Wednesday, August 30, 2017

Fall Out Boy's Pete Wentz' Uncle Is Gen. Colin Powell And Grandfather is Propagandist

In 2003 Gen. Colin Powell spoke at the U.N. in an effort to pursue a phony war in Iraq...That very same Year Gen. Powell's Nephew released his debut album which went Gold, entitled TAKE THIS TO YOUR GRAVE..."Take this to your grave", is that what Sadam did with the secret knowledge of WMDs??? Doubt it, probably all just a big social manipulation. You will see that the family that Pete Wentz comes from are no strangers to state sponsored culture creation using musical acts if you read the interview with Arthur Lewis, Pete's Grandfather which I included in this post.

Peter “Pete” Lewis Kingston Wentz III was born on 5 June 1979 in Wilmette, Illinois, a posh suburb of Chicago. His parents are Pete Wentz II, an attorney, and Dale (née Lewis).[*] He is best known for being the bassist, lyricist, and backing vocalist for the American Pop Punk band Fall Out Boy. Before Fall Out Boy's inception in 2001, Wentz was a fixture of the Chicago hardcore scene and was notably the lead vocalist and lyricist for Arma Angelus. Wentz attended DePaul University where he was studying Political Science. His black maternal grandfather, Arthur Winston Lewis, served as the U.S. Ambassador to Sierra Leone; Arthur Winston Lewis' cousin is General Colin PowellWentz' parents met while campaigning for former Vice President Joe Biden's senatorial run in the 1970s.[6][19]

Pete Wentz Sr: "Mom and I met in Washington when we were both legislative assistants to Senator Biden when he was in his first term. I had worked in his campaign and your mother had been in the Foreign Service. We started out as friends and the rest is history." [*]

Pete Wentz: "That picture is me, Joe Biden and my mom"  "Wow, I'm like the same height still."[*Pic here]

Colin Luther Powell is an American statesman and a retired four-star general in the United States Army.[2] Powell was born in Harlem as the son of Jamaican immigrants. During his military career, Powell also served as National Security Advisor (1987–1989), as Commander of the U.S. Army Forces Command (1989) and as Chairman of the Joint Chiefs of Staff (1989–1993), holding the latter position during the Persian Gulf War. Powell was the first, and so far the only, African American to serve on the Joint Chiefs of Staff. He was the 65th United States Secretary of State, serving under U.S. President George W. Bush from 2001 to 2005, the first African American to serve in that position.

 (Question from Vice) Q: I saw online that you were related to Colin Powell. Is that true?

Pete Wentz: Yeah, he’s my great uncle. I met him around Desert Storm, and at the age, I was at there was a bunch of great propaganda done for it, where there were, like, trading cards and T-shirts and shit, and you were convinced that was cool. I remember asking him, “Oh man! Are you going to be using bazookas?” I can’t even imagine, like, wow. What a goofy thing to ask. I think in some way, I'm related to Malcolm Gladwell as well. I’m not sure it’s as direct, but my mom told me that the other day. I was reading a Gladwell book, and my mom was like, “Oh yeah, you’re related to him.”[*]

Pete Wentz: Ashlee and I went to the White House Correspondents' Dinner, and we had a lot of fun. Not many people know that I am distantly related to Colin Powell. I mean, it is a pretty far relation cousins of cousins of cousins but when we saw him at the dinner, he came over and said, "Hey, cousin."[*]

Pete's Grandparents

Pete’s maternal grandparents are Arthur Winston Lewis (the son of Arthur Shirley Lewis and Marion Coote) and Dolores Laura Kirlew (the daughter of Harold Aubrey Kirlew and Laura Shields). Pete’s grandfather Arthur served as the U.S. Ambassador to Sierra Leone (from 1983 to 1986). Pete’s maternal grandparents were both born in New York, and all of Pete’s maternal great-grandparents were black Jamaican immigrants. Pete’s grandfather Arthur is a cousin of General Colin Powell(likely through his “Coote” line).[*]

(Image found here)

Arthur W. Lewis was a career foreign officer who served in diplomatic missions in Eastern Europe and Africa before retiring in 1987.  He also played a significant role in expanding opportunities for racial and ethnic minorities in the American diplomatic corps.
Before entering the Foreign Service, Lewis spent 23 years in the U.S. Navy.  A student at Dartmouth College in New Hampshire, Lewis enlisted in the Navy in 1943 and served until 1966.  He returned to Dartmouth to work with the N.R.O.T.C. and teach Naval Science while still on active duty.  He completed a Bachelor’s and a Master’s in Government while at Dartmouth in 1966.

