnished by issues of resentment, and revenge.  As Karma still has a ways to play out its scenario yet...         

5 Another wall is a scene of a wave with dolphins happily surfing it.  And the fourth wall is of a pyramid, in the middle of nowhere.
     It is as though he has 'walled' himself in here, in this separate world, apart from the one that he, er, has a problem with.  And the 'intruding' presence of Innocent America - at the time of Her greatest need (Columbia, the Gem of the Ocean) - has called him out of his Eden.  To get on with his real job.
     Forsaken, solitary cactus (prickly on the outside; soft on the inside) or not.
     That She will not have died in vain; but will have been instrumental in a new birth of freedom on the planet.  On a higher turn of the spiral, than the same old, same old.
     In the birth of an entirely New Age.


6 Note: Ray had been quietly chronicling Joyce 'going native'; not inspiring it, or coaxing it to happen.  When Joyce would appear for a sitting, it was her decision to wear what she did; not Ray's.  He is really trying to keep out of all of these sorts of things, in his little hands-washed Eden; in a sort of resigned acceptance that life will play out the way it will.  

--

P.S. The title of my film?  When Seasons Come.  As in
When Seasons Come/A man must go/And do what needs be done.
     Don't bother trying to look the quote up.  I made it up.
     And the film?
     It never got off the ground.  The potential director moved on to other projects, before mine was even submitted to him.
     Such is the nature of show business.