Transcribed by Nan
1900
Carolyn 0:01
Hello iON. Bob has relinquished his phone to me.
iON 0:08
Oh, nice. That’s amazing. He rarely does that.
Carolyn 0:13
Oh, I know. But that’s ‘cuz he doesn’t want to read the Egyptian Book of the Dead. I will refrain from calling it boring although, the last time I called the Egyptian Book of the Dead boring we got an incredible download from iON. What Bob?
iON 0:33
We had to stop it though. We had to stop it to hold on –
Bob 0:39
I just want to compliment on his drumming, iON’s drumming; it was good.
Carolyn 0:42
iON was drumming? What?
iON 0:44
We were kind of tapping it out. We were tapping one out. Tell us, tell – it’s been so long, tell everybody, tell everybody exactly where you got to, what page you’re on, gonna start on.
Carolyn 0:57
Yeah, I don’t know about pages. I’m way beyond pages ‘cuz I –
iON 1:01
Okay, roll it up, roll it up, roll it up and down and I’ll tell you what page you’re on of the 69 pages. Just scroll it up or down, and it will tell you what page you’re on.
Carolyn 1:01
Yeah.
Bob 1:04
(in background) Hey, Carolyn.
Carolyn 1:06
What Bob?
Bob 1:06
(in background) The opening of the – the chapter of Opening of the Mouth, that sounds familiar.
Carolyn 1:25
Yeah. "THE CHAPTER OF OPENING THE MOUTH OF THE OSIRIS ANI." Yeah, somehow, iON, I don’t, I don’t see pages here, but if people just search for The Chapter of Opening the Mouth of the Osiris Ani and if – is it Cheryl? – who puts the pages on the chat?Somebody does that.
Bob 1:54
Right, so, so, we went past, you go down past the Rubrics and then it’s some um past that is where we start next.
Carolyn 2:07
Well, what we had done on December 7 was, um, I read the first paragraph and then I, I complained that it was too boring. And then we went into a whole dissertation by iON of Andromeda, etc. But iON wants us to continue with the Book of – The Egyptian Book of the Dead because it is the beginning book of all the dead things. So, –
iON 2:37
Well, if you’re going to be living in a world of the dead, if you’re going to be living in the world of the dead, you need to get the details so you know how to handle the dead. You see?
Carolyn 2:49
Yeah, and you’ve been telling us lately, like, Bert is working with a woman in a nearby desk, and she’s dead. –
iON 2:59
Right.
Carolyn 2:59
– And we’re all encountering dead people now, so, that’s –
iON 3:04
So, you’re, you’re past the 21st, you’re past the 21st Pylon. Is that correct?
Bob 3:05
(in background) We did the Pylons.
Carolyn 3:15
I guess so. We did the Pylons, yes, yes, yes. And now it’s the section that says, The Chapter of Opening the Mouth of the Osiris Ani. And I’ll start: "To be said: The god Ptah shall open my mouth."
Bob 3:32
(in background) No, we did that.
Carolyn 3:33
I know we did the first paragraph. We’re going to redo that paragraph and then continue so that we have a continuous stream.
Bob 3:42
(in background) I remember doing Ptah.
Carolyn 3:46
Ptah.
Bob 3:46
(in background) I remember doing it.
Carolyn 3:48
Good Bob. Bob remembers something. Awesome. Continuing –
iON 3:53
Page 24. The end of page 24 for everybody that wants to know where it was.
Carolyn 3:58
Ah, end of Page 24. Thank you, iON. "THE CHAPTER OF OPENING THE MOUTH OF THE OSIRIS ANI. To be said:- The god Ptah shall open my mouth, and the god of my town shall unfasten the swathings, the swathings which are over my mouth." Now, this is interesting because it is talking about words. So, I don’t know that we’ve come to –
iON 4:31
Mm hmm. Swathings. Mm hmm.
Carolyn 4:31
– Yeah – the words here are being said, or being given some sense of importance.
iON 4:39
Well, here’s the rub. Here’s the rub. You use to, you’d discern things as someone is alive and this is your condition and you have to make it through this chain of life called time, called history, called my life; okay, however long or short. Okay, but you don’t talk about the words, and so, even though your life is short, you still have words, apparently. Because these things are conditioned responses that come to and from yourself. Now you realize that you literally are – they’re building a wall to keep the illegal aliens out. Come to find out, every one of you is an alien tryin’ to sneak your way back into a foreign land. That’s why it doesn’t feel normal. That’s why it doesn’t feel normal. So, so abnormal did it feel that you started the metamorphosis of changing your mystery landscape. That’s what ridiculous Bob called the mystery landscape; because it was foreign to him. Now, you don’t call it that no more because they’re starting to find out what it is. Okay? And this weirdness called radiation that was terrible, terrible, terrible, all of a sudden it’s doing really, really, really good. See? Really, really, really good. Now it’s a different conversation because it’s like, oh, okay, okay, okay. Now we’re good. So now, The Egyptian Book of the Dead, or coming forth by day, is showing you how to navigate the condition.
Carolyn 6:07
Oooooh, oh now that’s something! So, the condition being the new environment!
iON 6:20
Which is what the condition – that’s why we couldn’t do this when we did the Emerald Tablets and when we did all of this stuff with the, with the quatrains. That was telling you what’s coming and where it applies from back then from a Nostradamus to those damn d’ Medicis. That’s, that moves up. You don’t mind having d’ Medici money now. You didn’t want it then, but now all of sudden, the d’ Medici money is just fine to have now; now it’s all right. You see, it wasn’t then, but now it’s all right. So, that’s good, you see? So, that’s morphed as well. So, in that morphing, now you got to know what to do with the damn d’ Medici money, and this is telling you how that applies. It tells how that applies. And so, now, the swathings; you’re gonna unfasten swathings. Now, you got to realize you’re dealing with the dead people and there’s gonna be a world of dead people here. Remember how we talked about it a million, well, a million six, million six. Yeah, a lot of times. If you take all the molecules out of the human, the nucleuses in the cells of everybody on the earth, –
Carolyn 7:25
Yeah.
iON 7:25
– you could fit all of them the size of a sugar cube. It would be a super, super, super dense sugar cube; it would be the most dense sugar cube ever, ever, ever. But that’s the whole size of the whole thing would be. Okay, they’d probably pushed or crushed to the middle of, to the middle of the earth. But that’s the same condition. All those things that are, still are, even though they’re dead.
Carolyn 7:25
Yeah.
iON 7:31
And that’s the rub. And this is what these things are helping with. Now, the metaphor -and the reason it’s boring is because it brings into the metaphor aspect which you despise. You know, you don’t like it.
Carolyn 8:03
Yes!
iON 8:03
But that’s the same thing in medicine where they do the Latin, where they take the Latin and the, the ridiculous references so that stupid people don’t know what you’re talking about when it’s the simplest thing in the world; but Web MD straightened all that out. You can die real easy on Web MD. Now it’s no problem because Wed MD will tell you how to die. That’s, that’s, that’s a digression, you see. People can look themselves up and see what’s up. I feel this, I feel that, and they get a response. So, the body is startin’ to report to itself. You see? You can almost tell the difference between a myocardial infarction and indigestion anymore, you see, anymore. But now you can get yourself –
Carolyn 8:45
Okay, good.
iON 8:45
– your own EKG at home. But that’s because the Tech Body has a – that’s because the example: it allows the Tech Body to engage with the humans. All right, the Book of the Dead is engaging with the dead and allowing you, the ascending, to know how to work the deal. You’re gettin’ the primmer; this is your primmer. The, the, you’re gonna learn by rote the rudiments.
Carolyn 8:48
Yeah. Mm hmm. Got it.
iON 9:00
Good. Now, swathings which are over my mouth. Go ahead.
Carolyn 9:19
"Thereupon shall come Thoth, who is equipped with words of power" Now, that’s the first Key, correct?
iON 9:30
Yes, very good. That’s exactly right. In great abundance.
Carolyn 9:33
Yeah, putting yourself in your place of power. Yeah, "in great abundance, and shall untie the fetters, even the fetters of the god Set which are over my mouth. And the god Tem shall cast them back at those who would fetter me with them, and cast them at him. Then shall the god Shu open my mouth, and make an opening into my mouth with the same iron implement wherewith he opened the mouth of the gods." Hmm. So, I mean this sounds like branding. –
iON 10:14
No.
Carolyn 10:15
– I’d like to know what iron implement is.
iON 10:18
It’s F-e. It’s F-e. Iron. It’s Fe
Carolyn 10:22
F, F as in Frank?
iON 10:27
Yeah. F-e, iron.
Carolyn 10:31
Oh, yeah, F-e.
iON 10:31
Like the element.
Carolyn 10:32
Capital "F," small "e."
iON 10:34
Yeah, like Geritol.
Carolyn 10:36
Ha ha ha. And what’s the purpose of this iron implement to open the mouth of gods?
iON 10:47
Iron, iron poor blood.
Carolyn 10:50
Wow, I see. So, this has got to do with making the blood more like the lamb’s blood?
iON 11:01
Well it, no, it’s just tellin’ you if you’re bound by Hanes, if you got traces, you know, like hooked to a buckboard, a wagon; if you’re chained up and bound, then your problem, your problem – and you make the opening of the mouth "with the same iron implement wherewith he opened the mouth of the gods." So, basically, you build yourself up if you don’t have your power. You build your hemoglobin up to a higher level so you won’t be a hemophiliac.
Carolyn 11:36
Okay, so it’s, it’s the damn metaphor.
iON 11:41
Again. They could have done it in Latin. Would you have felt better –
Carolyn 11:45
Continuing –
iON 11:46
– if we did it in Latin? If it was done in Latin, would it make you feel better?
Carolyn 11:49
No, no.
iON 11:49
Oh, okay, good.
Carolyn 11:50
I rebelled against Latin, too.
iON 11:50
We agree, we agree. We support, we support you. We support you with it, but that’s the, that’s the same rub. So, you’re doing great.
Carolyn 12:00
Okay, continuing: "I am the goddess Sekhmet, and I take my seat upon the place by the side of Amt-ur the great wind of heaven. I am the great Star-goddess Saah, who dwelleth
iON 12:22
Saah.
Carolyn 12:22
among the Souls of Anu. (Carolyn: Saah, who dwelleth among the Souls of Anu.). Now as concerning every spell, and every word which shall be spoken against me, every god of the Divine Company shall set himself in opposition thereto." Okay. Couple of things.
iON 12:44
Okay, now all that’s – okay, now, let me just clean it up before you get too far. That’s just settin’ up-
Carolyn 12:50
Yeah.
iON 12:50
– what’s bound on earth is bound in heaven. That’s the point. You know that. Everybody – when we said it, it’s easy. Well, it’s laying it out right here. It’s like we laugh – the example we always laughing give is, it’s like, okay, raise your hand up against Donald J Trump and see what happens to you. See? They, you raise your hand up against it – those winds, remember the winds and the judgments? Remember the vial judgments? Ginney can almost do ’em by heart. It lays it all out –
Carolyn 13:19
Yeah.
iON 13:19
– here from this position. Now you find out that in the dead’s receptacle, or reticule, you have spells. And every word that you speak against somebody becomes the way the Divine Company sets it up now. Y’all would call that, laughingly, karma. We don’t, you know, we try to say don’t worry about the karma, worry about your dogma. Don’t let your dogma run over your karma. So, we don’t, we don’t get all that foolishness. But, we do get the aspect of what you’re trying to lay out here; which is, –
Carolyn 13:57
Yeah.
iON 13:57
-if you come into your power, it will grind you right up pretty fast.
Carolyn 14:01
Mm hmm. Mm hmm. And has that got to do with the angels here? Because when you speak a word, then you’re – the angels are incorporated; and if it’s in anger, then it comes back at you?
iON 14:17
Well, but yes, but if you’re dead, you don’t know the difference.
Carolyn 14:20
Yeah.
iON 14:20
See, human, dog, goat, a, mentaur, a necromancer; you know, there’s – it doesn’t really matter. If your dead, it really doesn’t make any difference, you see. You don’t know the perspective.
Carolyn 14:40
So, why are they talking about it as if it should make a difference? Why are they talking about it?
iON 14:46
Because apparently, because humans apparently didn’t need this book don’t know that. The humans that don’t know that, that all of a sudden now the, the world is shifting, the world is shifting. And so, you’re gonna have to decide real quick –
Carolyn 15:03
Yeah.
iON 15:03
– if you’re gonna be part of the live part or part of the dead part. If you decide to be part of the live part, here’s your primmer. This is your, this is your rudiment. This will show you how to navigate when you understand it so you can recognize the dead; work with the dead; deal with the dead; and handle it correctly and appropriately so they won’t be blowing smoke up your skirttail, telling you how the milk got in the coconut, which they do. And they do, and Carolyn – and get right in your face and lie to you like this, lie like a suck head dog.
Carolyn 15:06
Sack of hammers!
iON 15:35
Like a sack of hammers. They just lie to you. And you look at them and you know they’re lying! They’re lying. You tell them they’re lying. They’ll argue to the end of time. I didn’t do it. I didn’t do it. I didn’t do it. I didn’t do it. I didn’t do it. Judge, I didn’t do it. I didn’t do it. Well then, see, you can now deal with things from a different level because your plane of existence has a greater foundational bond that allows you to navigate the stream amongst the dead. So, in the time of trouble, you know empirically how to handle it. You see?
Carolyn 16:12
Yeah.
iON 16:14
Good. Now, other things.
Carolyn 16:17
Yep, very nice. Okay, capital letters here. So, this would be "THE CHAPTER OF BRINGING WORDS OF POWER TO THE OSIRIS ANI, who saith:- I am Tem-Khepera who produced himself on the thighs
iON 16:42
Tem-Khepera.
Carolyn 16:40
(Carolyn: Oh, Tim Kemper. Yeah.) who produced himself on the thighs of his divine mother. Those who dwell in Nu have been made wolves, and those who are among the Tchatcha Chiefs have become hyenas." Um, those are –
iON 17:04
Y’all remember, y’all remember way back in "The Omen," the movie, "The Omen," where the jackal and the hyenas, and the – those that the devil could the spawn of Satan come from the jackals and from the hyenas and that was part of the line that the Antichrist had this stuff going on with him. That’s just that reference of where they come from of a subset. And it’s letting you know of those that are – that the werewolves, that’s the, the, the uncommonly ones among you. This is that point of power, because they have power. That’s whether you like it or not, or know it or not, or whatever, whatever; they do. They are. This tells you how to navigate it.
