But this was only the start. It was around this time that I began to see the number eleven more often than not when I casually glanced at a clock. While I was aware of this on a subconscious level, I never admitted it to myself. That is until about six months later when my daughter Adrienne mentioned offhand she was “seeing elevens.”
“Damn! It happened again,” she said.
“What happened?” I replied.
“Oh the stupid clock!”
“What’s about the clock?”
“It always says something eleven, like 11:11, 9:11, or 7:11, whenever I look at it!”
“Hmmm,” I said. “Happening to you too, huh?”
“What do you mean? Is it happening to you too?” she exclaimed.
“Yes it’s been happening to me since last year,” I said.
“What does it mean? It really worries me,” she said.
“I don’t really know,” I replied. “Maybe it means we’re getting in tune with nature. I wouldn’t let it worry you.”
It was after this that I began to take the phenomenon seriously. I again searched to see if I could find something about it, only to learn that many other people around the world were experiencing the same thing. I learned that the proper name for it was the “time prompt phenomenon” and that there were even several books and websites on the subject.
Since then “seeing elevens” has continued on an almost daily basis for both Adrienne and me. It has become the new normal for us that we have learned to embrace as a positive sign and old friend. It seems to be telling us that we are on the right track and all is well.
Instructive dreams have continued even during the writing of this book. I have awoken at odd hours clearly remembering another person talking to me, explaining how something works, and what to look for. I have never really been a metaphysical or mystical person, but such dreams do not match the Jungian archetypal model attributable to daily experience or inner repression.
Because of these experiences, I no longer brush aside the Brotherhood concept. Maybe there is something about the brain that acts like a quantum antenna to tune in other dimensions like a transceiver. Perhaps this makes other intelligences accessible when focused inward. Indeed altered states could be the source for all the gods and goddesses of ancient mythology—disincarnate beings living in invisible dimensions just as the Vedas describe it.
The fact of the matter is clinical studies on the effects of DMT by entheogenic researchers such as Dr. Rick Straussman have found a high percentage of contact described with nonphysical entities during high-dose sessions. His subjects claim to have seen entities ranging from Buddha, to mischievous elves and gray aliens, to dancing balls of light—all without correlation to religious belief or personal background. Sometimes the entities are described as being surprised by the sudden intrusion of a human, and at other times the subject feels as if they were expected when they arrive. The settings for these meetings range from resplendent geodesic domes made of gold to space ships hovering above Earth.
Another study by psychologist Stanley Koren using electromagnetic stimulation to the temporal lobes of the brain recently found that subjects could actually sense other presences in the room. Using what is known as the “God helmet,” test subjects consistently claim to sense disincarnate beings floating about three feet above the ground around them and are able to point to specific locations where they seemed to be standing. While some believe this proves religious visions are merely a side effect of electromagnetic stresses on brain function, others suggest the God helmet is evidence that nonmaterial realms can be tuned in by altering the electrochemical operation of the brain.
We can only imagine what would happen if one of these adventurous psychonauts were to wear the God helmet while ingesting DMT, or better yet, while sitting inside the Holy of Holies of some Venus Blueprint designed chamber resonated by beautiful music tuned to 81-AET. Perhaps someday such acoustically tuned chambers will be available once again, offering a place where ordinary people can go to explore their inner self and safely ascend the sacred mountain to the gods within.
Dark Side of the Moon
Opening the door inward was once the role of religion. Whether through meditation, incubation, or communion, temples were a place where one could focus on developing consciousness. Practiced inside a resonant space designed according to universal harmonic laws, the seeker could better control the inner journey.
As the kundalini was awakened, the body’s energy would spiral upward like the uraeus serpent. Joining with the sky, the seeker would climb the tower, pyramid, or tree to reach the GoldenEye of the Sun. There nirvana would blossom like a lotus flower, and the seeker would enter the divine realm.
This is where the golden disc holds the Jusas juice, and the Venus Blueprint temple would resonate the inner gods to life. Here is where the planets and stars reveal their true spirit and where the mahatmas share their wisdom. There is where the ancient worldview is understood, and the true meaning of Rosslyn is revealed.
In 1993 I was involved with a start-up game company named 7th LEVEL. This name was chosen because in those days it was common to battle an evil sorcerer at the seventh level to win a video game. Since two of the partners in the venture, music producer Bob Ezrin and saxophonist Scott Page, were connected with the British rock group Pink Floyd, we decided to take a trip to London to speak with the band members about partnering on a new game.
Arriving at Gatwick, Bob picked us up and we drove directly to a location near Hampton Court Palace in the heart of London. There we parked on a side street across from a long, whitewashed-brick wall running parallel to the main road. Dodging traffic to cross the busy street, we followed Bob to a small concrete platform in the middle of the wall providing access to a heavy metal door. Stepping up onto the platform, I noticed a closed-circuit TV camera mounted at the top of the wall. Someone was watching us.