In 1966, Lewis joined the United States Information Agency (USIA), a Cold War-era diplomatic agency intended to promote American culture abroad. Lewis chose to work with the USIA because he believed he would have more direct engagement with foreign nationals than in the State Department.  With the support of the Ford Foundation, Lewis in 1967 created an expanded minority recruitment program for the USIA, targeting African American, Latino, and Native Americans enrolled in universities around the nation.  The program brought students to Washington, D.C. for expanded training in history, language, and international affairs as preparation for successfully completing the Foreign Services entrance exam.

Lewis began his own foreign service in 1969 when he was assigned by USIA to the U.S. Embassy in Bucharest, Romania.  While there he promoted American music as a forum for engaging the Romanian people in western culture.  When the American jazz-rock band Blood Sweat & Tears visited Romania in 1970, Romanian officials sought to shut down a performance. Lewis successfully negotiated with the band and communist officials to allow the concert tour to continue.
Lewis’s primary foreign policy interest lay in Africa.  From 1972 to 1974 Lewis served as cultural affairs officer at the U.S. Embassy in LusakaZambia.  In 1974 he was sent to Ethiopia which would soon be engulfed in a civil war. Expanding violence between military leaders and rebel forces meant that Lewis could not effectively organize cultural programs but instead focused on promoting western engagement and providing aid when possible.  

In 1977, Lewis was sent to LagosNigeria where he continued his work for the USIA until being appointed as the agency’s Director of African Affairs in 1979.  In 1983, President Ronald Reagan nominated Arthur Lewis as U.S. Ambassador to Sierra Leone.  He served at the Embassy in Freetown until his retirement in 1986.  
Arthur Lewis continued to promote international political and economic development in Africa after his retirement from diplomatic service.  He has been a senior consultant for the Nord Resources Corporation which operated mining interests in Sierra Leone from 1983 to 1995.  His wife, Frances Lewis, was a historian of Africa who accompanied him on many of his missions, teaching local university students and encouraging American engagement with African culture.  He is also a cousin of Colin Powell, the first African American Secretary of State.[*]

Q: What training or preparation did you receive as you entered the Service? How well did you feel you were served by the introductory program? 

LEWIS: In essence, there was no real training with respect to my entry into USIA. I served for a year as a recruiter. I wrote a proposal to the Ford Foundation for a very special kind of minority recruitment program. The Foundation, for the first time ever to my knowledge, joined with public service institution to give a two million dollar grant to USIA to encourage and to bring into the Foreign Service minority candidates through the "front door" rather than the "back". 

The program consisted of my seeking out bright young minority students who were graduating from undergraduate institutions. Then, we would bring them to Washington and enroll them in a very special two-year course of training at George Washington University. They would take courses in various histories and social sciences to bring them to speed. They would take the regular Foreign Service entrance examination at the end of their first year and again at the end of their second year. This was based on the assumption that they would not pass after the first year. 

This program worked out very well. Of the twenty students with whom I was involved-- ten the first year and the ten I chose for the second year--eleven remain in the Foreign Service today. Of those eleven, eight or nine are in the senior Foreign Service. Q: Where did you seek these minority students? 

Q: Where did you seek these minority students?

 LEWIS: I went to large public and private Universities. I went to Emery, for example, which was graduating its first two black students. I went to Tulane which was also graduating its first two black students. I got one from Emery and two from Tulane. I got some students from Berkeley, some from historically black institutions. We took ten students the first year of whom five were black, four were Hispanic-American and one was Native American. In order to find them, I went to schools from Puerto Rico to Hawaii. We got ten students the first year of whom eight made through that year. The other two discovered that they were unsuited.

Q: Let's talk about your first overseas assignment. You were the Cultural Affairs Officer in Bucharest from 1969-72. What were your responsibilities? 

LEWIS: Interestingly enough, I arrived in Bucharest with probably a two-plus in Romanian speaking and understanding. My predecessor had to leave in a hurry. I became eventually in charge of the educational exchange program--the Fulbright program. Subsequently, I discovered that a lot of students were really jazz lovers. So I made a great effort to bring American jazz musicians to Romania. Over the three years, we developed a regular routine of bringing jazz musicians through Western Europe and then Eastern Europe, including Romania. 