Carolyn 17:48
Mm hmm.
iON 17:49
Keep you out, keep you out of the courthouse.
Carolyn 17:52
Mm hmm. Yeah, well, they’re predators as well.
iON 17:59
Of course.
Carolyn 18:03
Okay, continuing: "Behold, I will gather together to myself this charm from the person with whom it is {and from the place} wherein it is {and it shall come to me} quicker than a greyhound, and swifter that light." Okay, so that’s a protection? They’re talking about protecting yourself?
iON 18:32
It’s a direction, it’s a direction. It’s a direction. It’s like that you have the power quickly to overcome it. So, you call forth like, –
Carolyn 18:44
Okay.
iON 18:44
– you go to the bathroom and flip the light on. Then there’s no more darkness.
Carolyn 18:48
Yeah. Yeah, switching on the light, yeah. Got it. Continuing: "Hail, thou who bringest the Ferry- Boat of Ra, thou holdest thy course firmly and directly in the north wind as thou sailest up the river towards the Island of Fire which is in Khert-Neter.
iON 19:17
Neter. Khert-Neter.
Carolyn 19:19
(Carolyn: Khert-Neter) Behold, thou shalt gather together to thee this charm from wheresoever it may be, and from whomsoever it may be with {and it shall come to me} quicker than a greyhound, and swifter than light." So, that’s just the reinforcement of the same thought. Correct?
iON 19:47
Yes.
Carolyn 19:53
Okay. Continuing: "It (the charm) made the transformations of Mut; it fashioned the gods {or} kept them silent, by it Mut gave the warmth {of life} to the gods. Behold, these words of power are mine,
iON 20:15
You see, that’s the condition. Hold on, hold on, hold on, hold on. So, that gives the condition of how you bring this to you. It fashioned the gods; so, that’s the little man not dead, but little men that are, that are having problem with this. ‘Cuz see, the dead people are running around scaring the little men to death because they get them, they recognize them: these unquiet spirits, these unbound spirits, these unchained spirits that are runnin’ around here. Ah, Sue, Sue Bone, It’s the best one ever, ever, ever. She can see them. Started with her mother and sister. She could see them and it was upsetting to her ‘cuz she was grounded, but she was best grounded in an airplane. But, she could look out, sit in that damn chair and look out that window and she could see it. Okay? And that’s interesting because she was able to – she couldn’t deal with it sometimes. But she did. You know what I mean? She couldn’t deal with it sometimes, but she did! But, it’s from a place of power that she borrowed to. She borrowed to until she could, and now she has no trouble with it no more. She sees it and moves right through it. But it was, it was present and she could tell you everything you want to know about it; and then struct dumb regarding it. You see, it was like a darkness, a storm front that blows, and you could see it coming, you could see it coming. Sometimes it would last for a year or so. Sometimes, sometimes not. But the point is, is that refraction, refraction, is what we’re talkin’ about here of how to step into that, and then come on out of it. You see. You can come on out, and see – ‘cuz you’ll borrow it –
Carolyn 21:57
Transformation.
iON 22:00
Yeah, ‘cuz you’ll borrow it like, like the Munchausen –
Carolyn 22:23
Yeah.
iON 22:04
– syndrome by proxy. Same thing; you’ll borrow it. You’ll pull it to you and you go, "Well, that’s a deficiency." No, it’s a crutch. Ha ha. See, it’s not a deficiency, it’s a crutch. You borrow it. "Oh, I don’t want to go, so, I got a hurt back." Well, then you have a hurt back. And then that becomes your palsy. You wear it like a crown, these problems. So, the excuses side pulls that back to the place where you use it to navigate to make it appropriate, or okay, or presentable, or not inappropriate. You know, you don’t want to be lazy, you just don’t want to go. You see? Or, if you –
Carolyn 22:37
Okay, so –
iON 22:48
– have another seer, sometimes you’ll borrow that same condition. Now, this is an example – that’s a bad example. They all suck sooner or later these metaphors, but we wanted to get this point that’ll allow you to see how this power can become very overwhelming if you’re not careful. That you’re using it for just a second, that’s fine. It’s just like meth. You know, it starts off real good, but it never ends well, because you’ve got to have more and more and more and more and more until it makes it where there’s nothin’ left; see, it becomes the sum total of you. So, that’s the example that we’re laying out here to say you can know how to navigate this place of power to NOT have that as an issue. You see?
Carolyn 23:30
Okay, so, if a person has a fear, they might, if they know this information, they might realize that fear is something they’re borrowing in a transformation of their condition?
iON 23:55
Yeah, but there’s more to it than that. –
Carolyn 23:59
I’m sure. Ha ha.
iON 23:57
– Bob doesn’t let people wear shoes in the house. Bob, Bob doesn’t like, Bob doesn’t let people wear shoes in the house for a specific reason. And if they don’t want to do that, he’s okay if they don’t come into the house. Ha ha ha. You see? He would be all right if they didn’t come into the house. It’s all right with him for them not to come into the house. But, if they do come in the house, then they need to take their shoes off. Okay, is that a fear? No, it’s a conditioned response because he has to control his environ. All right, so that control is what this thing, words of power, are Bob’s. And they come to Bob, and "wheresoever they may be, or with whomsoever they may be, quicker than greyhounds and swifter than light, or, according to another reading, "swifter than shadows."" And the shadows are what you’re working with here. In the shadows is what you would fear that would be necessary for you to take your shoes off. What are you dragging in the house? See, what are you toting into the house? Take the shoes off. So, that’s – see, what you said was more nefarious than the way we – we made it more simple. You know, we made it not like more – more appropriate, like, why are you going to the bathroom and then washing your hands? See, we made it be like washing your hands, like, some hygienic thing you do; which is not like this, but it’s an example of it. Same type thing, you see.
Carolyn 25:28
Except what I’m trying to get at is a way for a person hearing this information, hearing this tape, would know what, what we’re trying to get at. Would know –
iON 25:45
But they don’t.
Carolyn 25:45
– what the words said that –
iON 25:48
They don’t. That’s the rub. That’s the rub. They don’t.
Carolyn 25:52
So, when we say the words, "It (the charm) made the transformations of Mut; it fashioned the gods {or} kept them silent; by it Mut gave the warmth {of life} to the gods." So, if people are going through transformations, they just, they just know, "Yeah, okay, I’m going through transformation." They can’t know anything more about it?
iON 26:19
Yeah, but if they’re wrong, then they’re deluded. See, then they’re, like, if they know if they don’t get it right, then they’re Heaven’s Gate puttin’ the Milky Way bars on their bed when they go with Ruby New Year, loggy gog year, whatever the house of log goger, or the lava gogs, and then they kill themselves by the 30 or 40 of them; and they make, then they become Jim Jones drinkin’ the Kool Aid. See? So, we don’t want to make it be that because then they can very easily be diluted into this Kool Aid drinkin’ conversation. You see? That’s the reason we do that. We do that on purpose.
Carolyn 26:54
So, there’s nothing we can – well, basic- Yeah. So, on purpose we’re saying there’s nothing you can get from, from these words.
iON 27:03
Yes, you can. These are an example of how the words apply. Now, how you apply the words, that’s what you’ll find and figure out. And then that, what you find out, what you find out, is how you apply it. See, that’s what Bob – Bob doesn’t know why he’s the way he is, but he sure of how he is. Ask him. He doesn’t know why he doesn’t like these things dirty around him, but he knows for sure what’s dirty and what’s not. So, but you don’t have to know; you’d like to know what makes Bob tick so let’s do an autopsy and see what’s, what makes him tick. But that’s fine and he wouldn’t care as long as you were really, really clean about it. Ha ha ha ha. And you can’t be too invasive. You know, you can’t get too close with a knife, and you know how that goes with it. So, your words are fine, you can know the issue, you just don’t apply the reason. Don’t apply the reason. Don’t apply a reason, just know that that’s the condition. And so, if you recognize it from that, then you go, "Oh, okay," and you’re gonna get more words that will help you figure this out. But it’ll take you "swifter than the shadows" once you figure it out. But what have you figured out? Not your condition. You don’t know what you’re going through, but you’ll know to keep moving. As we laughingly say, if you’re walking through hell, just keep on walking.
Carolyn 28:28
Mm hmm. Mm hmm.
iON 28:31
You may not know it’s hell, but just keep moving. Keep moving until you see a shifting change. ‘Cuz Sue, now to this day, can look backward and tell you every time that she had that, that position of having to deal with those things that she saw, that while she was in the throes of it she would defy you. You tried to talk to her and she just wouldn’t have it. It just wasn’t working out. "You don’t get it. Carolyn, you don’t understand. Carolyn, you do not understand. This is serious." Okay, well, you’re like, "Well, come here, don’t have that. You know, well, shake yourself. Come on." No, no, no, no, no. You see, no, that doesn’t work when you’re in the throes of it. And see, in hindsight, she can look back and say, "You can, you don’t realize that they were trying to bind me. They were trying to keep me in a condition where I was stuck." See? And she knows that now. But while she was in the throes of it, she could not, she couldn’t have that. But see, it past and now it’s all good. But she can talk about it now. That’s what we’re talking about here. Once you get that, you know why Bob wants people to take their shoes off. Now he can explain it. See?
Carolyn 29:37
Okay, so is death what you’re describing about what Sue went through? Is that how some people experience depression?
iON 29:49
Well, that’s, that’s just what you’re calling it. She wasn’t – yeah, but that’s not really- like, clinical depression, is not about that. That’s when something gets out of balance. And so they are not in a condition to deal with things the same right way as other things. But, it’s not like, it’s not like a clinical depression. No. But if you want to add – there’s the problem with adding words to it. ‘Cuz you could treat somebody for clinical depression, but if they’re not depressed, that doesn’t work. And so, now your treatment becomes in question.
Carolyn 30:22
Well, most treatment for clinical depression doesn’t work. So, my question is, are most, are these people then in some sort of transformative limbo?
iON 30:37
Yes. Yes, and that’s what we’re – yes. And that’s, and that’s what we’re sayin’ is if you named it as something, if you name it as something and you’re wrong, then it sets the whole thing to be aghast and wrong. And then you got all –
Carolyn 30:49
Right.
iON 30:49
– the people, you got a whole lot of people takin’ lithium for all the wrong reasons. Ha ha ha ha.
Carolyn 30:56
Yeah.
iON 30:56
See, so, that’s when you can’t apply, you can’t apply a knowing to it, but you can in hindsight know how you’ve engaged it. See?
Carolyn 31:07
Right.
iON 31:07
And that’s good. And that’s good. So, now that you know, so, if you’re in the throes of it, you can have a different conversation when you can say, "Wait a second. Crazy non physical was talkin’ about this shit. Oh, this is that Book of the Dead stuff. Oh, I can look at this. Oh, where is it? Where is it: Appendix. The Chapter Which Maketh A Man To Remember His Name is Khert-Neter! What?" So you know where to go look! When you’re in the throes of it.
Carolyn 31:36
Yeah.
iON 31:37
That’s where you do. Okay, this is good. This is gettin’ so good. You’re doin’ a great job.
Carolyn 31:44
Thank you. So, iON went ahead, which is where we’re going now. It does say next the APPPENDIX. And, in caps, "THE CHAPTER WHICH MAKETH A MAN TO REMEMBER HIS NAME IN KHERT-NETER. Continuing: {The deceased} saith:- Let my name be given to me in the Great House (Per-ur), and let me remember my name in the House of Fire (Per Neser), on the night wherein the years are counted up, and the number of the months is told. I am dwelling with the Divine One. I take my seat on the eastern side of the sky. If any god cometh after me, I shall be able to declare his name forthwith." Now just above, iON, we had the north sky. Correct?
iON 32:43
Mm hmm. Yeah.
Carolyn 32:45
And now the east-
iON 32:46
The east is the only one that mat – the east is the only one that matters. –
Carolyn 32:49
Yeah.
iON 32:49
– Well, that’s the Eastern Gate. The east is where it’s all coming from.
Carolyn 32:53
Yeah.
iON 32:53
You can see em coming from the east. The north, they’re gonna have to sneak around. You don’t want to worry – they are gonna – they may be already in the house if they come from the south, the west, or the north. It’s the Eastern Gate, that’s what you’re doin’ there.
Carolyn 33:05
Okay, so we’re at the, we’re at the important gate now or, yeah. And the next section starting with caps, "THE CHAPTER OF GIVING A HEART TO THE OSIRIS ANI IN KHERT-NETER."
iON 33:22
Okay, wait one second -.
Carolyn 33:23
Continuing:
iON 33:24
– Wait one second. Wait, wait, wait, wait, one second. Now, you got – you realized there what it says in the, just finishing up from the last: "If any god cometh after me, I shall be able to declare his name forthwith." You mean to tell us that gods come after somebody? Ha ha ha ha.
Carolyn 33:44
Oooh. Mmm.
iON 33:46
Remember where it started off: "{The deceased} saith:"
Carolyn 33:54
The deceased what?
iON 33:57
Person. The deceased; the one that’s speaking is the deceased.
Carolyn 34:03
Yes.
iON 34:04
At the beginning, –
Carolyn 34:05
Is the one.
iON 34:05
– The dead person is saying these words: "If any god cometh after me, I shall be able to declare his name forthwith." So, you could very easily be the god that goes after something; this here specifically, the deceased, or the dead. That you can handle it, basically. This gives you the ins and outs of how to work with this because soon and very soon, you’re gonna have more dead than you have live. That’s why people are all sittin’ around now. Nobody’s working, nobody’s doing anything, and everybody’s got everything. That’s why, that’s why they put the food pyramid down. It’s why food has no nutrition anymore. It’s why nothin’ ever matters. Nothin’ matters anymore. It doesn’t matter, they’re all dead. The dead’s been votin’ in Chicago for years. Now they’re really going to try to change an election.
Carolyn 34:58
Okay, so going back to this: "If any god cometh after me, I shall be able to declare his name forthwith." The naming of someone or something, is that an ownership?
iON 35:14
You know, you know what it is. You know what is. If you say, –
Carolyn 35:18
Yeah.
iON 35:19
– Ginney Almighty Sanders, that – she’s now named. There’s no one else that could be. That’s Ginneybelle.
Carolyn 35:27
Mm hmm. Mmm.
iON 35:28
See, now once that’s done, you know what you’re dealing with –
Carolyn 35:32
So that’s a power – but –
iON 35:33
Yeah.
