Technically not twinned trees, but still with trunks quite close together. We’ll return to pictures of them shortly.
But first, back to The Notch. Edwardston sits under the tree that may represent the bright star Aldebaran, not a part of the Hyades star cluster but still lying within it from Earth’s perspective.
To medieval astrologers, Aldebaran was one of fifteen Behenian stars, associated with rubies, milk thistles and the kabbalistic sign Aldaboram (Agripa 1531).svg.
Forming the profile of a Bull’s face is a V or A-shaped asterism of stars. This outline is created by prominent members of the Hyades,[17] the nearest distinct open star cluster after the Ursa Major Moving Group.[18] In this profile, Aldebaran forms the bull’s bloodshot eye, which has been described as “glaring menacingly at the hunter Orion”,[19] a constellation that lies just to the southwest.
A spiky protuberance between the 3 main branches of the tree.
Looking up into the merged foilage of the neighboring twinned trees.
Let’s return to those 2 close eucalpytus trees now, not within The Notch but situated not far to the east.
Edwardston sees a “face’ at the very bottom of the more raised tree (almost a floating tree but not quite)…
… and then an elongated version of what appears to be the same face in the middle of the trunk…
… and then a squished up version of a seemingly different face at the bottom of the first branch.
Another entity (Abzorbaloff) containing similar multiple faces.
But here’s the stunner: when Edwardston used distance viewing to look down into the same two trees, a much more human-like *eye* appeared within their intwined branches, perhaps with a mouth as well. Can you see it?
Here’s the detail in question. Also seems like a female’s eye.
Edwardston sees this, then cannot recreate the mirage (mirage?) after moving the camera angle away. Just intertwined branches now with no eye. But he *did* see it, and managed to take a picture as proof. Is this some kind of transferred bull’s eye??
Edwardston stands against the third type of tree in the forest, a green cypress, larger than its brown cousins.
It has a very different and distinct trunk as well.
Focus now will be on England (!!!). Studying crop circles. Will read Edna’s England travelogue asap. Will read my own analysis of Wheeler-Jasper collages from same web site, and maybe Baker Bloch in England material also. I have access to a super cool crop circle database now that allows one to view the circles down through the years on a single satellite map.
I’m also on the outer fringes of another carrcass, to even add a bit more to all the excitement going on in my life right now. I think that was the clincher in giving up the Rubi land… how am I going to mix *that* in with everything else. The initial song involved is “The Lovely Linda” by Mac, his first track from the solo years beyond The Beatles.
Elton and Ursula form LINDA—”London Investigation ‘N’ Detective Agency”—with three others, Bridget, Bliss, and Mr. Skinner, and meet in a library basement to discuss their experiences, but soon their activities become more social in nature. Elton and Ursula become closer through these meetings.
One day, a man by the name of Victor Kennedy comes in and interrupts one of the group’s meetings, and points out that LINDA has lost its cause.
—–
bb:
Marty, we talked to you quite a bit in 2009, I believe, when Carrcass-3 was slowly percolating after the summer creation of Carrcass-2. I assume you know what I mean.
Marty:
As a variant — yes, I know what you mean. We were in Sunklands[ at the time].
bb:
Still miss it Marty… Pietmond and all.
Marty:
Pietmond, yes.
bb:
I’m starting a new carrcass, Marty, and you’re tile #1. “The Lovely Linda”. Can you tell us about, say, the relation with Lemon’s Plastic Ono Band for Billfork, which also uses his track 1 from the post-Beetles career?
Marty:
I can tell you some. I can say that I agree with the tiling process as much as Lemon. Back to basics, that was my mantra[ at the time of McCartney I]. We, the variant band, appeared in WES west of Sunklands (pause). Lennon was shot. (long pause)
bb:
That was a long time ago, now. (pause) Are you familiar with Billfork?
Marty:
Yes.
bb:
I mean the carrcass now.
Marty:
Yes I know. Billfork.
bb:
Do you like Billfork?
Marty:
Yes, very much.
bb:
Did you agree that The Bill had to be called in?
Marty:
Just translating — yes, I agreed.
bb:
But not at the time.