Identifying ourselves on an intercom, the electronic latch clacked open and we pushed open the door. There on the other side of the wall was a surreal, dreamlike scene of indescribable beauty. It was a lush garden on the shore of the River Thames landscaped with old shade trees; beautiful shrubs; flowers; and several one-room, temple-like structures. Docked against the riverbank was an old, two-story houseboat. It seemed as if we had entered a mythical realm of music—an inner garden sanctuary of temples behind The Wall where Pink Floyd could escape from the ordinary world.
Bob led us along a path to the largest building in the garden. Entering we found ourselves in a living room with a small kitchen and bay windows that offered a stunning view of the river garden. There were a series of monitors along one wall across from a sofa where the group’s famous guitarist David Gilmour was sitting. He was the one behind the camera who had opened the Garden door to let us in.
After introductions and pleasantries, we made our way outside toward the houseboat. Walking across the gangplank, Bob Ezrin explained the houseboat. It was named the Astoria, and the group had converted it into a floating recording studio. Pointing to the stern, he said the drums were located in the back of the boat to keep them isolated, and the guitars, keyboards, and mixing console were all in the front parlor.
Entering the parlor, we met keyboardist Richard Wright (a personal idol) and could hear drummer Nick Mason warming up in the rear of the boat. Moving past the mixing board and Wright’s legendary Hammond B3 organ, we settled into a bed of crimson velvet pillows at the bow.
Plugging into his amp and checking his tuning, Gilmour suddenly began to improvise. One by one, each of the others joined in—Bob Ezrin too, doubling as their producer and temporary bass player. Watching this I was dumbfounded by how they had just begun to play without any kind of structure or plan. I simply could not understand how such incredible music could come out of an ad hoc process like that. Then it hit me.
As the boat swayed ever so gently on the placid water of the Thames, I watched as several white swans floated gracefully past. The old, leaded-glass
windows in the parlor made the scene outside even more surreal, bending light and music together into an altered reality. From this perspective, I began to see how music really did not need to be rationalized and planned out as I had learned in school. One did not have to understand it theoretically or write it down to create something that is quite natural and organic. All that was required was to let go and let it flow. This was the genius of Pink Floyd.
The moment we passed through the wall, we had entered a Garden of intuition, spirituality, and deep nature. The little temples were each member’s private sanctums where they could go to be alone and prepare themselves to leave Ego behind as they entered the floating House of the Star, the floating Astoria.
Once afloat the musicians would ascend to another plane of consciousness, becoming one mind in musical rapture. Their process was one of meditation and spiritual enlightenment, learned no doubt from many psychedelic experiences together. I realized it was this mystical quality in their music that attracted so many people to them, making Pink Floyd one of the most popular musical groups of all time.
After several such improvised sessions (later to become The Division Bell album), the band decided to take a break so the musicians could retreat to their personal temples. The rest of us followed Gilmour back into the main building to talk business.
As everyone took a seat, we opened up a laptop for a quick demo of our fledgling computer-game technology. With the passion of true believers, we painted a future in which high-quality animation and sound would be combined with interactivity and sold as a CD-ROM. After a rather long-winded speech about our capabilities, we finally worked up the courage to suggest that Pink Floyd should join us in this new medium to create an interactive version of their music. We proposed the creation of a game called Dark Side of the Moon.
The premise went something like this. The moon missions of the 1960s had discovered an ancient pyramid on the dark side of the moon. The player would take the role of an astronaut archeologist whose mission was to go there and examine the pyramid. Once on the moon, the player would walk around in a three-dimensional virtual environment to locate and open a door to the pyramid. Making his way through a maze of corridors and rooms, the player solves puzzles and collects tools to gain entrance to new levels. Upon reaching the top of the pyramid, the player would discover a pyramidal room, the GoldenEye, which was a control room for a time machine. In the center was an elevated command console.
Solving a final puzzle, the player unlocks the controls and powers up the ship. In a flash the player is transported through time and space to the center of the galaxy where he or she appears before a grand council that welcomes Earth into a galactic confederation. The player wins by bringing back knowledge and technology to help Earth enter its next stage of evolution. It was a positive spin on the dark side.
While Gilmour was definitely intrigued by the idea, the group voted not to partner with us on the game. They were simply too concerned that it would detract from the original meaning of the music and might hurt their reputation. Disappointed but certainly understanding, we walked back through the mystical Garden and left through the door in the wall, ending our trip to meet Pink Floyd.
Looking back on that visit and comparing it to what I know now, I am always amazed at the layers of irony in that experience. At the time I had no idea that the Moon, Sun, and Venus were together the eye of the pyramid or that entheogenic Soma was the mushroom god of the Moon. I had no idea that pyramids and temples were designed as resonant chambers attuned to the geometry of space and that they were once used as launch pads for inner enlightenment. It just seemed natural that something like this should exist on the dark side of the Moon and that it should catapult someone to a place far, far away.
Long ago a very tall wall was built to keep us from finding truth in the Garden. Opening the door through this wall into the Garden was once the goal of philosophers and priests. Indeed it was the very point of religion. Yet today such explorations are viewed as sheer lunacy.