Carolyn 35:33
– is that a power position of the nameor or the named?
iON 35:39
Both. It’s an identifier –
Carolyn 35:41
Yeah.
iON 35:42
– that can con – you see, it gives you – they’re trying to figure out how to get the deceased. They’re trying to figure out how to get to a safe place. And even if a god comes after them, they’ll know what to do. So, this,
2000
iON 0:00
That works. And if you know how that works, then you can navigate it. That’s what we’re trying to learn here is the navigation of the dead. –
Carolyn 0:08
Navigate.
iON 0:08
– Book of the Dead. Mm hmm. Handy. It’s a Madeline thing. It will hit you at three o’clock in the morning.
Carolyn 0:19
Ha ha. Continuing, capital letters: "THE CHAPTER OF GIVING A HEART TO THE OSIRIS ANI IN KHERT-NETER. He saith:- Let my heart be with me in the House of Hearts. Let my heart-case be with me in the House of heart-cases. Let my heart be with me, and
iON 0:45
Pericardium.
Carolyn 0:45
let it rest (Carolyn: Ah, "let it rest in {me or}" and that’s the pericardium. The heart rests inside the bag of the pericardium.) I shall not eat the cakes of Osiris in the eastern side of the Lake of Flowers, nor have a boat werein to float down the river, nor a boat to sail up the river to thee, nor be able to embark in a boat with thee. Let my mouth (Carolyn: So, he’s saying unless I have my heart, I won’t be able to do those things. Correct?)
iON 1:20
Correct. And then the dead person: I won’t be having the bread of life, and I won’t have living water, and I won’t have the cakes made of barley flour. I’m not gonna be able to have those. I’m not gonna get out on a boat. –
Carolyn 1:35
Right.
iON 1:35
– I’m not gonna be able to do it. –
Carolyn 1:36
And then –
iON 1:36
– but, but, but, especially from the eastern side of the Lake of Flowers.
Carolyn 1:42
Right. Very good. Continuing: "Let my mouth be to me that I may speak therewith. Let my legs be to me that I may walk therewith. Let my arms be to me that I may overthrow the foe therewith. Let the two doors of the sky be open to me. May Keb, the Erpat of the gods, open his jaws to me. May he open my two eyes which are blinded by swathings." Now, is that the next stage? We got our mouth open, is, are the eyes going to open next iON?
iON 2:21
Do. The eyes have it.
Carolyn 2:24
Got it. Okay, continuing: "May he make me to lift up my legs in walking which are tied together. May Anpu make my thighs to be vigorous." Now, the thighs being vigorous, is that a sexual metaphor or just a walking metaphor?
iON 2:53
Ah, it has to do with stride and capacity –
Carolyn 2:58
Ah huh.
iON 2:58
– which could apply to the hara. And it could apply into your endurance.
Carolyn 3:05
Ah huh. Yeah.
iON 3:07
So, both.
Carolyn 3:08
And then, yeah. "May the goddess Sekhmet raise me, and lift me up. Let me ascend into heaven, let that which I command be performed in Het-ka-Ptah. I know how to use my heart. I am master of my heart-case. (Carolyn: which is the pericardium) I am master of my hands and arms. I am master of my legs. I have the power to do that which my KA (Carolyn: capital "K," capital "A") desireth to do." So, the capital K-A, is that a god position, iON?
iON 3:50
No. It’s the, it’s the energy. It’s the what you call, what you’d describe as lifeforce. It’s like the lifeforce; the KA.
Carolyn 4:00
Okay, got it.
iON 4:04
It’s like what we were talking about Ginneybelle earlier about – we were tallking about Ginneybelle earlier being so grounded. What we were actually saying is it’s her KA was strong, you see.
Carolyn 4:16
Ah.
iON 4:17
You see, that’s why it’s so funny ‘cuz the last thing she wants to be is strong; but that’s her best asset, if she’s strong. But, that’s the last thing she’s interested in.
Carolyn 4:26
She wants to be strong.
iON 4:28
Nah, nah, she doesn’t really like – she don’t, she don’t care about all – she’s not – that’s not serious. That’s not serious. She is, but that’s not the desire. She wants everything to work out. She want everything to go good. She wants everybody to be happy. She wants everything to flow where it’s supposed to.
Carolyn 4:42
Yeah.
iON 4:42
She wants everything to be peaceful and kind and joyous and, and life-giving. But then comes back. It’s gotta be back on her, you see. And so, the rub or the position now becomes, "Oh, okay," but she understands it. But that’s just not something she desires. And because she doesn’t desire it, that’s how she can become Ginney All Mighty.
Carolyn 5:03
Hmm, hmm, hmm, hmm, hmm. Yeah.
iON 5:08
So, that’s an example of a strong KA.
Carolyn 5:14
Very good. Okay, awesome. Continuing: "My Heart-soul shall not be kept a prisoner in my body at the gates of Amentet when I would go in in peace and come forth in peace." So, Heart-soul, how does that differ from heart-case and heart?
iON 5:37
Oh, okay. The, the, this – these bars of bones; this body, the meatsack body for the dead, these bars of bones is but a prison. Bars of bones, it’s a prison. Keeps you bound. See, you can’t be held. –
Carolyn 5:59
Okay.
iON 5:59
– But the doors of flesh are gonna open; swing wide open. And when that opens up, that’s when you come forth in peace.
Carolyn 6:11
Yeah. Wow. Awesome.
iON 6:17
That’s the Dotti Rambo song, The Hills – that’s the Dotti Rambo song, "The Holy Hills."
Carolyn 6:24
Yeah. Heh heh. Okay.
iON 6:27
That’s a, she’s giving a, she’s singing an example. Dotti’s – Vestal sings it, but, but Dotti sings it, too, But, Vestal sings it great. But, that’s the Dotti Rambo song, "Holy Hills."
Carolyn 6:41
Right. Good. Continuing in capitals –
iON 6:46
When the angels set my spirit free.
Carolyn 6:52
Ah huh. From the prison of the bones.
iON 6:57
Yep.
Carolyn 6:58
Okay. Continuing and in caps, the title of this chapter: "THE CHAPTER OF NOT LETTING THE HEART OF THE OSIRIS, THE ASSESSOR OF THE DIVINE OFFERINGS OF ALL THE GODS, ANI, WHOSE WORD IS TRUTH BEFORE OSIRIS, BE DRIVEN BACK FROM HIM IN KHERT-NETER." Continuing the words: "He saith:- My heart of my mother. My heart of my mother. My heart-case of my transformations."
iON 7:34
Mmm. Ascension.
Carolyn 7:35
So, does that mean the –
iON 7:36
Ascension.
Carolyn 7:36
– pericardium is –
iON 7:39
Yeah.
Carolyn 7:39
– ascension. The paricardium is, is our transformative ascender.
iON 7:46
If you don’t have – the holy waters won’t hold if the paricardium doesn’t ascend.
Carolyn 7:54
Mm hmm.
iON 7:55
It will eat it up. It will eat it up. So, that’s why we have to – that’s why you have such issue trying to keep your products in line and adjusted as you go. Because you get them the way they’re supposed to be, and it will kill them dead as a sack of hammers. So, you have to have it like a half, and a half, and a half, and a half. And then they creep up, and then you creep up and then they go. "Ooooo, that likes to knock the top of my head off. Oooo that was exciting. Boy, I feel like that I was – " Then the energy level start kickin’ it and then they got – and then it’s like meth; they want it all the time. And that’s all right. That’s the good part because then they start living. Once they start living, it’s – you get like Amy; everything is just fun. She don’t know. You don’t know. They don’t know. It’s just fun. It’s just fun. You really have (inaudible).
Carolyn 8:37
Okay, you said – right. I think you said these words. The holy waters won’t hold if the pericardium won’t ascend?
iON 8:48
Yeah, if you put the living water in the paricardium before it the ascends, it will bust.
Carolyn 8:58
Yeah. Yeah.
iON 8:58
It will stop the heart from beating. It will cease that muscle. The aorta will blow every single time without fail or exception. The Widowmaker they call it.
Carolyn 9:15
Well, the Widowmaker is the left ascending coronary artery. The aorta is different.
iON 9:22
No, but that’s what happens when the aorta – when the aorta blows, you can’t tell the difference.
Carolyn 9:28
Heh heh. Yeah, yeah. Okay, but don’t worry people! You’re not gettin’ the living water until you’re ready for it!
iON 9:38
Yeah, or if you get it and you’re early and you die, you’ll know. And if you get it too early and you die, you’ll know what happened. Ha ha ha ha.
Carolyn 9:50
Ha ha ha. Do not accept any Living Water from Bob!
iON 9:51
Just sayin’, just sayin’. Yeah, don’t, don’t take it from Bob, yeah. Whatever you do, don’t drink the Kool Aid if Bob’s serving. Don’t do it. It’ll be really clean if he serves it, but don’t take it. Don’t take it from Bob. That’s right. –
Carolyn 9:51
Continuing –
iON 9:56
– Unless you’re Jimmy. Unless you’re Jimmy. And if you’re Jimmy, then you can. It’s okay for Jimmy, if Bob can give it to Jimmy.
Carolyn 10:14
Yeah.
iON 10:15
Just a little, just a little bit. Not much, not much.
Carolyn 10:19
Jimmy’s delivering Living Water and Bread of Life, morning, noon, and night.
iON 10:24
And he doesn’t even know it. It is amazing.
Carolyn 10:29
Yeah. Continuing: "Let not any one stand up to bear testimony against me. Let no one drive me away from the Tchatcha Chiefs. Let no one make thee to fall away from me in the presence of the Keeper of the Balance. Thou art my KA, the dweller in my body, the god Khnemu who makest sound my members." Who make it sound my members like my legs and arms makes my, my legs and arms sound?
iON 11:06
And penises. And penises. And mammaries.
Carolyn 11:10
Okay, and those, too. Yeah.
iON 11:11
And toes. Eye holes. Eye holes. Don’t forget the eye holes; they’re important.
Carolyn 11:18
Got it. "Mayest thou appear in the place of happiness whither we go. Let not make my name to stink Shenit Chiefs, who make men to be stable. (Carolyn: Let not my name to stink? iON: Right. Carolyn: Shenit Chiefs who make men to be stable. Hmm.) {Let it be satisfactory unto us, and let the listening be satisfactory unto us, and let there be joy of heart to us at the weighing of words. Let not lies be told against me before the Great God, the Lord of Amentet. Verily, how great shalt thou be when thou risest up in triumph!}" Hmm, that paragraph didn’t make much sense to me.
iON 12:13
No, it’s great. It’s like you gotta – well, we could use names, but you never liked it when we use names. But, we could pin the tail on the jackass if you think we can’t. If you got a little sack to tie it in, we can tell you everything you want to know; but that’s not the point. Don’t live your life in such a way that your words stink; that you stink; that you’re a stinker.
Carolyn 12:34
Ah ha.
iON 12:34
Don’t get yourself sideways from the condition that you can’t be judged. Where there’s no way you can move and not find yourself judged. Tunk a lo Pizen, you have.
Carolyn 12:44
Yeah. Yeah.
iON 12:46
Been tried and found wanting. So, then they come back up, and you have to get all of your aspects are sound. Now, if you fuck up, okay, you fucked up. Straighten it up, fix it. That’s how you do that. Go on. But, don’t jump and get out of one pigpen and go jump in some more pig shit. You see?
Carolyn 13:06
Yeah.
iON 13:06
And it just gets worse as you’re on the race to the bottom. So, then you’re sayin’ don’t lie on people; don’t tell lies and don’t, don’t let the lies be told against me.
Carolyn 13:19
Yeah, got it. Yeah, I see that.
iON 13:21
‘Cuz you’re gonna come up in triumph and there’s nothing you have to do. But it’s like, basically it’s sayin’ don’t get caught being a stinker.
Carolyn 13:28
Heh heh. Very good.
iON 13:33
Right?
Carolyn 13:33
Now it has the word: "RUBRIC I:"
iON 13:36
Good.
Carolyn 13:36
"These words are to be said over a scarab of green stone encircled with a band of refined copper, and {having} a ring of silver; which shall be placed on the neck of the Khu (the deceased), etc." page 25: It, the – It, the charm, made the transformations of Mut; it fashioned the gods {or} kept them silent; by it Mut gave the warmth {of life} to the gods. So, warm when it is used it, it seems to relate to life or life force, is that correct, iON?
iON 14:24
Right. That’s right. Because if you’re warm, you’re not dead.
Carolyn 14:29
Ah, ha ha ha. Such common sense.
iON 14:35
It is. For dead people, you gotta tell them – for dead people, you gotta tell him everything.
Carolyn 14:42
Yes, true. "RUBRIC II (From the Papyrus of Nu, Sheet. 21): If this Chapter be known {by the deceased} he shall be declared a speaker of the truth both upon earth and in Khert-Neter," Now, if it’s known by the deceased, that implies that the deceased is now alive, iON.
iON 15:11
No, no, no. Not necessarily. This is a Rubric. A Rubric tells you what to do. This – it’s kind of like: if your deceased read his autopsy, he’d know what he died of. This is a Rubric. It’s saying: If the deceased had read his autopsy, this is what he would have died from. That’s what you’re saying, –
Carolyn 15:36
Yeah, yeah, yeah.
iON 15:36
– and that’s what this is sayin’: If you know this chapter, then this is the deal. Here’s the, here’s the skinny; here’s the 411.
Carolyn 15:46
Yeah, if he could have done, shoulda, woulda. Okay.
iON 15:50
Yeah. Past pluperfect.
Carolyn 15:54
Yeah. Continuing: "and he shall be able to perform every act which a living human being can perform." See, that’s what I was wondering; if he was alive.
iON 16:06
Yeah. You don’t have to be alive. You don’t have to be alive, but if you know this chapter you can do everything a human can do. And that’s what people are bumping into now, is they’re havin’ to engage with the dead people.
Carolyn 16:23
Yeah, wow.
iON 16:27
Which is why nobody’s fucking anymore. Dead people don’t fuck well.
Carolyn 16:33
Ah. Huh. Continuing: "Now it is a great protection which hath been given by the god. This Chapter was found in the city of Khemenu upon
iON 16:54
Dobbstown.
Carolyn 16:55
(Carolyn: Dobbstown, Khemenu. Got it.) "upon the slab of ba, which was inlaid –
iON 17:05
Which is Bob.
Carolyn 17:05
– with {letters" (Carolyn: Ba is Bob. Okay. Woo hoo. Bob’s on delay, so, he’s not hearing this yet.)
iON 17:15
Oh, that’s great. We love that. We love that ‘cuz he’ll jump in and he’ll be screaming hollering and yelling, and takin’ on like a wild man, like a beast. Then we get to our favorite, get to our favorite: lapis lazuli.