Romania was in an expansive state at that time. It was opening to the West and looking for opportunities to trade more with the West. The Romanians wanted to get away from the "the granary of Eastern Europe" image which they had in the past. The idea of American jazz was accepted by the authorities, even if they didn't really like it. In Eastern Europe, when you deal with cultural attractions, you must deal through State institutions. I spent a lot of time working with these institutions, bringing various cultural attractions, not only jazz, but for example also American plays and other cultural attractions. These gave a different view of the United States from that acquired by a lot of young Romanians. I spent a lot of time working with University students' clubs. That was possible only because the Romanians wanted to change their orientation. 

Q: That is very interesting because today the Romanians are the hard liners. But in the late '60s and early 70s, Romania was the hope of Eastern Europe and was going in the direction that Yugoslavia took. How did you deal with the local authorities all of whom must have been members of the Communist Party? Were they cooperating under duress or did they seem interested in your programs? 

LEWIS: Romania was occupied by the Soviets until 1962. It was under the rule of , who himself was a Stalinist figure. It was 1965 when he died and Ceausescu came to power. It was believed that Ceausescu, supposedly the great liberator, was the great "opener" to the West. Indeed he was, from an economic point of view, but from the social and cultural point, Romania with the strangest kind of openness in its international affairs, was still one of the most domestically repressive Eastern European nations. I didn't think that has ever changed. This fact has become now much more noticeable and much better known. Even in those days, Romania was internally a repressive state. We were probably viewing it with hope rather than realistically. Even though we have had an adversarial relationship with the Soviet Union and the Soviet block, we have always harbored hope of eventual change. That hope has flourished at times; at other times, it has withered. We are a society that strongly believes in change and the inevitability of change. We accept change. For us, therefore, it is normal assumption as we enter into diplomatic relationships with other States. 

Q: Did you believe that the cultural program was an assist to that process of change? 

LEWIS: Yes, because, even though the Romanians knew and understood the power of culture and what it can do, they were still willing to allow a certain amount of cultural exchange. I have seen certain cultural attractions taking place in Romania and frightening the authorities. I remember a group called "Blood, Sweat and Tears" which almost caused a riot. They were almost thrown out of the country along with me. The group didn't want to continue its performances in Romania because of its repressiveness, as illustrated by what the authorities did to the young people who wanted to hear them. 

First of all, the group was on the cutting edge of the 60s' modern musical groups. They sang of a kind of freedom that young people saw and felt strongly in the West and particularly the United States. Their music reflected the very vital dynamism on a United States that was going through a profound change. The young people of Easter Europe had heard some of this music on the "Voice of America". English is the preferred language in Eastern Europe because it is the language of science and technology. At that point, no one yet understood that it was also the language of finance and economics. It was a language that many young people understood and responded to in Eastern Europe. While I don't remember the name of particular songs, they were extremely popular and the young Romanians wanted to hear them. I do remember that in the concerts, the young people got so vociferous in the audience that the authorities stepped on the stage and tried to stop the performance. The musical group refused; then the authorities turned off the electricity so that there was no sound. They nevertheless continued to play and the audience of 15- 20,000 arose and began to break up the chairs and lit fires. I was right there wondering what I had wrought.  

Interestingly enough, this episode resulted in a Romanian decision that they didn't want the group anymore. The group decided that it would not perform any longer in Romania. We came to a stand-off. I had a meeting with the group in which it became clear that my 42-year old perception was not too much different than their views which were those of 20 or 21 year olds. I was young at heart. I was able to talk to them and got them to agree to continue the tour if the Romanian government would not interfere. I finally talked to the governmental institution I had to deal with and got it to agree to lower everyone's temperature and permit the tour to continue. If they hadn't allowed the tour to continue, it would have complicated relationships between Romania and the United States. The group had after all come at the invitation the Romanian government. The tensions were calmed and the tour was completed. The group then went to Warsaw and became someone else's problem. 

Q: What instruction were you getting from Washington? 

LEWIS: "Don't let this get out of hand. It is your problem, but don't let it get out of hand". Ambassador Leonard Meeker was involved in a peripheral way, but I think he was perceived by the group as an old fuddy-duddy. He let me handle it and take care of it. Eventually, we were able to put the pieces back together. 

