The words to Led Zeppelin’s famous hit Stairway ti Heaven are oftentimes considered to be dark and of a difficult meaning interpreation, so I thought I’d share mine.
So… These are the words:
I. There’s a lady who’s sure all that glitters is gold. And she’s buying a stairway to heaven When she gets there she knows, if the stores are all closed, With a word she can get what she came for. Ooh, ooh, and she’s buying a stairway to heaven.
II. There’s a sign on the wall, but she wants to be sure ‘Cause you know sometimes words have two meanings. In a tree by the brook, there’s a songbird who sings: Sometimes all of our thoughts are misgiven You know.
III. There’s a feeling I get when I look to the west And my spirit is crying for leaving. In my thoughts I have seen rings of smoke through the trees, And the voices of those who stand looking That’s you.
IV. And it’s whispered that soon, if we all call the tune, Then the piper will lead us to reason. And a new day will dawn for those who stand long, And the forests will echo with laughter. Remember laughter?
(Oh yeah, yeah, yeah…)
V. And it makes me wonder. If there’s a bustle in your hedgerow, don’t be alarmed now, It’s just a spring clean for the May queen. Yes, there are two paths you can go by, but in the long run, There’s still time to change the road you’re on.
VI. Your head is humming and it won’t go, in case you don’t know The piper’s calling you to join him. Dear lady, can you hear the wind blow, and did you know Your stairway lies on the whispering wind?
VII. And as we wind on down the road Our shadows taller than our soul. There walks a lady we all know Who shines white light and wants to show How everything still turns to gold.
VIII. And if you listen very hard, The tune will come to you at last. When all is one and one is all, that’s what it is To be a rock and not to roll, oh yeah.
IX. And she’s buying a stairway to heaven.
We’ll go verse-a-verse.
Verse I Introduces the Lady. This would represent an Utopian person who doesn’t get things right (“If the stores are all closed”), but still is that way.
Verse II Tells us more about that person. She would be frail, due to being scared of the double-way of some words (“Sometimes words have two meanings”).
Verse III. Tells us more about the so-called Utopian cosmovision of our Lady.
Verse IV Is about this Utopia. /If all of us… Then something great happens./
Verse V Introduces a distinction between Good and Evil (“There’s two paths you can go by”).
Verse VI Is complex. It talks, in a way, to the Lady, telling her there’s no need for her to be that way.
Verse VII Introduces these so-called “normal” people who encounter our Lady.
Verse VIII Is a key. “To be a rock and not to roll” is a way to express, the capability to be Evil, along with the chance to choose not to be it.
The ace of Spades is a common depiction of Hatred.
First off, we are going to recapitulate what Ancient Greeks understood as Love.
1. Eros.
Love born from sexual desire.
2. Agape.
The desire that the loved one will be okay. A kind of a “humanistic love.”
3. Philia
As in a strong relationship, such as true friendship. Charmful and affectionate.
4. Storge
As in intrafamiliar relationship.
So, what is hatred?
I. Envy.
Hatred, as insane as may seem, very could be born out of love. A frustrated, kind of love.
Or straight up perverted, but love at nature.
I define hatred as: Strong feeling of aversion towards something you dislike and which bad you desire.
If you envy someone, you will certainly do anything to hurt them. Speaking about unhealthy envy.
You can see someone doing better than you in any aspect and understand it as a call to improve yourself, and that, far from being wrong, is how it should work.
But, if you have this perverted sense of love that I am talking about on someone, you can… And eventually, will, hurt them.
Sexually. Some people just don’t get “not there, means not there” and will use sexual violence.
Envy. A perversion of love in interpersonal relationships by which, far from promoting the good of the other part, you try your hardest to destroy it…
…Oftentimes groupally.
Family therapy needed. When everybody loves everybody so bad but somehow some, most or all of the family members act terrible.
The sofist accuses the opponent of something that he is indeed doing:
E.g.: A political debate. Politician A is about to give false statiscical data*, so he accuses his opponent of being doing that very same thing.
The key is he will therefor be able to defend himself from the true accusation.
*Assuming that were a thing.
_______________________
Idiotic Association Fallacy:
Works specially well in Spain. You make an “idiotic strawman” which says exactly what you are trying to cover up (say there’s no need to use masks eitherways), along with actual crazy stuff.
Which could be aliens, time travel, Illuminatti, apology of drug use, or, in an overall way, things that go against the population’s preset idea; and which, invites them to laugh at the Idiotic Strawman, thus invalidating the true fact(s).