Carolyn 17:29
Yeah. "which was inlaid with {letters of} genuine lapis-lazuli, and was under the feet of {the statue} of the god during the reign of His Majesty, the King of the South and North, Menaura (Mycerinus),"
iON 17:45
Which is, which is –
Carolyn 17:46
Bob.
iON 17:47
– the Sphinx. Which is the Sphinx.
Carolyn 17:49
Yes. And Bob is under the feet of the statue of the Sphinx. Okay, Sphinx. Yeah –
iON 17:56
Well, Dobbstown is. Dobbstown is.
Carolyn 17:57
I knew that.
iON 17:58
His face is there. Ah huh.
Carolyn 18:01
Yeah, yeah, yeah, Bob. Here’s Bob.
Bob 18:04
I am the Sphinx.
Carolyn 18:06
No, Dobbstown is the Sphinx.
iON 18:08
Yeah, he is the Sphinx.
Bob 18:10
No, no, no,
iON 18:10
Well, he –
Carolyn 18:11
Oh, yes you are the Sphinx.
iON 18:12
– he repre – Dobbstown is under the foot of the Sphinx; but, he is the Sphinx. Ba is the Sphinx.
Carolyn 18:20
Wow. Yeah, you are the Sphinx. Dobbstown is under the foot –
iON 18:27
Sometimes, sometimes he’s the sphincter. Sometimes Bob is the sphincter. Sometimes he’s an asshole; sometimes he’s the whole ass.
Carolyn 18:36
Yeah, yeah. I get it. Ha ha.
iON 18:38
Sometimes.
Carolyn 18:39
Continuing: "true of word, by Prince Herutataf, who found it during a journey which he made to inspect the temples. One Nekht
iON 18:53
Wait a minute. Whoa, whoa, whoa, now slow down, slow down, slow down. Go back, go back go back. You mean to tell us that once you sort out the King of the South and the North, Mycerinus, true of word, by Prince Herutataf, who found it during the journey which he made to inspect the temples, actually applies? That’s interesting that you can move, wax and wane, and fluidly flow from one world to another; from one temple to another; to one place to another. That’s the point of this thing that you – a lot of you are doing all the time that you don’t even know you’re doing. And then we tell you’re doing, and you say, "Oh, it’s just astral projection." Okay, okay, and you know how that went, Carolyn, with the bruises. When you start bringing back bruises from your dreamland, there’s something’ else that’s goin’ on. You start agreeing with that a little.
Carolyn 19:55
Yeah.
iON 19:56
So, but that’s, that’s not – we’re not arguing. We’re just saying that even the dead suffer from this malaise on the rarest of occasions.
Carolyn 20:06
Hm. So, what you’re saying about this last paragraph is that there was a King of the South and the North, and then there was this Prince. And the Prince is going back and forth to the land of the King and to his own land.
iON 20:26
Yes. And the navigating back and forth is very significant.
Carolyn 20:34
Ah ha. Why can’t they both be Kings?
iON 20:41
They can, but they don’t know. They can, but they don’t know.
Carolyn 20:45
Yeah. Got it. Okay.
iON 20:51
See, that’s the thing.
Carolyn 20:51
Okay, navigating is important.
iON 20:51
Until they know, until they know, then maybe they are, maybe they aren’t. That’s what we talk about people travelin’ all the time. They don’t – are they Kings? Sure, they are; but, they don’t know. If they don’t know, then it don’t help them none. See the rub?
Carolyn 20:55
Mm hmm. Mm hmm.
iON 21:07
Good.
Carolyn 21:11
Got it. Continuing: "One Nekht was with him who was diligent in making him to understand it, and he brought it to the king as a wonderful object when he perceived that it was a thing of great mystery, {the like of} which had never {before} been seen or looked upon." Now, is that some mystery object that helps traveling?
iON 21:46
Ahh, it specifically is the OA movement.
Carolyn 21:53
Ahh. Okay, got it. Continuing:
iON 22:01
‘Cuz, ‘cuz just until recently, no one knew what the OA movements were.
Carolyn 22:07
Yeah. Mm hmm.
iON 22:09
Not like it’s some esoteric, hidden thing that had been from the Ming Dynasty or the Han Dynasty that’s been around for thousands of years. That’s not true or the case. They didn’t have machines back then that could do the actual OA movements. That’s what we gotta get Bert. We gotta get Bert some machines to do the other, the other four parts with him doing it. We could, we could, we could, we could rock the house if we had that going on. What you you think? Tech Body may have to loan him some, some devices.
Carolyn 22:44
Well, what –
iON 22:44
Hey! It’d have to be a good machine, the clockwork mouse. The clockwork mouse that has to be wound tight, ‘cuz he could do them real fast.
Carolyn 22:54
Um, recently Nikolas sent out some movements by this guy. I forget his location, but, I, when I was watching him, I thought: Man, you could have a couple, a couple of YouTube’s showing the movements around you, and it could be like you’re doing them. Because some of, some of these people do them in such a way that you are within them as they’re doing the movement.
iON 23:27
Well, that’s the esoteric part of the whole condition. That’s why you have to do it in a circle. And you complete the circle because you get every vibrational pitch, or the pitch and yaw of the hula hoop going around the wall with the magic marker on it, making the wavelength. Remember?
Carolyn 23:45
Yeah, yeah, yeah. Mm hmm.
iON 23:46
That, that and the circle covers every pitch, every pitch.
Carolyn 23:53
Aha.
iON 23:54
It makes no difference the direction, it takes care of it. So, that’s good, and it’s good. We can get – see, that’s why we laugh when you, when you’re talkin’ about how this is boring. We are, like, that’s impossible. This – ha ha ha ha – it’s the furthest thing from (inaudible).
Carolyn 24:10
Ahhhhhh.
iON 24:11
Then we went back and revomited when Bob was having a fit about the Revelation is the most ridiculous thing ever, and you can’t know nothin’ –
Carolyn 24:18
Yeah, yeah, yeah.
iON 24:18
– and you can’t get nothin’. This is vial that and vial this, and what is Laodicea? And the Laodicea, who did – who had fellatio with which vial judgment, and how does the vial judgment – and who’s has the – who’s got the most sputum, sputum on their semen hole; and, you know, all those kind of things. And we got good after the, after you got to figure out what’s what. When you figured out who’s pitchin’ and catchin’, it always helps the, the modality of the story.
Carolyn 24:50
Excellent, iON. I’m stumbling over to watch a beautiful sunset. I’d like you to enjoy it with me for a second. There it is.
iON 24:58
It’s great, it’s very yummy. Happens most days. Has it gone orange yet? Has it gone orange yet? Nobody else sees that orange. You know that, don’t you?
Carolyn 25:07
It’s gone bright orange, total orange. Yep. Total orange.
iON 25:11
And no one, you know other people don’t – you notice other people, if you ask them, they won’t know what you’re talking about. Because other people don’t get that orange, darling.
Carolyn 25:20
Wow. Okay, well, thank you.
iON 25:24
That might have been a Bob, that might have been a, that might have been a Bob secret. Sorry.
Carolyn 25:28
Heh heh heh heh. One second. I have to get Bob, Bob to get me – Bob, hand me my reading glasses. I dropped them over there.
iON 25:38
Wash them hands! Do not touch them without washing those nasty hands.
Carolyn 25:44
I don’t care. I don’t care.
iON 25:46
He’s filthy.
Carolyn 25:48
I’ll lick them. I’ll lick them.
iON 25:50
No, you can. He’s the filthy one. You have to watch him. He’s filthy. You gotta, you gotta wash them hands.
Carolyn 25:55
He he he he. Okay, the hula hoop covers every pitch. Good. Continuing: "This Chapter shall be recited by a man who is ceremonially clean and pure,
iON 26:10
(iON and Carolyn laugh) Wash them hands! And, "who hath not eaten the flesh of animals, or fish –
Carolyn 26:21
"or fish, and who hath not had intercourse with women. And behold,
iON 26:30
That’s why he prefers, that’s why he prefers farm animals. He prefers farm animals, that’s right.
Carolyn 26:37
Ha ha ha. So what, what’s – why do you have to have this wimp being the ceremonial god?
iON 26:46
They’re dead! Dead people don’t fuck much.
Carolyn 26:51
Oh, yeah, yeah, yeah. Got it. Yeah. Or eat much.
iON 26:56
Or eat much.
Carolyn 26:57
Okay.
iON 26:57
But now, Bob can’t fit into that ‘cuz Bob can go and not eat. If it, if it strikes him, he’s like, Oh, I’m good. He’s, like, good; and he won’t eat nothing. –
Carolyn 27:05
Yeah.
iON 27:05
– You know, he went on the drops. He went on the drops for awhile and he went forever and didn’t eat nothing. It’s kind of crazy.
Carolyn 27:13
And the water; he did the same with the water.
iON 27:15
The drops were just like that’s enough. Forever.
Carolyn 27:19
Okay –
iON 27:20
Best hydration he’s ever had.
Carolyn 27:23
Right. "And behold, thou shalt make a scarab of green stone with a rim {plated} with gold, which shall be placed above the heart of a man, and it shall perform for him the "opening of the mouth." And thou shalt anoint it with myrrh unguent, and thou shalt recite over it the following words of magical power. {Here follows the text of the Chapter of Not Letting the Heart of Ani Be Taken from Him." So, now the Opening of the Mouth changes from iron to green stone. Tell me about that.
iON 28:09
Yeah. Yeah, that’s Marge, Marge Stewart. It gets you where you can talk right. That’s why you have to engage with Bob. The scarab allows you to communicate. As yet, people who can’t see, and they don’t talk, and they’re crazy, and after you have to talk to Bob for awhile. And then that opens the mouth. And see, the myrrh unguent, that’s – you get that with the Grains of Paradise in your Bread of Life.
Carolyn 28:12
Ah, yeah.
iON 28:29
The myrrh unguent.
Carolyn 28:36
Yeah, yeah.
iON 28:40
And then you recite over it the following words of magical power. It’s like, it’s like a grimoire. Isn’t that interesting?
Carolyn 28:51
Yeah. Okay, let’s gets the words. Bob’s coming over. What, Bob?
iON 28:58
(mimics "Bonanza" theme song.)
Bob 29:02
My color’s green on the chart. It’s a green stone –
Carolyn 29:05
Why are you whispering when you? About the green color.
Bob 29:11
The green stone and the scarab. I’m green on the Tiny Note Chart. It does refer to me.
Carolyn 29:17
Okay.
iON 29:18
Yeah. And Gurdjreff, and Gurdjreff was upset about this.
Bob 29:22
(laughs in background)
Carolyn 29:25
And Gurdjreff. Heh heh. Now, I don’t see these words of magical power, iON.
iON 29:32
Heh heh heh heh heh.
Carolyn 29:34
I don’t see the words of magical power. Yeah, right. Where’d you put them? Where’d you put them? Come on.
iON 29:39
Hehe heh heh heh.
Carolyn 29:40
Bad. Bad, bad.
iON 29:42
Not yet! Not yet, not yet. This coming forth by day is coming forth by night.
Carolyn 29:42
Look how teasing.
iON 29:42
You better know it, you better know it. You gotta, you gotta get right. Feed me, Seymour! Feed me!
Carolyn 29:57
Ha ha. Okay, so, we’re not gettin’ them. Okay, and –
iON 30:03
It’s right here in "THE CHAPTER OF NOT LETTING THE HEART-SOUL OF A MAN BE SNATCHED AWAY FROM HIM IN KHERT-NETER."
Carolyn 30:11
Yeah. All right. "The Osiris the scribe Ani saith:- I, even I, am he who cometh forth from the Celestial Water (Akeb). He (Akeb) produced abundance for me, and hath the mastery there in the form of the River." So, is that our Living Water, iON?
iON 30:38
It is.
Carolyn 30:41
Good. And then there’s brackets I guess, from the, the transcribers. "(This is a portion of a longer chapter which is included in the appendix.}" So, then it says: "APPENDIX (The following is from the Papyrus of Nefer-uben-f, Naville" blah, blah, blah. "THE CHAPTER OF DRINKING WATER IN KHERT-NETER." Oh my gosh! How descr-, how perfect!
iON 31:14
It gets really clear once you –
Carolyn 31:16
So, will we stop here?
iON 31:16
– If you want to. But, look. It gets pretty clear once you know what you’re talkin’ about, though. But, before you’d look through that, you’d go, it the most ridiculous thing we’d ever seen in our livin’, livin’ life. You see?
Carolyn 31:24
Yeah.
iON 31:27
It sounds silly, but now, now knowing what you know, you’re going: What? What? You don’t believe it. You’re on page 26.
Carolyn 31:34
Yeah, I know. It’s, it’s almost like, you know, we’ll see something and then I’ll predict: Oh, Living Water. And then, boom, Living Water. Very, very cool. Bob, are you okay with stopping here right at the punch line like they do on all good soap operas? Bob?
Bob 31:54
(in background) Yeah, okay.
Carolyn 31:56
Yeah, Bob says, yeah, okay. Do you want your phone back? Bobby?
Bob 32:01
(in background) Not yet. Not yet.
Carolyn 32:02
Are you gonna play some music? What do we do? Are you on delay?
Bob 32:09
(in background) No.
Carolyn 32:10
They’re not on delay. Okay, thank you, iON. Awesome. I might read ahead before next time, but I haven’t yet, so maybe not.
iON 32:19
You’re welcome. THE CHAPTER OF DRINKING WATER IN KHERT-NETER which is about middle ways of page 26. See, often that way – people get lost.
Carolyn 32:31
We did two pages. Oh, my god.
iON 32:34
That’s all right, that’s all right. That’s all right because some people get lost real easy and they can’t find it. So, we try to make sure we catch them up so they got up on point. We want them to be able to participate the best they can.
Carolyn 32:46
Oh, awesome.
iON 32:46
You know, it’s all good.
Carolyn 32:47
Yeah.
iON 32:48
We do without so that they can have.
Carolyn 32:50
Yeah. Thank you.
iON 32:51
You’re welcome, you’re welcome.
Carolyn 32:52
I understand. Appreciate it. Okay, turning you over to Bob –
iON 32:56
Happy days.
Carolyn 32:56
– who says he – thank you, thank you. Who says he’s on time. (music starts) How are you gonna do it, Bob, if you’re not – (laughing)
Music 33:25
2100
Bob 0:02
Okay, let’s see if there’s any answers, any questions about what we just heard. Okay, I’ll bring this up. I’ll unmute it all and see if anybody has any questions, –
Announcer 0:20
All participants are now unmuted.