Q: This is what diplomacy is all about: tensions between sovereign states created by a young rock group and Communist authorities. 

LEWIS: You never think of it in that fashion. Even putting the pieces back together within the American community representing different generations was difficult. 

Q: Did you have many touring play groups and did have to be careful about which plays were presented? Or other cultural events? 

LEWIS: Yes. We had a couple of Thornton Wilder plays which were better received because they were held under University auspices and the people who attended were mostly University students majoring in English or literature. They didn't have the emotional content and velocity of musical groups. Somehow music is a most powerful instrument. That is one lesson I learned.[*]

Frances A. "Fay" Lewis, an expert in the field of African studies who worked for many years as a program officer at Meridian International Center in Washington, died Sept. 25 at her home in the District of complications from a brain tumor. She was 67.

Dr. Lewis worked to bring young Africans to the United States for educational programs through the State Department's International Visitor Leadership Program. 

She retired from Meridian last spring after 22 years of service.
Frances Anne Leary was born in Washington and grew up in Arlington, Mass. She graduated in 1963 from Smith College in Northampton, Mass., and received a master's degree and doctorate in African history from Northwestern University.

Dr. Lewis taught African and Mideast history at Northwestern and Temple universities. She also was a lecturer at Georgetown University and the Department of State's Foreign Service Institute.
She served from 1977 to 1981 as chair of the Association of African Studies Programs and later helped coordinate the U.S. Fulbright Program in Africa as an employee of the U.S. Information Agency.
Soon after she married Arthur W. Lewis in 1983, her husband was appointed U.S. ambassador to Sierra Leone by President Ronald Reagan. The couple moved to Freetown, where they lived for three years.

In addition to her husband, of Washington, survivors include a stepdaughter, Dale Wentz of Chicago; three brothers; a sister; three grandchildren, including rock musician Pete Wentz; and a great-grandson.[*]

Wentz And UNICEF

The United Nations humanitarian organization UNICEF selected Wentz to be the national Ambassador for the 2010 UNICEF Tap Project. The UNICEF Tap Project takes place during World Water Week  (March 21-27) and raises money for clean water for children around the world.[*]

U.S. Fund for Pakistani flood relief: Pete Wentz calls for more help for children affected by floods in Pakistan.

Monday, August 28, 2017

Meet Al Hansen

Alfred Earl "Al" Hansen (5 October 1927 – 22 June 1995) was an American artist. He was a member of Fluxus, a movement that originated on an artists' collective around George Maciunas.
He was the father of Andy Warhol protégé Bibbe Hansen and the grandfather and artistic mentor of rock musician Beck and artist Channing Hansen. They continue his legacy by performing some of his most iconic works.
Born in New York City, Al Hansen was a friend to Yoko Ono and John Cage. While serving in Germany in World War II Hansen pushed a piano off the roof of a five-story building. This act became the foundation of one of his most recognized performance pieces, the Yoko Ono Piano Drop. Many artists have also destroyed or altered pianos including John CageJoseph BeuysNam June Paik and Raphael Montañez Ortiz.
Hansen studied with composer John Cage at the now famous 1958 Composition Class at the New School for Social Research in New York City along with fellow students, Dick HigginsGeorge Brecht, and Allan Kaprow amongst others. Hansen was a frequent visitor to The FactoryAndy Warhol's studio in New York. Hansen was perhaps best known for his performance pieces, his participation in Happenings, and for his collages in which he often used cigarette butts and candy bar wrappers as the raw materials, among them numerous variations of a sculpture referring to the Venus of Willendorf.
He wrote an important book about performance art, A Primer of Happenings and Time Space Art published by Something Else Press in 1965.
In 1966 he attended the Destruction in Art Symposium in London organized by Gustav Metzger where he met and befriended many of the Viennese Action Artists. In October 1966 Otto Muhl organized an event called "Action Concert for Al Hansen" in Vienna.
In 1977 Hansen managed Los Angeles punk bands the Controllers and the Screamers in Hollywood. In the 1980s Hansen moved to Cologne, Germany where he established an art school, the Ultimate Akademie. Inspired among others by the Final Academy of Genesis P-Orridge it became a meeting point for local and international performers of the time based arts.