Marty:
No. I didn’t understand how it would all unfold.
bb:
Billfork was something new, beyond SID[‘s 1st Oz]. Then the carrcass beyond that was something new again. Then the carrcass beyond even that was something new once more. The Foreign One. It was big big, so big I couldn’t control it. And the Beatles [Beetles] were right there again. 5 songs, the use of Magical Mystery Tour[ video], and The Rutles [Beatles parody band movie]. Lead Zeppelin and The Beetles acted together, like in the later Carrcass-3. Plant and Marty again.
Marty:
Yes. Zeppelin Tube, I remember. How I remember.
bb:
Do you think Lead Zeppelin is a better variant band than your own?
Marty:
No. Plainly speaking.
bb:
Why not?
Marty:
They lack a sense of humor about themselves — took themselves too seriously.
bb:
But let’s look at The Bill. *All* they do is make fun of themselves and others. One could say there’s no seriousness or *gravity* about any of all that.
Marty:
Yes.
bb:
Lemon liked them, though.
Marty:
Yes. He said: Bring in The Bill. Sure, bring ’em in, baker b.
bb:
“Bring me The Bill”, and all.
Marty:
Yes.
bb:
The influence of The Bill in the carrcasses essentially ends in Carrcass-0, which is often grouped with Carrcass+0 as the ur-carrcass or beginning carrcass, not Carrcass-1 as some believe.
Marty (repeating):
Some.
bb:
They are bookends for this central period of the carrcasses, which contain the largest and most complex of the lot still.
Marty:
Lot.
bb:
Billfork and Carrcass-0 I mean. We have an opening and a closing for that period. Both use Lemon as a primary artist, unique in that respect. Billfork uses Lemon 01. Carrcass-0 uses Lemon 02 04 05. 03 is skipped over. Do you know what I’m talking about?
This is the shared one of the first 5, and then the last two were also shared, 06 and 07 I suppose.
Marty:
Yes.
bb:
Do you think the shared albums are weaker?
Marty:
Most definitely. Don’t you?
bb:
Well, what I’ve heard I think you are probably correct.
Marty:
I mean… well, I won’t go down that road. I think the original idea was the best for the two of them: release 2 solo albums, one with his music and the other with hers. You didn’t have me sharing alternate songs on Band on the Run with Linda.
bb:
Hmmm, I can understand. Lennon started co-writing with Ono, when originally he had *you*. Probably a step down.
To summarize Latona 01, it seems to be about the destruction of New Pietmond, coupled with an exodus factor, like Lisa V. is using the Cherhill “monster” (riding in its brain) to escape, and also the orange (inverted color) sunfish to the left. It’s a bit of a scene of chaos — dishevelment. So what does Latona 02 bring us? Stability? Well, we’ve returned to Wiltshire and the crop circle region for more images for sure, so that helps with the grounding. The locations are from around but not within West Woods to the west of Marlborough, and one of 2 woods I’m really eager to explore during my England trip. As I’ll use West Woods for the culminating 3 collages of the Latona series, we must keep this in mind, maybe like I was close to the mark on this collage (Latona 02) but hadn’t quite hit it yet. Also the “singing Hermans” used in Latona 02 will return in Latona 08 09 10 (the West Woods collage), and employed in a more logical manner. They seem to be, when set up correctly, a protective device created by Lisa V. to, among other things, calm me in England while I’m there. In theory. Kind of like I’ll be in suspended animation. But back to Latona 02, I don’t think I quite knew what to do with the Singing Hermans in this one. The 2 very similar images (“singers”) were very close to each other in a search fo Rockley images, so both come from that area (north of Marlborough and the setting for a number of collages already in Gilatona). I knew their proximity was synchy, but only with Latona 08 09 10 did their meaning start to clear. Latona 02 is about death. The father of a good Internet friend died around the same time. I also thought of the death of my own father during the composition. The sun “swallowed” by the moon in the dew pond at the bottom of the picture (dew pond near Knap Hill). It is also about the death of Virgo (father) inside the direct opposite sign of Pisces (mother). It is both death and sexual union in this manner. The dewpond is both womb and tomb.
Hucka D.:
St. John’s Church in Devizes is important to go to, baker b. Go to the graveyard in the back. Look for [delete name].
bb:
Hmm. I got behind you there once again. Adding text behind you when you’ve already talked.