Bob 0:23
– questions, comments on the Egyptian Book of the Dead today. Just go ahead.
Gregg 0:30
(in background) Oh my god.
iON 0:35
Is it, is it for live people or dead people?
Bob 0:40
Live people here online. You got a question or comment, Scott?
Scott 0:47
Yeah, okay, I got – can you hear me?
Bob 0:51
Yes, you’re clear.
Scott 0:52
Okay. I guess about – I’m been thinking about –
Gregg 1:03
(in background) They are awesome to watch.
Scott 1:08
There’s somebody else talking. I don’t know who he is.
Bob 1:13
That’s all right. I’ll mute them.
iON 1:12
Oh my god, Bob. You shamed him. You shamed him into a great phone. We don’t have to listen to his bullshitin’ telephone. This is great. How fabulous. I love it.
Bob 1:14
I’ll mute whoever’s talking, Scott. It’s okay right now. I don’t hear them.
iON 1:31
It’s in his room. It’s in his room.
Scott 1:36
Yeah, I was just always just worried about other people being able to hear. I don’t care about it, but let’s see. There’s a, there’s a phrase that’s used in, in James Joyce’s "Finnegans Wake" on page 469. And what she says: "Squall aboard for Kew, hop! Farewell awhile to her and thee! The brine’s my bride to be." I was just wondering if that is a reference to W.T. Stead in "Kew" because it’s not spelled with a Q, it’s spelled with a K-e-w.
iON 2:22
Naw, it’s not the same.
Scott 2:28
Okay. Other question: is there a difference between the dead who are looking for someone to blame or accuse in order to get off, get out of their own sense of guilt, and the dead, like Stead? Is, is one really alive, but in the dead realm; and the other dead, but in the alive realm? Is that, does that concept make any sense?
iON 2:59
You got it. You’re, you’re dealing with kozydozy, aren’t you?
Scott 3:07
Kozydozy?
iON 3:10
Yeah.
Scott 3:12
I think I know what you mean by that. Do you mean my housemate?
iON 3:18
No, in the Book of the Dead. I mean, in the Wake.
Scott 3:24
Kozydozy.
iON 3:27
Yeah.
Bob 3:28
Yeah, it’s probably mentioned once in the whole book, those two words.
Scott 3:33
Kozydozy. That would be –
iON 3:34
Bring out the dead.
Scott 3:37
-Com-, comfortably asleep, but comfortably numb?
iON 3:40
who, buried upright like the Osbornes, kozydozy, had tumbled slumbersomely on sleep at night duty behind the curing station, equilebriated amid the embracings of a monopolized bottle. 429. Come on, now. We can quote it back.
Bob 4:06
What page was – were you on, Scott? 429?
Scott 4:11
No, it’s 469.
iON 4:12
No, it’s 469.
Bob 4:13
469, okay. 429. Good. You gotta be on your toes doing "Finnegans Wake" with iON, Scott.
Scott 4:13
Yeah, I guess so.
iON 4:25
Otherwise, otherwise, clickclack – otherwise, clickclack will get you.
Bob 4:37
Heh heh heh heh.
iON 4:38
But, now, it does make reference to the other side more of Dinky Doll and Hazelridge. Maybe, but none of those that go as far as Kew.
Bob 4:53
Go as far as Kew did you say?
iON 4:56
Yeah.
Bob 4:58
The Kew that Scott’s talking: K-e-w.
iON 5:02
K, capital E, W. Mm hmm.
Bob 5:08
Yeah.
Scott 5:10
So, is that the name of a – is that the name of a god?
iON 5:16
Reference. Go ask Bob, he’s the damn expert of this ridiculous little shit.
Bob 5:21
Ha ha ha. Yeah, that’s a reference to a god there, Scott.
iON 5:30
bickbuck! Jeejakers. I hurt meself nettly that time! Come, my good frog-marchers! We felt the fall but we’ll front the defile. Was not my olty mutther, Sereth Maritza, a Runningwater? And the bould one that quickened her the seaborne Fingale? biga triga rheda rodeo, the cherubs in the charabang, set down here and sedan chair, don’t you wish you’d a yoke or a bit in your mouth, repulsing all attempts at first hands on, as no es nada, our greatly misunderstood one we perceived to give him some sort of hermetic pride or kick to sit up and take notice, which acted like magic, while the phalanx of daughters of February Filldyke, embushed and climbing, ramblers and weeps, voiced approval in their customary manner by dropping kneedeep in tears over their concelebrated meednight sunflower, piopady boy, their solase in korckaness, and splattering together joyously the fact plaps of their tappyphands as, with a cry of genuine distress. You know, pollylogue, Okay, good.
Bob 7:08
Did you get the page number Scott?
iON 7:12
You’re stuck at 470
Bob 7:16
470.
Scott 7:18
No, I was looking 429. To Sylvia Silence, the girl detective –
Bob 7:24
Yes.
Scott 7:25
– (Meminerva, but by nowone hears turtlings all over Doveland!) when supplied with informations as to the several facets of the case in her cozy-dozy bachelure’s flat, quite overlooking John a’Dream’s mews, leaned back in her really truly easy chair to query restfully through her vowelthreaded syllabelles: Have you evew thought –
iON 7:58
Oisis, coolpressus onmountof Sighing! Oasis, palmost esaltarshoming Gladdays! and Oisis, phantastichal roseway anjerichol! Oasis, newleavos spaciosing encampness! Oisis, plantainous dewstruckacqmirage playtennis! Pipetto, Pipetta has misery unnoticed! But the strangest thing happened. Backscuttling for the hop off with the odds altogether in favour of his tumbling into the river, Jaun just then I saw to collect from the gentlest weaner among the weiners, (who by this were in half droopleaflong mourning for the passing of the last post) definitely the familiar yellow label into which he let fall a drop, smothered a curse, choked a guffaw, spat expectoratiously, like Bob blew his nose and a trumpet was laid, and Bob knew that the next thing was the grummalicked the stickyback side and stamped the oval badge of belief to his agnelows brow with a genuine dash of Carolyn huff’s off to bed irrepressible piety of the meeting room to the ladylike typmanzelles capsy curvy (the holy scamp!), with half a glance of Irish frisky (a Juan Jaiesan hastaluego) from under the shag of his parallel brows to fold the flogs and then the daggers. It was then he made as if be but waved instead of the handacross the sea as notice to quit while the pacifettes made their armpacts widdershins (Frida! Freda!) No, what’s the point?
Bob 10:14
Well done.
iON 10:15
Let them, let them eat cake.
Bob 10:20
What page was that?
Scott 10:22
Yeah.
Bob 10:28
You have a page for that, iON?
iON 10:30
Oh, yeah, 471.
Bob 10:33
Okay, 471. Yeah, I’m trying to find a concordance or a – is there a "Finnegans Wake," Scott, that –
iON 10:40
Oh, you can go 470. You can go 470. Bob, you should actually read this. It’s not bad if you look at it. When you get time.
Bob 10:48
Well, I like listening to you read it. You’re pretty good at it.
iON 10:51
Well, but, see, after a little while it’s always the bridesmaid never a bride. We add our own inflection. Did you get it there where Carolyn stomped off to bed?
Bob 11:00
Yes.
iON 11:01
That was pretty cool.
Bob 11:04
Right. So, Scott, is there a "Finnegans Wake" out there that one can scan through? I thought I had one; I don’t find it my files.
Scott 11:13
Yeah, they – that was at the University of Adelaide, I think, and they took it off the, off the internet for some reason. –
Bob 11:20
Oh.
Scott 11:20
– Probably influenced by the Tech Body. So, so, I just I have one that I downloaded, you know, just a PDF that I can look through.
Bob 11:37
That’s good. Okay, so let’s –
iON 11:41
What’s wrong with, what’s wrong with finwake.com, Bob? Pretty easy isn’t it?
Bob 11:46
It’s got – it’s not. It’s all in parts. I would like to have a whole text. You know, that I can scan the whole thing rather than in parts because I don’t know what part you were at.
iON 11:58
Oh, that’s true. That’s true. That’s true. It is post-Mary McLuhan. I’m sorry, Bob, you’re right.
Bob 12:04
Yeah. Yeah. Not perfect. Okay, so Scott, have you got any more you want to ask iON about? Preferably about the Book of the Dead. Let’s exhaust that first.
Scott 12:20
No, just – those were the two primary questions about that. The others are personal.
Bob 12:31
Okay, we’ll do those later. iON, what did Joyce use the Egyptian Book of the Dead for? What was his concept for it? His role.
iON 12:41
Oh, oh, to the isomer the, the esatarshomer.
Bob 12:45
Is that a chemical chemistry term? Chemistry term?
iON 12:52
470. 470. Oasis, cedarous esatarshoming Leafboughnoon! What it’s used for.
Bob 13:03
Yeah that that does – you mean that part? That’s the only use that the words indicate the you, or that is the only part?
iON 13:10
That fees, that, that feeds, that feeds into the pollylogue. You got to – you got to – it feeds into itself. So, yeah, that’s one part, but it’s almost a lot of the part.
Bob 13:23
So what page was that? Page 471 did you say?
iON 13:28
470. 470.
Scott 13:31
February Filldyke?
iON 13:34
Yeah, embushed and climbing, ramblers and weeps, voiced approval in their customary manner by dropping kneedeep in tears over their concelebrated meednight sunflower, piopadey boy, their solase in dorckaness, and splattering together joyously the plaps of their tappyhands as, with a cry of genuine distress, so prettly prattly pollylogue. And then it goes down of the Eh jourd’weh! Oh jourd’woe! dosiriously it psalmodied. Gues-turn’s lothlied answring to-maronite’s wail. Oasis, cedarous esaltarshoming Leafboughnoon! Oisis, coolpressus. That’s all that; that’s in the Book of the Dead. In that section. Mysery unnoticed. From Pipetto.
Bob 14:46
Can you say which part of the Book of the Dead it’s from?
iON 14:51
Oh, the crying of the voice of Osiris, capturing the tears, capturing the tears in the forest.
Bob 15:01
Okay, all right. So, does anybody else have something to say about Egyptian Book of the Dead?
Bert 15:11
Yes, I do, Bob. Hey, Bob. iON.
Scott 15:14
Okay, go ahead, Bert.
Bert 15:16
iON, iON, the quote you had: May Anpu make my thighs to become vigorous." And you mentioned the hara and, and endurance. Is endurance the source –
iON 15:25
Yes.
Bert 15:25
– is the hara the source of endurance in the meat sack?
iON 15:29
No, no, it’s what balances your chakra energy. It balances your chakra energy. So, you would confuse that with an endurance builder. Like, when you’re running and you don’t know where it’s coming from and you think if you run one more foot you’re gonna fall over and die; but yet, you go another mile.
Bert 15:50
Yes.
iON 15:50
And you’re sweating like a Jersey bull. Did you know Jersey bulls sweat?
Bert 15:56
No, I did not, but thank you for that. Okay.
iON 15:59
Yeah, they (overtalk).
Bob 16:00
Bert, was your question about the Egyptian Book of the Dead?
Bert 16:04
Yes, there was a quote Carolyn and iON were talking over was called, "May Anpu make my thighs to become vigorous."
Bob 16:13
Right.
Bert 16:13
And iON said that – mentioned that the hara and endurance. So, I just was following up on if the hara was the source of endurance in the meatsack.
Bob 16:25
Okay. So, the thigh, the thigh quote.
Bert 16:31
Yes.
Bob 16:34
Okay, got anything else?
Bert 16:36
Yes, iON, you were mentioning – you used me as an example about the OA movements. So, the OA –
iON 16:44
Yeah.
Bert 16:44
– the OA movements are ideally done with – is that why in the movie she had five people?
iON 16:49
It’s good to be, it’s good to be Number, good to be Number One, isn’t it? Number One.
Bob 16:55
Okay. You’re still doing the Egyptian Book of the Dead, right, Bert?
Bert 16:55
Yeah, –
iON 16:57
That’s right.
Bert 16:57
– It was the last, ah: "One Nekht was with him who was diligent in making him to understand it, and he brought it to the king as a wonderful object." And the object iON told Carolyn was, were the OA movements. And then iON said something about getting four machines to run. So, iON, so, ideal – in the OA movie, she had five people in a circle. Is that the reason why she had five people, is because the five people would, would carry on different pitches? Is that what that was?
iON 17:36
No, it’s the bodies, it’s the bodies in a circle. So, no matter where you were, that the movements, the shapes, covered all the circles in that parabolic construction.
Bert 17:58
I’ll come back to that. Thanks, Bob. That’s all I have.
iON 18:01
You know and the – no, it’s not. Stop! You didn’t ask the question that you’re supposed to ask. The best question was: the shape of those movements, if a machine does them with you, is that as effective as you doing it with live people? We say it’s the same because you’re powerful enough to almost do it all by yourself. But you can’t quite get there. But you’ve learned how to tie yourself a little tie-line, a little bit.
Bert 18:30
I learned how to –
iON 18:31
Remember the Book of the Dead – okay, don’t, don’t say no more. And you remember how that we were talking about in the Book of the Dead about the paricardium, and how it’s building –
Bert 18:41
Yes.
iON 18:42
– and it has more, more fullness? And so, when you get that tightness in your chest that you used to really have a lot, now it’s more like strong. It’s not, it’s not like you’re, you’re feeling your heartbeat, but that you feel the pressure?
Bert 18:59
Yes.
iON 19:01
It’s like that. Same reference, –
Bert 19:05
Is that –
iON 19:05
– but you’re physically doing, you’re physically doing it.
Bert 19:10
And that references the heart-case that was mentioned in the Book of the Dead; the heart-case, the pericardium. That’s what you are saying.
iON 19:17
Pericardium. That’s correct. And then, you, that’s when you feel it. Because –
Bert 19:21
That’s what I feel.
iON 19:25
– you’re a little bit ahead of yourself. Yeah. Because you’re a little bit ahead of yourself. And so that’s why you feel it in your heart. The tightness in your chest.
Bert 19:38
Yes.
Bob 19:41
Does this apply to the Egyption Book of the Dead?
Bert 19:44
Yes.
iON 19:45
Yes, it’s exactly making the reference to it. Bob, it ain’t like you never heard this shit before. We spent an hour on this. We did almost a page and a half.