Contemporary society no longer takes kindly to those who wish to make the journey inward. The War on Drugs punishes those who seek enlightenment from the plant world, and historians and theologians alike avoid any mention of what religion once was. Churches have forgotten the meaning of sacred spaces, and science seeks answers only in the endless vacuum of outer space. No serious-minded scientist would even think of probing the inner space of his or her own mind.
So it is the systems of consensus that have become a kind of surgeon operating on the mind from birth. It works to extract the deeper meanings in life, substituting blind faith in mythology for a direct experience with nature. For most there is little choice but to follow along and adopt the material worldview now required by Western society. From this prison we can only choose to liberate ourselves.
The lunatic is in my head.
The lunatic is in my head.
You raise the blade; you make the change;
You re-arrange me ’til I’m sane.
You lock the door and throw away the key.
There’s someone in my head but it’s not me.
—PINK FLOYD, “BRAIN DAMAGE” FROM DARK SIDE OF THE MOON
CHAPTER 10
Freeing the Light-Bearer
Opening the door, we find the light-bearer. There in the chilly Atlantean waters stands the Columbian goddess of the dawn, still holding a torch for us after all these years.
Only recently have television documentaries and alternative history books begun to tell the truth about the founding of America. Many people now know that Washington, DC was built as a city of pagan temples. Many are also aware that some of the American Founding Fathers were brothers in the English and French Masonic network and that this is the real reason the French joined the War of Independence. Yet few realize it was the second coming of an ancient Vedic Empire founded on Vedic cosmology.
As a student of astrology, President George Washington laid the cornerstones of the first government buildings to coincide with the rising of Jupiter (the Greek Zeus) as it passed through the sign of Virgo. In the image of Hercules, this Masonic fertility rite blessed America as the son of Jupiter and Alcmene, a congress of the Sun and Venus.49
The land surrounding the Columbian District was named Virginia and Maryland, presumably after the feminine duality of Venus. The streets of Washington are even designed to the Venus Star. Yet few notice the more obvious evidence of Vedic cosmology at the heart of the city.
There between the Capitol, White House, and Jefferson Memorial is the golden triangle of a Meru tower. With the left leg along Pennsylvania Avenue and the right along Maryland Avenue, the National Mall traces a horizontal tower from Capitol Hill to the Lincoln Memorial (Fig. 35).
FIGURE 35. Washington, DC, Venus Blueprint design
As a matter of fact, the Founding Fathers appear to have arranged their temples of democracy using the same Venus Blueprint design found in the Greek Parthenon and Roman Pantheon. While it may seem a little farfetched at first, it makes perfect sense when you realize the Jefferson Memorial was modeled after the Pantheon, and the Lincoln Memorial was based on the Parthenon.
When the semicircle street design around Capitol Hill is included, the city plan begins to look more and more like the tower etched into Rosslyn’s sacristy. The Capitol building itself, with its bicameral design and egg-shaped rotunda, becomes the Oracabessa or head of the golden triangle in the city plan, and Capitol Hill, upon which it sits, represents the summit of the sacred mountain.
This is not idle speculation, but indeed a provable hypothesis using the same geometric analysis as Rosslyn. When the Venus Blueprint template is superimposed onto the city plan, all points align with the tower’s golden triangle. The Washington Monument then becomes the male phallus to fertilize the Blueprint egg when the bottom two points of the star are aligned at either end of the Reflecting Pool. At 555 feet tall, the Egyptian obelisk invokes the power of five to symbolically fertilize the Novus Ordo Seclorum
or New Order of the Ages.
Given the Blueprint alignments, the city plan of Washington, DC, seems clearly intended as a reconstruction of the Meru tower to honor the Venusian goddess of Columbia. It also seems intended to represent the congress and insemination of the goddess by George Washington himself, acting on behalf of the sun god. In this way, the U.S. form of government can be viewed as a secular expression of the cosmology first described in the Rig-Veda.
Beneath all this sits an inverted and reflected Egyptian triangle, once again proportionally congruent with the Great Pyramid of Giza. With its GoldenEye situated precisely at the Lincoln Memorial, Lincoln is identified as the son of Washington who was born from the summit of Meru through the axis of the Reflecting Pool. Thus Lincoln becomes the Son of the Sun, no different from all of the other solar dyads, replacing Jesus as the American savior.
While the Lincoln Memorial was added much later in 1915, its design conforms to the Blueprint geometry and Vedic cosmological symbolism. The tower and pyramid together fit entirely within the Blueprint egg, just like the floor plan of Rosslyn chapel. This can be no accident. It implies that a secret harmonic science and symbolism was used by the Masons in the design of America’s capital city—continued even into the twentieth century.
Through the city plan we can recognize a Masonic tribute to Bacon’s New Atlantis. Born from the Venus Blueprint, freedom travels along the birth canal of the Washington Mall, passing through the Herculean pillars of the White House and Jefferson Memorial, and into the Atlantean waters of the Reflecting Pool. Watching over this great work is a new Abraham, the Son of Washington, sitting in his Vedic astrological temple.
The Venus Blueprint Page 20