E.g. Someone on Reddit says CIA killed John F. Kennedy. Inmediately, some “random” user states “I bet you also believe in aliens lolololol.”
Agent Hickey Holding an AR-15 Rifle shortly after the shooting that killed Kennedy.
Djoser’s mortuary complex comprises the great trench, enclosure wall, colonnaded entrance, ‘T’ temple, Sed festival complex, north and south pavillons, south tomb and court, western mounds, mortuary temple, and the crowning feature of it all, the step pyramid with its substructure. The complex was a landmark achievement for Egyptian architecture. It was the advent of the pyramidal form of the royal tomb and the first instance of the mass use of limestone in construction, replacing mudbrick which had been the staple building material prior. This shift to limestone – a hard, dense material compared to mudbrick – presented novel challenges to the architects. Though they kept to earlier tradition, copying architectonic elements and carving them into the stone. For example, the Egyptians hand-carved 1,680 9 m (30 ft; 17 cu) tall niches out of the limestone enclosure wall. In earlier projects, this element was built with wooden planks, ropes, and poles hung with reed mats. In a modern context, the same element would be built by laying out the blocks to form the recesses.
…
Complex layout: 1) step pyramid, 2) south tomb and chapel, 3) Sed festival complex, 4) ‘T’ temple, 5) south court, 6) south pavillon, 7) north pavillon, 8) mortuary temple, 9) western mounds, 10) colonnaded entrance, 11) north court, 12) north galleries, 13) step tombs, 14) serdab, and 15) north altar
The crowning feature of the complex is the Step Pyramid which rises from the Saqqara plateau in six steps to a height between 60 m (200 ft; 110 cu) and 62.5 m (205 ft; 119.3 cu). This element was revised repeatedly in construction, going through a series of developmental phases that culminated in its step pyramidal form. These phases are traditionally labelled, following Jean-Philippe Lauer’s excavations: M1, M2, M3, P1, P1′, and P2.
In the early stages (M1 to M3) the structure had the form of a mastaba before alterations (P1 to P2) were made to create its step pyramidal form. In the first stage (M1), the mastaba had a square plan 63 m (207 ft; 120 cu) in length that rose to a height of 8.4 m (28 ft; 16 cu). This was built from a core of limestone blocks arranged in horizontal beds and bound with yellow or red clay. A 2.6 m (9 ft; 5 cu) thick casing of fine white Tura limestone was applied to the core arranged in the same horizontal manner. The outer blocks were inclined to ~82° and the top of the mastaba likely had a slightly convex shape. A second casing of fine white limestone was applied to this which increased the mastaba’s base length to 71.5 m (235 ft; 136 cu) square (M2). The casing was 4.2 m (14 ft; 8 cu) thick at the base and 3.4 m (11 ft; 6.5 cu) thick at the peak, which was 0.65 m (2 ft; 1 cu) lower than the initial mastaba height. The outer blocks of this second coat also had a steeper incline at ~76°. The mastaba was then extended 8.4 m (28 ft; 16 cu) east to cover a series of eleven shafts 33 m (108 ft; 63 cu) deep that ended in passages that led west to the burial chambers of members of Djoser’s family. This extension was built from locally sourced limestone rubble and cased by 1.5 m (5 ft; 3 cu) thick limestone coating that formed an extension of M2. The mastaba had a new, rectangular ground plan 71.5 m (235 ft; 136 cu) by 79.5 m (261 ft; 152 cu). At this stage the mastaba still peaked at 8.4 m (28 ft; 16 cu) in height, too short to be seen from outside the 10.5 m (34 ft; 20 cu) high enclosure wall.
Egyptologists are split on the motivations behind the conception of the pyramidal form that the mastaba was converted into. Lauer believed that the alteration was made to have the tomb visible from Memphis. The fact of the mastabas square plan led Rainer Stadelmann, however, to suggest that it was never the intended final form and that it was planned to be a pyramid from the outset. The conversion (P1) encased the mastaba (M3) extending its length by 5.76 m (19 ft; 11 cu) on each axis giving it a base length of 85.5 m (281 ft; 163 cu) by 77 m (253 ft; 147 cu). The alteration from mastaba to pyramid came with a shift in construction. The builders used larger and better quality, roughly dressed limestone blocks – but instead of horizontal beds, they built successive inclined accretion layers 2–3 m (6.6–9.8 ft) thick. These leaned on each other from opposite ends providing greater stability preventing a collapse. The whole was then cased in fine white limestone with a layer of packing in between. This phase of the pyramid had four steps that rose to a height of 42 m (138 ft; 80 cu). The decision was then made to expand the pyramid north and west from four to six steps (P1′) which was then finished with a final layer of limestone casing (P2) that gave the pyramid its final form. On completion the step pyramid had a base length of 109 m (358 ft; 208 cu) by 121 m (397 ft; 231 cu) that rose to a height of 60–62.5 m (197–205 ft; 115–119 cu) and occupied a volume of 330,400 m3 (11,670,000 cu ft).