Bob 19:52
I was busy dealing with – I was busy dealing with ghosts. Dead people wandering through the room. I was applying it.
iON 20:01
Dealing with – with their damn shoes. With their damn shoes on. They wear their damn shoes in the house, but nobody else gets – "Well, you just stand outside. We’re not touching the doorknob. You got your shoes on." I don’t know why I’m touching the doorknob is such a big deal whether or not you have your shoes on. It’s ridiculous to us but, we don’t know. We don’t know.
Bob 20:25
Okay, anything else Bert.
Bert 20:27
That’s all I have, Bob. Thanks.
Bob 20:31
(overtalk inaudible)
iON 20:33
In the, in the Egyptian Book of the Dead, were you talkin’ about peeing sittin’ down? That’s important too.
Bob 20:40
Yes
Bert 20:41
Peeing sittin’ down?
iON 20:43
Yeah.
Bert 20:44
I don’t remember hearing that. I have to go back and listen.
iON 20:46
Oh yeah. When the waters flow. When the waters flow as you siteth down and the waters flow. That’s when you have to sit down and pee.
Bert 20:55
Okay.
iON 20:56
That way we don’t touch nothin’. If you do it that careful, you don’t touch nothin’, you see.
Bert 21:00
Right.
iON 21:00
Important not to touch anything. But it can be a gauge, how much water you displace. –
Bob 21:06
Okay.
Bert 21:06
That’s all I have, Bob.
iON 21:06
– It can be a gauge of how much water. Can be a gauge of how much water you displace, so, so, that he has to be careful with that, too, you see. As the bird flys, you see.
Scott 21:17
There’s another –
Bob 21:18
Amy.
Scott 21:18
– there’s another phrase in "Finnegans Wake" where he could – where, where he talks about people confusing the peeing from the cueing.
iON 21:31
Mm hmm. Same thing, same conversation. It’s the same reference. He got that from the Book of the Dead, too, that shyster. We need to get him for plagiarizing.
Bob 21:41
Hey, iON, why did Joyce not have the letter Q in the 1001 letters that make up the 10 Thunders of "Finnegans Wake"? Why wasn’t the Q used much?
iON 21:53
Because, because, because of Bloomsday. He didn’t use a Q ever to make that reference. He couldn’t make it ‘cuz that would apply to a different conversation now. ‘Cuz, see, the Q –
Bob 22:05
You’re saying the Q refers to Bloomsday? You’re saying Q refers to Bloomsday?
iON 22:10
Yes.
Bob 22:10
Oh, I see. So, –
iON 22:11
Yes. And when he wrote it, there was – and when he wrote it, Leopold had no Bloomsday. Remember?
Bob 22:20
Other than "Ulysses."
iON 22:20
When Finnegans – well, but that doesn’t, that doesn’t apply then. Then.
Bob 22:26
Oh, you mean there was no tourist thing? Yeah, there was no tourist thing, Bloomsday.
iON 22:31
Right. Right.
Bob 22:31
Yeah.
iON 22:32
That’s right, but he represented it as though it were. Mm hmm.
Bob 22:39
In "Ulysses."
iON 22:41
In "Ulysses," but then it also applys to the Wake. But it affected Leopold. –
Bob 22:46
Yeah, okay, so that’s –
iON 22:47
– It affected Leopold.
Bob 22:50
Right. He’s HCE; he does fall asleep at the end of "Ulysses." So, then "Finnegans Wake" is his sleep life. Leopold’s wake –
iON 23:00
It’s the wake, it’s the wake after death.
Bob 23:03
Yeah.
iON 23:04
After death.
Bob 23:05
Yeah, the wake.
iON 23:06
Applys after the death, the wake.
Bob 23:08
That’s Blooms –
iON 23:09
We ain’t sittin’ up with the dead anymore because the dead, because the dead keeps sitting up.
Bob 23:17
Right, but the – that’s Leopold Bloom, the character from "Ulysses," is the one of the chara – one of the characters in "Finnegans Wake."
iON 23:27
Correct. Of course. –
Bob 23:29
Yeah.
iON 23:29
Hell, yeah, everybody knows that, Bob. They have to read that to get this far in the damn show. They can’t just walk in off the fucking street and get pregnant, Bob. It doesn’t work like that. Who the fuck are you talking to? You don’t get nothin’. You just walk in and get pregnant. –
Bob 23:44
Ha ha. You can’t walk in off the street on this (indistinct).
iON 23:46
– You gotta know, you gotta know who James Joyce is and you better know the life and times of Marge Stewart. You better learn Marge Stewart, for sure.
Bob 23:58
Ha ha. The life and times of Marge Stewart. Yeah.
iON 24:02
The life and times. Yeah, Marge Stewart, the Coach House of the future.
Bob 24:07
Ha ha ha. Okay, Amy, do you have anything to say about the Egyptian Book of the Dead?
Amy 24:14
Well, actually, can you hear me, man?
Bob 24:18
Yes, I can.
iON 24:20
Yes, we can.
Amy 24:20
Okay, cool. So, the Egyptian Book of the Dead; here’s my question. The band "Earth Wind and Fire" from the 70’s, 80’s, 90’s.
iON 24:29
Yeah.
Amy 24:29
They have all kinds of really neat artwork on their albums. How does that play into all of this?
iON 24:36
Makes reference – they make, they tried to make reference to the construct that are laid out in the Book of the Dead.
Amy 24:47
Nice.
Bob 24:49
What do they have, Amy? I though you said Beefheart. They have represent Egyptian Book of the Dead in their albums?
Amy 24:56
Damn right, –
iON 24:56
Yeah.
Amy 24:57
– let me tell ya. I was listening to – I recorded the show at the Kennedy Awards, the big thing that they give to musicians and artists. –
Bob 25:05
Yeah.
Amy 25:05
– and this, this one, the last month or whatever, was "Earth Wind and Fire." I never frickin knew this. And I’m watching this and there’s this gorgeous woman, just gorgeous woman singing, and there’s all this stuff behind her. And I looked at my wife, Sue, and I went, holy shit. What is that? I never knew "Earth, Wind and Fire" was that; and here it is, this whole thing we’re all talking about, the (overtalk).
iON 25:34
Look at the, look at the, look at Fire, "The Promise" album.
Amy 25:41
Oh.
Bob 25:42
Well, you didn’t complete your thought. What the hell? You’re saying that the Jefferson – the Kennedy thing showed Finne – the Egyptian Book of the Dead? What did you see? You – I don’t know that. What?
Amy 25:53
Okay, here it was. I’m watching the, the black mirror, the looky box, the television. I’m watching a recorded show; they are giving awards to "Earth Wind and Fire" for all that they’ve been and have done for us. And while they are presenting these awards, they are showing all what I’m looking at right now; all this stuff which is Egyptian. Everything is Egyptian, everything. –
Bob 26:21
Oh. I see.
Amy 26:21
– and as I’m looking at the Greatest Hits album right now, I’m looking at it, all this information.
iON 26:32
Go to "Fire," "The Promise," and go to "All ‘n All." Go to all "Earth Wind and Fire, All ‘n All."
Amy 26:44
"Earth Wind and Fire, All ‘n All."
Bob 26:48
Why are they referring to Egypt, iON?
Amy 26:51
Yes, that’s what I wanted. Yeah.
iON 26:53
They’re making, they’re making, they’re not making – it’s not Egypt, it’s the Book of the Dead. It’s not Egypt. It has nothing to do with Egypt.
Bob 27:02
Okay. Well, how did they get into the Book of the Dead? Is that another follower of me?
iON 27:06
"Earth Wind and Fire"? "Earth Wind and Fire"? They got it from you! Are you kidding?
Amy 27:13
"Earth Wind and Fire." Yeah. "Earth Wind and Fire."
Bob 27:18
Ha ha. Everybody’s knows that. Yeah, that’s on my chart. I got the four albums.
Amy 27:24
Bob, Bob, Bob. Yes. You gotta check this out. Just if you, if you wanna, like, check it out "Earth Wind and Fire Greatest Hits" album, The Book of the Dead, it’s right there. Everything’s there.
Bob 27:39
Now wait, you’re saying that they have there’s a picture of the Book of the Dead on the album.
Amy 27:44
Not the Book of the Dead, but what the Book of the Dead represents.
Bob 27:49
What’s it represent?
Amy 27:50
It’s art. It’s art.
Bob 27:53
Egyptian art, okay, Egyptian art.
iON 27:54
You have to (overtalk) no, it’s not. It is not Egyptian art. It is not –
Bob 28:00
But she’s not being clear. What are you saying, Amy, what is there?
iON 28:02
Book of the Dead art. Book of the Dead art. It’s not Egyptian.
Bob 28:08
Is that right, Amy? It’s art that’s in the Book of the Dead?
Amy 28:10
Yeah, it is dead art.
Bob 28:14
Yeah. Does it say that on the, on the sleeve?
Amy 28:17
No, no, it doesn’t say it, but it is dead art which is alive. As we talk about the Book of the Dead, it is life. For as you look at the album –
iON 28:33
Okay, stop. Okay, that’s good. That’s enough. Now go to "Earth Wind and Fire," "All ‘n All" in 2019. Look at that album cover. That’ll, that’ll shake your shit.
Bob 28:49
Right. I want to say I just noticed on Trump’s tweet, he’s got a picture of Denzel Washington, who’s pro-Trump. Den’s out there working for Trump. Now, Denzel was the guy who turned Morgan Freeman and other people onto iON because his son went with Germaine’s sister. –
Amy 29:08
Yeah.
Bob 29:08
– So, here’s Denzel, he’s learnin’ about Trump from iON every week.
iON 29:12
That’s right.
Amy 29:14
Yeah, I remember that. I remember that when she was saying she spent the night. Man, she’s, like, hanging out when one dude showed up before or had a look, like, whoa, what’s that, whoa.
Bob 29:25
Yeah.
Amy 29:26
Again, that’s the Book of the Dead. It’s for living. As you listen to all of this incredible information, it’s how to live.
Bob 29:36
Yes. –
iON 29:37
Okay, –
Bob 29:37
– you have to get over all your images of dead, Amy. Your mind has to change your images of dead.
iON 29:43
Okay, too many words. Too many words. "Earth Wind and Fire" –
Bob 29:47
Mine wasn’t. Mine was not too many words. Change your image of the dead. Ha ha ha.
iON 29:50
"Earth Wind and Fire." "The Promise" album cover. "The Promise."
Bob 29:56
"The Promise."
iON 29:57
"The Promise" –
Amy 30:00
Okay.
iON 30:00
– album cover. Look at that one. That one will fuck you up, too.
Amy 30:02
Okay. Well, now, here’s somethin’ I want to know that was fucking with me today and it was awesome. And this has everything to do with what we’re talking about. So, I’m a human being with eyeballs. I stand on my deck, I’m looking at the sun. To not ever be able to look at the sun.
iON 30:02
Don’t stand on your – ahra – Amy, If you stand on your dick, it will make it sore. Do not stand on your dick. That’s not cool.
Amy 30:22
Ha ha. Ah, shit. Ah, man. X-rated with that one.
iON 30:24
It will make it sore. Yeah. Well, you’re standin’ on your dick and you’re wondering if you can see – honey, you’ll see – you’re standin’ on your dick long enough you’ll see stars, too. You’ll see the earth, moom, earth, wind and fire and the stars. Don’t stand on your dick, darlin’, you can’t do that. Don’t do that. Don’t stand on your dick. It hurts!
Amy 30:51
You could have paid me a trillion, I couldn’t come up with that. That was smacking good. Drop the mic to you, iON, that was good.
iON 30:57
Well, you said it! You did come up with it! You said it! You said you were standing on your dick looking at the stars and you saw the sun and you couldn’t look at the sun, the stars. No damn wonder, yeah, I guess so, honey.
Amy 31:10
(inaudible) I was standing on my deck and then I’m lookin’ at the sun and then the sun split, so I guess I have balls.
iON 31:19
(overtalk) stand on your dick. That’ll get you.
Amy 31:19
This is good. While I’m standin’ on my deck, I’m standin’ on it, literally, I see the sun I see the light, right? –
iON 31:23
Yeah, guess so.
Amy 31:27
– But, really what happened was I watched you, or the energy of you, all of it start to come toward me. I’m not kidding. I’m not kidding. I looked at the sun on my –
iON 31:42
Were you still standing, were you standing on your dick?
Amy 31:45
– now, I’d feel better if I did that. I like that now. I’m standing on my dick, looking at the sun –
iON 31:53
Ooooo,ooo. Stop, stop. Lordy, lordy –
Amy 31:55
– I finally grew one and it was big, man. It was so big, I was grounded. Imagine. Imagine how big. But, I looked into the sun –
iON 32:04
You did the OA movements while you were standing on your dick?
Amy 32:16
You’re damn right. Oh, these were the OA and beyond. I’m looking at the sun –
iON 32:17
Ooooo. Can you imagine doin’ the fourth movement, Bert, while standin’ on your dick while you’re doin’ it? What about dat doe?
Amy 32:23
My dick is now 15 feet. I’m sitting on it and I’m looking at the sun –
Bert 32:26
Crazy, iON.
Amy 32:27
– well, I look at the sun, it split. So, now I have balls, right? With my dick upside down, but I’m looking at the sun –
iON 32:34
The little face, the little portholes and then the dropping down. Once you’re nuts, once your nuts fall, that’s what happens. It’ll fall down to the sack. That’s right.That’s good. I guess it will fall pretty far if you’re standin’ on them long enough. I guess you (overtalk) –
Amy 32:49
I’m so sorry people you went through this. Okay, for real.
iON 32:53
– discussion. Now go back to the "Promise" album cover. Look up "Earth Wind –
Amy 32:58
It’s all about the promised land.
iON 33:00
– No, the "Promise" album cover –
Amy 33:02
iON, what the hell was that – iON, iON.
iON 33:04
– you brought this, you brought this bullshit up, now let’s do it. You brought it up, so let’s do it. –
Amy 33:10
Okay, we’re doing it.
iON 33:11
"Earth Wind and Fire, the "Promise." Look it up. Look it up.
Amy 33:13
And I’m looking, I’m looking at the sun.
iON 33:15
Pick it up, pick it up, pick it up with your butt cheeks. Pick it up with your butt cheeks.
Amy 33:22
Oh my god. Help me. Ha ha. So, I’m looking at the sun –
iON 33:26
Look at the "Promise" album cover. No, you’re looking at the album – the "Promise" album cover.
Amy 33:32
Okay the "Promise" – okay, I’m doin’ it- the "Promise" promise –
iON 33:36
You can – you did this. "Earth Wind and Fire."