Friday, August 18, 2017

New Wave Theater


New Wave Theatre was a television program broadcast locally in the Los Angeles area on UHF channel 18 and eventually on the USA Network as part of the late night variety show Night Flight during the early 1980s.[1][2]
The show was created and produced by David Jove, who also wrote the program with Billboard magazine editor Ed Ochs. It was noted for showcasing rising punk and new wave acts, including Bad Religion, Fear, the Dead Kennedys, 45 Grave, The Angry Samoans and The Circle Jerks.

Peter Scott Ivers (September 20, 1946 – March 3, 1983) was an American musician, songwriter and television host.[1] He is perhaps best known as the host of the experimental music television show New Wave Theatre.
 Peter Ivers, a Harvard-educated musician with a gregarious personality and a flair for the theatric, was the host for the entire run of the show. The format was extremely loose, owing partly to the desire to maintain the raw energy of the live performances and partly to the limited production budget. The program was presented in a format dubbed "live taped", in which the action was shot live and the video was then interspliced with video clips, photos, and graphics of everything from an exploding atomic bomb to a woman wringing a chicken's neck.
Ivers' primary instrument was the harmonica, and at a concert in 1968, Muddy Waters referred to him as "the greatest harp player alive."[2] Ivers was signed by Van Dyke Parks and Lenny Waronker to a $100,000 contract as a solo artist with Warner Bros. Records in the early 1970s; his albums Terminal Love and Peter Ivers were commercial flops, but would eventually come to be well-regarded by music journalists.[3] Ivers scored the 1977 David Lynch film Eraserhead, and also contributed the song "In Heaven (Lady in the Radiator Song)" to the soundtrack.[4] He opened for Fleetwood Mac in 1976, and wrote songs that would go on to be recorded by Diana Ross and The Pointer Sisters.[
Ivers was murdered in 1983 under mysterious circumstances; the crime remains unsolved. Following the publication of a 2008 biography on Ivers, the LAPD re-opened the investigation into his death.

In 1976, Ivers was asked by David Lynch to write a song for his movie, Eraserhead. Ivers penned "In Heaven (The Lady in the Radiator Song)", which became the most well-known composition from the film. He also scored the Ron Howard film Grand Theft Auto the following year. In 1979 he scored the fifth episode of the first season of B. J. and the Bear.
In 1977, Ivers produced a Synth-Pop / Disco album for Roderick Falconer titled Victory in Rock City.
Ivers' best friend was Harvard classmate Douglas Kenney, founder of the National Lampoon. Ivers played "Beautiful Dreamer" on the harmonica at Kenney's funeral. Ivers was also close friends with John Belushi who likewise preceded him in death.
In 1981, Ivers produced the Circus Mort EP featuring Swans front man Michael Gira and avant-garde drummer Jonathan Kane. 1981 also found Ivers tapped by David Jove to host New Wave Theatre on Los Angeles TV station KSCI which was shown irregularly as part of the weekend program Night Flight on the fledgling USA Network. The program was a frantic cacophony of music, theater and comedy, lorded over by Ivers with his manic presentation. Using a method of filming known as "live taped", the show was the first opportunity for many alternative musicians to receive nationwide exposure. Notable bands who appeared on the show included The Angry Samoans, Dead Kennedys, 45 Grave, Fear, Suburban Lawns and The Plugz.
Ivers dated film executive Lucy Fisher for many years.[5] Fisher would later become a vice president at Warner Bros., supervising films like Men in Black and Jerry Maguire.[7]

On March 3, 1983, Peter Ivers was found bludgeoned to death with a hammer in his Los Angeles loft space apartment. The murderer was never identified.[5]
In the hours following his death, the LAPD officers sent to Ivers' house failed to secure the scene, allowing many of Ivers friends and acquaintances to traffic through the loft space. The scene was contaminated, and officers even allowed David Jove to leave with the blood-stained blankets from Ivers' bed.[8] Harold Ramis was briefly considered a suspect in the murder (due to Ivers' close relationship with Harold's wife Ann), but was quickly cleared after he was able to establish an alibi.
Several of Ivers friends told biographer Josh Frank that they suspected David Jove, with whom the musician had a sometimes-contentious relationship. Harold Ramis noted, "As I grew to know David a little better, it just accumulated, all the clues and evidence just made me think he was capable of anything. I couldn't say with certainty that he'd done anything, but of all the people I knew, he was the one person I couldn't rule out."[9] However, Derf Scratch (of the band Fear) and several other members of the Los Angeles punk and New Wave scene have maintained Jove's innocence.[10]
About five weeks after the murder, Lucy Fisher paid for a private investigator named David Charbonneau to focus on the crime. Charbonneau interviewed a number people who knew Ivers, but due to the botched initial investigation, lack of evidence and lack of witnesses, the case eventually stalled out. Charbonneau stated: "I do not believe it was a break-in. I do not believe it was just someone off the street that Peter brought in because he was a nice guy that night and fell asleep trusting them. I'm not buying it."