Much of the rock for the pyramid was likely quarried from the construction of the great trench. It is widely accepted that ramps would have been used to raise heavy stone to construct the pyramid, and many plausible models have been suggested. For transport, apparatuses like rollers were used in which the heavy stone could be placed and then rolled.
Development.
Under the step pyramid is a labyrinth of tunneled chambers and galleries that total nearly 6 km in length and connect to a central shaft 7 m square and 28 m deep. These spaces provide room for the king’s burial, the burial of family members, and the storage of goods and offerings. The entrance to the 28 m shaft was built on the north side of the pyramid, a trend that would remain throughout the Old Kingdom. The sides of the underground passages are limestone inlaid with blue faience tile to replicate reed matting. These “palace façade” walls are further decorated by panels decorated in low relief that show the king participating in the Heb-sed. Together these chambers constitute the funerary apartment that mimicked the palace and would serve as the living place of the royal ka. On the east side of the pyramid, eleven shafts 32 m deep were constructed and annexed to horizontal tunnels for royal family members. These were incorporated into the pre-existing substructure as it expanded eastward. In the storerooms along here over 40,000 stone vessels were found, many of which predate Djoser. These would have served Djoser’s visceral needs in the afterlife. An extensive network of underground galleries was located to the north, west and south of the central burial chamber and crude horizontal magazines were carved into these.
One of the misteries involving the Pyramids of Egypt is the luminiscent system.
There was no electricity use back then, that for sure. And C-14 and other alike tests have proven that no torchs or any other fire-based systems were used.
So what could be left? Here’s an hypothesis: Fluorescence:
This is a hell of a mistery, so we are proceeding very carefully;
First off, we are going to rely on Spanish thinker and author Ortega y Gasset’s idea:
“I and me and my circumstances.”
Let’s play out a real rough example (I like to use these because from my understanding they work better):
You are a strong man. 6 feet tall, “good Will Hunting” like IQ.
Not only you never had access to proper education or even good livehood, but you live in freaking Siria. A bombing’s just blown away your house with you inside of it.
What would that make the meaning of your life?
…And other reasons why the meaning of my life used to be: vengeance and survival, in that order (“surprise…”)
There is, no meaning of life. Well off, you very can give it one.
You can aim as high as you consider, remember, if your circumstances allow you to do so.
You can settle to a job that very could be automated, no family and no friends. But a dog. I like dogs.
And well… Your circumstances very can kill you, in the strong meaning of the word.
And then, there’s a “You”, a you which can make you take advantage of circumstances, experiences, that may had killed another person.
But this is me. And the meaning of my life is to universalize human knowledge. Or to die tryin’.
Screenshot of my last site’s entrie’s translation into Spanish on my YT Studio App.
Reads: “YouTube doesn’t allow affirmations on vaccines which contradict that said by experts of local medical authorities or WHO.”
I could swear if I reuploaded omitting what I said about vaccines they could find another reason.
Any other, to be exact.
I beg you please, my statitics page shows people on Canada could be reading this; Can’t we really do something?
Would you Canadian people like to be aware not a SECOND of the strike is being covered by mass media at least here on Spain? That I had to learn from TW?
I don’t think I’m touching this specific subject ever again on here…
We all have heard of lucid dreaming at one point of our lives or another.
A lucid dream is a dream within which you are aware that you are dreaming, and thus, can explore the very depths of yourself…
Disclaimer: This has worked for me only, it is the first time I am sharing it.
The key to gain lucidiy is awareness. You have to obtain reliable proof that we are dreaming.
Here are two facts:
1. Within a dream, we are meant to not be able to read.
2. We are also meant to not feel pain.
Taking the first into consideration, let’s explore the other:
Strange things happen. They do. Both in dreams and waketime.
The goal here is to obtain proof within a dream.
Here’s the method:
Whenever, anything remotelty weird happens (it can be many things and varies from one person to another), bite the tip of your tongue, seeking for a little ounce of pain.
Eventually, you’ll find yourself within a dream that you have revealed as such.