Amy 33:41
I did this. I did this, it started the other night. Earth Wind, okay, Wind and Fire. Oh my God, this is a trip. I never had a dick so big. This is tripping me out. Okay, "Promise" and Earth –
iON 33:55
We hear that often though; we do. We hear that often though, by the way.
Amy 34:00
Here we go. Oh, whoa, there it is. Nice.
iON 34:04
See?
Amy 34:05
And there he is, standing there. Wow. What the – whoa.
iON 34:10
Look at your markers.
Amy 34:13
Holly shoot –
iON 34:14
See how it lines up?
Bob 34:14
You’re talking about the cover of the "Promise"?
Amy 34:17
Yeah. Wow.
Bob 34:19
Yeah, I’m looking at it.
Amy 34:21
Yeah, that’s universal. Look at that.
Background 34:22
(voice recording plays in background and continues)
iON 34:23
She did that. She did that. And see the different marks? You have the first one down the corner next to the ankh, you got the different, some of the different planet representations and marks on those planets that mean things. And then you go down to the left of the other side of Promise, you get the bigger picture of the Sphinx’s face. See the Sphinx’s – Bob’s face? Look, there’s Bob’s face right there next to the sun. See it?
Bob 34:52
Which one? Which one? Above the yank?
iON 35:00
The Promise, P, no, –
Bob 35:02
I’m lookin’ at the Promise.
iON 35:00
No, directly above the ankh. Directly above the ankh.
Bob 35:04
Yeah, I see that.
iON 35:04
Directly above the ankh is the sun, and then just to the right of the sun is your face. Can you not see your face right there?
Amy 35:12
Oh, there it is, Bob. See it?
Bob 35:14
Oh, yeah, the Sphinx. Right yeah, there it is. Yeah. Wow.
iON 35:18
That’s not the Sphinx, it’s your face. And look, and look, there’s your little nipples. Look at the little nipples. That’s like your nipples, Bob. Look at there. Bob’s nipples, everybody look at (indistinct).
Bob 35:21
Nipple; bi-sexual nipples.
iON 35:31
He’s got the, he’s got the superfluous nipple. It’s always good, the superfluous nipple.
Amy 35:38
Wow, Bob, we found that out together.
iON 35:40
Look at all that hair. See that? That’s what it looks like. And look at the little belly button. Bob’s got a belly button just like that, too.
Bob 35:48
Yeah.
iON 35:48
Just like that.
Amy 35:52
Wow, Bob, I’m so glad we had this time together. Ha ha. Holly scheez.
Bob 35:57
Boy, what a way to share.
Amy 35:59
That was amazing. That was, yeah, well, okay, so, this is how everything’s lining up. Again. I’m not gonna make a biggie out of it but, "Earth Wind and Fire," as I looked at the sun today, I watched the sun split into two. Seriously, two, like the year of 2020 is of 2020 vision. Everything is two, like Bob; February’s 2nd, 2020, What’s happening? That’s really exciting.
Bob 36:35
Yeah.
iON 36:37
There’s a lot of them.
Background 36:41
(voice recording still playing)
Amy 36:43
A lot of – okay, I hear a lot – Hello?
Bob 36:49
We’re here.
iON 36:50
Okay, look at this one.
Amy 36:52
Okay.
iON 36:51
Look at this one. This one will get you a little further out there. It’s called "Earth Wind and Fire." It’s called, "Another Time De Earth."
Amy 37:07
"Earth Wind and Fire," Another Time Of Earth?
iON 37:17
D-e E-a-r-t-h.
Background 37:25
(background voice recording stops)
Amy 37:19
Another time. There it is, 1974. Okay, coming up. Oh, look at her. Oh yeah! Oh yeah!
iON 37:35
Now, Bob’s got earbobs, Bob has got earbobs just exactly like that. And then that time when all his hair fell out, that’s sort of what it looked like; but, it’s all grown back now.
Bob 37:47
What’s the name of the album?
Amy 37:48
That’s amazing. Oh, that’s amazing.
iON 37:51
"Another Time De Earth."
Bob 37:51
Another Time the earth. Oh yeah. Okay.
Amy 38:02
iON, what is, what is "Earth Wind and Fire"? How did this all happen? How did they pull this together and create this incredible music we love?
iON 38:12
Oh, okay, that’s easy. Are you ready? That’s on The EWF Experience. Look that one up.
Amy 38:25
EWF Experience?
Bob 38:27
Yeah, Earth Wind and Fire.
Amy 38:30
Yeah, I did exactly. You’re saying E-W-F experience though. Okay.
iON 38:36
Yeah. And then, then, "Symbols." That’s an album.
Amy 38:41
Yeah, I’m gonna be paintin’ this on my wall. I want, oh man, this is incredible.
iON 38:45
And there’s your Book of the Dead.
Amy 38:49
Bob wanted (overtalk).
iON 38:50
The Book of the Dead.
Bob 38:50
What was that one called? What album was that?
iON 38:55
EWF Experience, slash, symbols.
Bob 39:00
Symbols. Well, this turned into an appropriate time –
Amy 39:07
(singing) I’m so glad we had this time together.
Bob 39:08
– reading the Book of the Dead –
Amy 39:13
Isn’t this credible, Bob? I mean, seriously, –
Bob 39:15
Yes.
Amy 39:15
– all this Book of the Dead; and now we’ve got the images, the power –
Bob 39:20
Yeah.
Amy 39:20
– of the images in the music. This is, this is – yeah.
Bob 39:27
Are you wondering what the symbols mean?
iON 39:30
What about dat doe?
Bob 39:31
They give you the meaning of the symbols.
Amy 39:35
The symbols are –
iON 39:37
Did you find the "Symbol" one? Did you find the Book of the Dead –
Bob 39:40
Yeah.
iON 39:41
– (indistinct) Bob talks about the Book of the Dead and you found it? You see the fire? You see the light? –
Amy 39:45
Yeah.
iON 39:46
– And you see the angels? And you see the different –
Bob 39:48
Yeah.
iON 39:48
– symbols, how they apply? And then how many stands are there on either side?
Bob 39:56
Six.
iON 39:56
Are they six? Okay, is this a hexadic?
Bob 40:02
Oh yeah, hexadic. That’s right. And it’s right in front of my portrait. Look at that. I’m on another one of their albums.
iON 40:10
Yeah.
Scott 40:11
There’s another, there’s another image on "Now Then and Forever" that’s a Sphinx.
Bob 40:17
Okay.
iON 40:18
That’s very, that’s right, now that’s a good one, too. But the next one he needs to look at it’s Very dandy. It’s Very Dandy on Bobby’s Wonderland.
Amy 40:33
What?
Bob 40:33
Bobby’s Wonderland. Bobby’s Wonderland? Ha ha ha.
Amy 40:39
Oh, man, this is just gettin’ better.
iON 40:42
It’s very dandy.
Bob 40:43
There’s "Boogie Wonderland." "Boogie Wonderland."
iON 40:46
No, that’s Bobby, that’s Bobby. That’s Bobby. Bobby’s Wonderland.
Bob 40:50
Ha ha ha. That’s me as the Tech Body.
iON 40:54
(indistinct) Bob.
Bob 40:55
Look like a Tech Body there.
Bert 40:57
Yeah.
Amy 40:58
I hope everybody else is like going into this stuff because it’s powerful artwork; it’s just incredible.
Bert 41:05
Wow.
Bob 41:05
Yeah.
Amy 41:05
It’s changing.
iON 41:07
Just album covers, just album covers.
Amy 41:11
Yeah, but (overtalk).
Bob 41:12
Is this "Boogie Wonderland"? I’m lookin’ at "Boogie Wonderland."
Amy 41:15
Listen, listen to this. Earth Wind and Fire when you got the artwork of the whole spectrum and all that, in the middle it says: : "I Am."
Bert 41:26
Yeah.
Amy 41:26
"I am."
iON 41:27
– Okay, are you ready?
Amy 41:28
Yes.
iON 41:28
– and then you got to go all the way down to "Earth Wind and Fire." It’s "Iron Maiden, the Powerslave."
Amy 41:34
Oh, oh shit. Iron Maiden; oh, man, now you’re talkin’. Love it.
Bob 41:39
What did you just say? You said something there, Amy. "I Am," is that in the middle of the Tech Body image?
Amy 41:46
It is literally, it’s on the album cover that has the pedestals or whatever you want to call them. It has the whole spirit thing, the star we’re looking into. If you go straight down the middle it says: "I Am."
Scott 42:00
Well that’s, that’s the name of the album, "I Am." "Earth Wind and Fire, I Am."
Amy 42:06
"I Am," yeah. That’s what I’m saying, yeah, "I Am." As we’re talking about the Book of the Dead and I bring up "Earth Wind and Fire," now iON’s taking this and going boom boom boom everywhere and there it is: "I Am."
iON 42:20
(overtalk) We love, we love to fuck.
Bob 42:21
What image is "I Am"? I don’t see the "I Am." What image?
Scott 42:26
It’s the "I Am" album. "I Am" by "Earth Wind and Fire."
iON 42:30
Beneath the album, the album name.
Scott 42:33
July 16, 1979.
Bob 42:36
Sheeze.
iON 42:38
Did you go to "Powerslave" yet? "Iron Maiden – Powerslave." Come on, now, y’all keep up.
Amy 42:44
Yeah, man, we gotta keep up. "Iron Maiden." Okay. Oh, man. This is fun. This is awesome.
Bert 42:50
"Iron Maiden."
iON 42:53
Uh oh. You got Bert’s little dick, you got Bert’s dick hard now. He’s on it.
Amy 43:01
Yeah, I just heard Bert, man. It’s like, come on into the party, man. Yeah, I Am, maybe.
iON 43:07
Yeah, and don’t stand on your dick; it’ll make it big. Don’t stand on your dick, it will make it big.
Amy 43:13
Mine’s 15 foot.
Bob 43:14
What was the name of the album?
Amy 43:15
I’m in. "Iron Maiden"
Bob 43:17
What’s the name of the album?
iON 43:18
"Iron Maiden."
Scott 43:19
The name of the album is "Iron Maiden – Powerslave," I think. By "Iron Maiden."
iON 43:24
"Powerslave." That’s right. That’s right.
Bob 43:25
Right.
Scott 43:27
"Iron Maiden," yeah.
Bob 43:30
Oh, yeah, another nice picture.
Bert 43:33
Wow.
Bob 43:36
Very nice.
iON 43:37
See how it connects? Now, you see, you see there’s Bob. There’s his little nipples again. Look at them rock-hard abs there, boss; look at them. Boy, he’s standing up there like (inaudible)
Bob 43:48
Yeah.
Amy 43:51
There it is.
iON 43:52
See, those ablutions are paying off, Bob. I told you.
Amy 43:56
That is incredible.
iON 43:59
But you really should put water in the ReStructure, Bob. You’re just eating the dry powder. We don’t think it’s doing the same thing.
Bob 44:06
No, no, I put, I put – I put – you mean I should put Living Water in it? Is that what you’re saying?
iON 44:11
No, don’t waste the Living Water. Hell, we can’t keep up with your Living Water consumption now. Don’t add no more of that. We can’t keep up. –
Bob 44:19
No, I add water. I always do water in it.
iON 44:19
– Poor Jimmy, poor Jimmy’s gettin’ – poor Jimmy’s getting strong just totin’ this shit. It’s all he can do toting two sacks at a time. Too bad. "Powerslave" –
Amy 44:22
Okay, question guys. –
iON 44:26
– Oh god, oh god.
Amy 44:35
– Here we get – oh god, oh god, he says. So, you’re talkin’ all this stuff and all these different planets and where we come from on and on. Okay, we talked – I just want to ask Sirius A, Sirius B. The beast called a dog has no origin here on earth, but supposedly comes from Sirius B. Is this true?
iON 45:01
Okay, no. Not from Sirius B, not from Sirius B, but it is a beast that’s not from this world; but it doesn’t come from Sirius B.
Bob 45:14
What doesn’t come? What did you ask about?
Amy 45:18
The dog, the beast. ‘Cuz I see dog as god spelled backwards. Dog –
Bob 45:25
Yeah.
Amy 45:25
– we didn’t, we do not have a definition of its origin. So, where does it come from and as – has it come here for us, humans?
iON 45:39
It came as to be your – to be a mirror of physical with a non physical ‘cuz it has no, it doesn’t know, it doesn’t have a soul. It represents (indistinct).
Bob 45:48
What are we talkin’ about?
iON 45:59
Dogs, bitches.
Bob 46:02
Yeah, but what’s it got to do with anything? What are you – Sirius?
Amy 46:09
And has to do with, whether it’s the Book of the Dead, or whether we – where we come from; what planet, as we’re going out into other realms or whatever you want to define them as. I’m choosing the beast called the dog or god spelled backwards. I wanted to know where does it come from and did it come here for us, humans, as a guide.
iON 46:34
It was given, it was given here for you just so you have a mirror. So that’s why it’s called man’s best friend.
Amy 46:44
Bingo. Nailed it. Thank you, iON.
iON 46:47
And the best, and the best picture of Bob in the Book of the Dead references "Earth Wind and Fire and Friends Top 40, Their Ultimate Top 40." That gives you Bob’s (overtalk).
Bob 47:01
I’m not getting your point, Amy. The Sirius constellation or planet has something to do with a dog that came here. What’s your main point?
Scott 47:11
Sirius is the dog star. –
Bob 47:13
Yes.
Scott 47:14
– It’s another name for it.
iON 47:17
But that’s not where the beast dog comes from.
Bob 47:18
Okay, so this – what did Amy want to know?
Amy 47:19
I wanted, I wanted –
iON 47:21
How that (overtalk) the Book of the Dead. The Book of the Dead makes references and she’s, like, if that, if that comes from Sirius – if it come from there, if that’s where they come from, is that the reference that the Book of the Dead is making? And their answer is no, that’s not where they come from, but it is the reference of Horus, the god Horus in the Book of the Dead who has the dog face.
Amy 47:48
Yes.
Bob 47:49
Right.
Amy 47:50
Ahhh! Yes.
iON 47:52
So, it mocks the god Horus, not the beast from Sirius, the dog star. And so, now go to the "Top 40 Earth Wind and Fire, Their Ultimate Top 40 Collection" and look at Bob with a good nose, perfect nose. And now somebody – nobody really talks about –
Bob 48:10
And I think you said, "and friends"? It’s called "and friends, iON?
iON 48:16
No, Top 40 –
Amy 48:18
Okay, okay guys, and any beings, all that are listening, as we tic tock down to 2020 this "Earth Wind and Fire" artwork is blowin’ my mind. I know this has some serious energy. Months ago I brought up Woodstock. I remember Carolyn and Bob talkin’ to me about the absolute unbelievable sort of new earth hijack into a –
iON 48:44
And Scott’s right here and he didn’t go. And Scott’s right here and he didn’t go and he showed up there. So, he was at the one in Seattle somewhere but wasn’t quite there, but he went to a different one, which is the same Woodstock but it was in somewhere in Willamette Valley. It was pretty amazing, but not that one. Not the real one, but it was a good one. And, yeah.