Hucka D.:
[Delete name]. Remember that. Make a collage of it as well. It is *the dewpond*.
bb:
To continue with this, I believe the dewpond is also Drink Lake of Herman Park, as Master Shake, a drink after all and nothing more, is directly above it, hovering. Then the bottom Singing Herman is also Drink Lake, or just “Drink”. To give more detail he is a *fis*Herman. The line or cable in the collage, inside Shake, might then be a fishing line (extended from his purple straw), which saves the tiny Dr. Who here from the Satan Pit, which is also death most likely — the dew pond. Life is also sun — king/father and death is queen/mother. The letters on the sun and moon at the dew pond come from SID’s 1st Oz, and the 2007 Booker T. 15 part analysis of this pivotal audiovisual synchronicity, my most original contribution to the Golden Age of that now almost forgotten field.
Hucka D.:
We have a field here as well. Dewpond field. With rocks.
bb:
The dew pond is also probably Winesap, don’t you think Hucka D.?
Hucka D.:
Winesap Smimesap.
bb:
Okay. So as we’ll see, the Singing Hermans are also placed on rocks that Lisa the Vegetarian has just been seen sitting on earlier in the Latona series, or Latona 00. It’s the same rock. And then this rock will also reappear in Latona 08 09 10 with Lisa V. again perched upon it, joining the 2 Singing Hermans also perched upon the same. Confusing.
Hucka D.:
The Hermans are the same as Lisa the Vegetarian. She had to equalize the 2 parks, the 2 Hermans in this way. Frank equals Herman. Heman to Herman. She did it through the diamond. That’s the diamond that goes in the dogs tail to wag it.
bb:
I can’t just take it out of the ground Hucka D.
Hucka D.:
Why not. That’s what she put it there for. It belongs in the dog’s tail. Wag the dog.
Why does the dog wag its tail?
Because the dog is smarter than the tail.
If the tail were smarter, it would wag the dog.
bb:
Nothing is really resolved in Latona 02, Hucka D. Shake seems to center, and that’s what we have as a stability point in this one. But he has to be hollowed out to see the actual, inner workings or goodness. Jesus saves, I suppose.
Hucka D.:
Yes, Master Shake is Quetzalcoatl is Jesus. Indeed.
bb:
So we should probably move on to Latona 03 and 04, and this is a joined effort this time, Hucka D., and something quite new in my collage producing. Latona 04 was actually composed before Latona 03, and this makes it a Wheeler-Wilson situation, like we have occurring twice in SID’s 1st Oz, but the first use of it in that a/v synch sets the tone and embodies the symbolism. A nurse name Wilson (Head Nurse Wilson) and what we know will become a Wheeler in Oz for Dorothy wheels in Dorothy to the electroshock chamber on a gurney. When she arrives there, the failed electroshock treatment, which goes wrong at the very last second, is dubbed with a song already used in SID, but the *first* part of the song (introduction) not used before. This is Queen’s “Death on 2 Legs”, the first track of Night at the Opera. So we’ve reversed the two parts of the tracks in SID, with the intro coming after the song proper. This is Wheeler-Wilson. Time has become suspended because we have no past and no future here. Only present. Which may be the same as Norris. Space of Norris.
Hucka D.:
That’s my phrase. Anyway, we have Latona 04 on the right and Latona 03 on the left. Or is it the other way around — we just can’t really tell. We have to assign the number arbitrarily. This is what interested Booger Hays when he visited your Power Tower Gowlery. He looked at Latona 04 and then Latona 03. “What is actually happening here?” he asked. Well, I said it has something to do with Dr. Who, which of course I had to explain to him, him being from the 19th Century and all. I said that the red headed lady, or the “red lion” entering the pub the Red Lion, or standing beside it in the parking lot, is probably Melonie Pond, who has just died in the Dr. Who series along with husband Rory. She is defined by her red hair, you see. (pause) Oh, I said Melonie but I meant Amy Pond.
bb:
To remind: Dew Pond at the bottom of this collage, Hucka D.
Hucka D.:
Yes. The former collage [Latona 02] you mean. And in Latona 03 04, we are in Avebury, re-centering ourselves as it were. We have a kind of before/after story in the two sides of what in effect is one collage, but it’s difficult to discern what is before and what is after.
bb:
So I think this is also about the death of Amy and Rory Pond in Dr. Who, Hucka D. Talking about Latona 02 here still.