Scott 49:06
(overtalk with iON and Amy)
Bob 49:09
What did we say, what did we say about Woodstock, Amy?
Scott 49:15
Go "Creep."
Bob 49:15
What? Go "Creep." What were we saying to you, Amy, about Woodstock that you’re saying it’s memorable?
Amy 49:22
Oh, I was, I was trippin’ out because I had, I just got ahold of Santana’s new album, this was months ago. And, I was like diggin’ it; and it’s got the whole rhythm and vibe going on. And you and Carolyn were talking to me going, "Whoa, man, we saw Santana here on the island, and, like, he, it was like –
Bob 49:39
Oh, yeah.
Amy 49:39
– the worst concert we ever heard." And it was this whole thing. I’m telling you, I never listened to that album again. I put it in a little bit, I really love the drums. And it was a chick; it was a woman playing, and it was, like, so cool. But then I was like, whoa, Woodstock’s a rip-off. Shit. I’m like a hippie vibe; peace, love, all this stuff. It’s all things; you know, party, happy. And it really changed my vibe which was really good. It pivoted me, it got me into the right direction. But now I’m looking at this "Earth, Wind and Fire," and it sounds like I’m in the right direction now. Because now it focusing as, as I look at this beautiful head that holds the earth, holds fire, holds wind; it’s a three. Here we are coming into the vision of clarity. 2020 vision, Bob’s year, Nostradamus, the Bible, the whole thing. Hidden – just put the seatbelts on people, here we go. This is incredible. This is awesome. I’m talking about –
Bob 50:00
I’ll have to start listening –
Amy 50:24
– I’m talking to iON. Wow.
Bob 50:41
Yeah, I’m gonna – I’ll go on YouTube this week and look up some "Earth Wind and Fire." I don’t know their music that well. Look up some of their songs maybe, you know, bring them into the catalog.
Amy 50:52
Yeah, it’s powerful stuff. It really is. And only one more question I want to ask.
iON 50:58
If you – now, wait a minute! If you’ve not gonna stand on your dick all night. Here’s one more. –
Amy 51:05
Fifteen-foot long.
iON 51:05
– EFW. The EFW album covers and rare photos. Classic is the name. –
Bob 51:15
"Earth Wind and Fire’s" –
iON 51:16
– Look at that cover. It’s "Classic/EWF album covers and rare photos by Earth Wind and Fire."
Amy 51:29
Hey Bert, are you on this man? I hope you are because you’re gonna have a blast with this; I know it. Ooh, no, I think (indistinct).
Bob 51:37
It’s rare what? Rare covers?
iON 51:40
Yeah, "EFW album covers and rare photos by Earth Wind and Fire."
Bob 51:45
Oh, rare photos. Yeah. iON just has to go into its own archive to find things. He has his own concordance.
iON 51:59
Aww, it works.
Bob 52:00
What? What is this one? I don’t see (overtalk)
Amy 52:03
Ha, I got "The Beatles." (overtalk) Beatles.
Bob 52:05
Oh, okay, so they got a lot of photos here. I see. That’s what you’re highlighting.
iON 52:14
Do you see the gold and see the different people?
Bob 52:17
Yes.
iON 52:20
Ah huh.
Bob 52:22
What is the, what is a song that they did? What’s a major hit of theirs?
iON 52:29
They haven’t written one yet. We put it, we put it on the, we put the picture on the goober snatcher. That’ll help you.
Bob 52:41
What is the –
Amy 52:42
Well, here’s actually a – here’s this, Bob. Listen to this. The dude, Maurice White, he was the guy like the – he put the band together. He’s like the spiritual being, but here it is, "Like Moses, leading his people from Egypt to the Promised Land, Maurice White led his fans to the higher plane."
Bob 53:06
Mmm. Wow, they’re saying that on his funeral?
Amy 53:13
Ah, this is just describing, this is just something I’m reading under the Greatest Hits album. "Still, Graham emphasizes that the music was never "religious." It was always dance music, but there was this "deeper way that you could sort of find a pattern for living." I call the Book of the Dead.
Bob 53:36
And earth wind and fire, those are alchemical terms. Eh?
Amy 53:45
Yeah, yeah. Oh, this is awesome! I’m lining up with you all tonight. This is great. This is fantastic. I hope others as you’re listening I thank you for your time because this is big stuff. Countdown, tic tock. So, 2020 man, here we go. Hey, iON, one thing, man. What’s what’s, with the red birds always showing up in front of me; and I had a baby cargo at my front door; I got red birds; Cardinals flying in front of me. What’s all the red, red, red, red, red?
iON 54:18
You’re callin’ them. You’re calling them.
Amy 54:22
Oh, why would I call them?
iON 54:26
‘Cuz of the Book of the Dead.
Amy 54:29
Bingo. So, in the Book of the Dead as I’m looking at three pyramids, what would that red bird be in the Book of the Dead ‘cuz that I’m not sure of.
iON 54:41
No. It wouldn’t be that. You’re calling them as representation; you’re summoning them and you’re part of – the point of your power is that summons. You’re issuing a summons: you got to show up. They gotta get right; you got to show up; you got to get there and don’t you be late. Like when Bob calls you, you better answer.
Amy 55:04
So, when I call, they’re showing up as I do the Aethyrs, as I do the prayers, as I do all the –
iON 55:11
We don’t even know, we don’t even know, we don’t even know what that is. So yeah, okay, whatever, but, yeah, you’re callin’ ’em.
Amy 55:20
Okay, good, good. Well, okay, everybody peace. I’m telling you, life is good. Here we go 2020. Thank you, Bob. We are living Genesis; here we are, Genesee. Thank you, Carolyn. –
Bob 55:33
The blue wave.
Amy 55:34
– Thank you, Ginney. The blue wave, –
iON 55:34
Thank Bob.
Amy 55:35
– Bob is surfing it. And I mean it. I really did see you, Bob. You’re little; you’re way far away; but you’re little, standing on top of a huge wave. And it’s Nostradamus.
Bob 55:46
Where did you see that? When did you do this?
Amy 55:49
I sent you an email a couple weeks ago. I literally, I literally was just like daydreaming and I saw –
Bob 57:02
Right.
Amy 55:56
– you, like, it was a big wave but it’s way far away, but it’s huge. And you’re standing right on top of it. I actually have my hand up. And there you are. You’re this person, you’re Bob, standing on top of the waves. You’re surfing, not surfing, but you’re standing on top of your wave. It’s powerful. And I want you to know, over probably 30 years ago, I listened to something about Nostradamus, one of these shows, I was listening to and talked about a person that was born in February, like 22nd, or in the two’s, and they had a blue turban. That this will be a person that is coming forward. And on the TV show, this is TV, not looky box, actual TV, and it showed their version of what this person was. They tried to make it look like it was the antichrist and they gave this version of a person, like a turban, like a white turban, but it was blue. But they were born in February.
Bob 57:06
Yeah, that’d be the Rhyee. That’s Worcester’s Rhyee hat. That’s Worcester’s Rhyee hat.
Amy 57:12
No shit? Wow.
Bob 57:13
Yeah, he saw Rhyee with a big hat like that. So, yeah –
Amy 57:18
It was blue.
Bob 57:18
– it’s Bob as leading one of the, the iON shows, Payday, as Rhyee. That’s what I’m called on Dupes of Non physical, is Rhyee.
Amy 57:18
Yeah, there you go. And there’s the blue wave, Bob, that came together –
Bob 57:35
Yes.
Amy 57:35
– to me when I saw you on that wave you were – it was like, oh, there’s a blue turban. There’s a blue wave. There’s Bob. There’s the three. –
Bob 57:36
Well, is that still –
Amy 57:39
– There’s the three pyramids.
Bob 57:46
Right. You know, Amy, the surfing a huge wave, I see a lot of the images that – on the island here. That’s the most incredible thing to imagine one doing, so that would be the impossible for me to surf a huge wave like that. So, that would be appropriate for when I ascend, I will be doing that. Or, when I did ascend, I did that.
Amy 58:10
Absolutely. And that picture you on Facebook, you are on a surfboard. Remember that picture? –
Bob 58:15
Yes.
Amy 58:16
– Where your are?
Bob 58:17
Yes.
Amy 58:17
That was years ago. Oh my god. It was like, whoa, we’re all like going dude, whoa, check the pecs out.
iON 58:23
That was three, three days ago. It wasn’t a long time ago.
Bob 58:27
Heh, heh. That was about two years ago in normal time. In Andromeda time, not in Alpha Centauri time.
Amy 58:34
Yeah, yeah. Well, again, I know many, many (overtalk) –
Bob 58:38
Very good, Amy.
Amy 58:40
Hey, I love you, guys. I mean that, I always will mean it. Happy 2020. I don’t know if you’re going to be on Tuesday night or not, but, wow. I look forward to talkin’ to you real soon –
iON 58:51
Ask the boss, ask the boss if he’s going out to get drunk, if he’s going out to get drunk on amateur night.
Bob 58:51
Ha ha ha, amateur night.
Amy 59:05
You’re gonna have, yeah, you’re gonna have a show Tuesday night, Bob?
Bob 59:09
Yes, yeah, we’ll have a show.
Amy 59:12
New Year’s Eve, cool.
Bob 59:14
Yeah.
Amy 59:15
Hey everybody, you heard that. New Year’s Eve, man. The end of the decade, bringing in the new vision.
iON 59:19
Be sure and don’t, be sure and don’t show up. Don’t show up whatever you do, there’s no room, no room, no room.
Amy 59:27
Or, like you said there’s (overtalk).
Bob 59:28
That’s the one story you don’t go into.
Amy 59:32
Drink on Monday night, not Tuesday.
iON 59:34
And bring it – nah, no, bring your party liquor. It will bring out the – it will sort the evil ones out amongst you. Yeah, bring your party liquor.
Amy 59:43
That’ll be fun everybody.
iON 59:44
Remember Renae, remember Renae, remember Renae would argue? –
Bob 59:44
Yeah.
Amy 59:46
– Oh my god, she would argue and cry. And she would argue, and she’s trying to fix the bathroom. The only thing she ever got from non physical is how to repaint
2200
iON 0:00
(indistinct) her kitchen redone, remodeled. And she’d go on for hours and hours and all of a sudden you hear: Clunk, and then glug, glug, glug, glug, glug, glug, glug. And Bob would say, "Well that’s it. That’s Renae for the night." She would drink herself into it till she fell over and knocked the whiskey barrel over. –
Bob 0:29
Yeah.
iON 0:19
– Then we can hear it. It hit the table. Then it’s going glug, glug, glug, glug till it all poured out. And then she’d be gone for a season or two; then she’s right back at it. It was pretty fun.
Bob 0:31
Heh, heh, heh. Yeah, she would return after a long interval.
iON 0:33
She was our, she was our, she was our little – yeah, she was our little party girl.
Amy 0:38
All things recorded, huh?
Bob 0:43
Amy, Renae was the one who saw herself in a store in Seattle. You know, when she was like 15. She saw herself, exact self, just down the aisle and was shocked by that. That was her main, non physical experience that she would talk about all the time.
Amy 1:00
She saw herself. And that’s when iON asked me what I wanted for Christmas. It was like, hey, I just want to know me, when I have good health, be able to always get the products, always be able to talk to you guys. And I want the app. Whenever you guys come up with it, the app. It’ll be good.
Bob 1:17
Yeah, the app, heh heh heh. The ascension app. Okay, thank you very much, Amy, we must move on to other enthusiast people.
iON 1:26
That was good. That was good. Hey, Bob, that’s two people that actually liked the Book of the Dead. That’s more than you did last time. That’s good.
Bob 1:34
Yeah, yeah.
Amy 1:35
Woo hoo!
Bob 1:36
Pretty good.
Amy 1:38
"Earth, Wind and Fire," Bob.
Bob 1:37
Okay, Germaine, do you have anything to say about the Book – yes – Germaine, do you have anything you want to say about the Book of the Dead?
Germaine 1:46
Ah, I still need to catch up on it. I don’t know enough. So, –
Bob 1:51
Okay, so you’re here for after that. Does any –
Germaine 1:54
Yes.
Bob 1:54
– okay. So, does anybody else want to talk on the Egyptian Book of the Dead or should we close the theme?
iON 2:01
Or, or, or if you have a propensity for standing on your dicks, then that would be appropriate to bring it to the point, too, as well.
Jaun 2:11
Hi, Bob. Hi, iON.
Bob 2:14
Jaun, you got something to say, Jaun?
iON 2:16
Hey, darlin’.
Jaun 2:17
Yeah, iON if the dead people in the Book of the Dead, are they people who gave their power to the Tech Body?
iON 2:25
Ah, it was absorbed by the Tech Body if they did it, yeah. There’s a whole nother energy, but when you lose your lifeforce, your power goes somewhere. So, once it goes somewhere, then that’s what happens. It’s absorbed.
Jaun 2:45
Okay, and – but they are still in their meatsacks. They have not separated from the meatsacks yet?
iON 2:51
Sometimes they have, sometimes not. Just depends.
Jaun 2:56
Okay.
Bob 3:00
Okay, so we’ll end the –
Jaun 3:02
Thank you.
Bob 3:02
– thank you, Jaun. We’ll end the Tech Body topic, play a song and –
iON 3:08
"Shaun of the Dead."
Bob 3:11
Right. Hey, could someone put – ah – no, it doesn’t work. No. Have to do my own.
iON 3:22
Put on, put on "Lucy in the Sky with Diamonds." "Lucy in the Sky with Diamonds." That’s a good one.
Bob 3:30
Let’s see if I got that. Okay, Lucy (pause) What do you – ah -what do you call it when there are three songs? Medley, medley, medley
iON 4:06
Metal – medley.
Bob 4:10
Yeah, I think I know where I’m going. (short pause) I think this is – no, that’s not it. Oh, yeah, there it is.
Scott 4:24
That would be "Ebb Tide" by Bill Medley.
Bob 4:28
Heh, heh. Okay, this is what I got right now.
Music 4:30
(music plays)