David Jove (December 14, 1942 – September 26, 2004), born David Sniderman, was a Canadian director, producer, and writer, particularly of underground and alternative music-themed films.[1] After spending the mid-1960s in London He reputedly became acquainted with the Rolling Stones' circle of friends and calling himself "Acid King Dave" allegedly participated in a government drug set-up of Jagger and Richards, resulting in the infamous 'Redlands' bust.[2] Later he moved to Los Angeles, where he would be based for the rest of his life.
He may have been best known as the creator of the early 1980s music program, New Wave Theatre, which gained notoriety in the early days of cable television. It was shown as part of USA Network's late night weekend variety show, Night Flight hosted by Peter Ivers.
"New Wave Theatre" was co-written by longtime Jove collaborator and former Billboard editor Ed Ochs, who also wrote the liner notes to Jove's two records, "Sweeter Song" and "Into the Shrine" (co-writing "Never Say Never" on "Shrine"). Ochs also co-wrote Jove's only feature film, "Stranger Than Love" (originally "I Married My Mom!"), and, with Jove, formed one half of Oxygen, a studio band which fused rock and disco and in 1979 recorded an EP of six original Jove/Ochs songs, "The Bones of Hollywood".
Jove met music video producer Paul Flattery at a 1983 New York Billboard Video conference and formed an association which resulted in the music video "Stop In The Name Of Love" for the reformed English band The Hollies, with Graham Nash and the TV show "The Top," which came about after Peter Ivers' murder.
In the immediate aftermath of Iver's killing, Jove was offered help by producer/director/writer Harold Ramis, a friend of Ivers, and together with Flattery, created and made "The Top" for KTLA.
The show was a mixture of live music, videos and humor.
Performers on the series include such artists as Cyndi Lauper, who performed "Girls Just Want To Have Fun" and "True Colors," The Hollies performed "Stop In The Name Of Love" and The Romantics performed "Talking In Your Sleep" and "What I Like About You".
Guest stars included Rodney Dangerfield, Bill Murray and Dan Aykroyd. The host was Chevy Chase, who - dressed as a "punk" of the era—got into a physical altercation with an audience member during the opening monologue. He immediately left the taping.
The producers then got Andy Kaufman to fill in for Chase and recorded the host segments at a separate, later, session. It was to be the last professional appearance by Andy Kaufman before his death.

Monday, August 14, 2017

David Crosby on Punk: Velvet Underground, Talking Heads All Dumb Stuff

From the Article....

Today was huge for fans of David Crosby’s Twitter account: so rife with twists and turns that it was hard to pinpoint the true gem of the day (as of the time of this writing, he’s still raging, too). But at the center of his quote-tweeted discourse this afternoon was “punk rock,” a musical genre which David Crosby seems to define broadly. Today, he clearly stated his assessment of this strata of popular music once and for all, even throwing The Velvet Underground and Talking Heads under the bus along with The Damned and The Ramones....Continued at

In other Tweets Crosby has noted that Husker Du' s cover of Eight Miles High "Didn't get Me".

Tuesday, August 8, 2017

Tom Tom Club's As Above So Below

Tom Tom Club is an American new waveband founded in 1981 by husband-and-wife team Tina Weymouth and Chris Frantz, both also known for being members of Talking Heads.[1] Their best known hits include "Wordy Rappinghood," "Genius of Love," and acover of The Drifters' "Under the Boardwalk," all released on their 1981 debut album Tom Tom Club.

As Above So Below

Hold the symbol to your forehead
Close your eyes
Call the spirit of the symbol
Come to me
Call the symbols of the golden age
One by one
Call the water, fire, air and earth
Come to me
As above, so below
As above, so below
As above, so below
As above, so below
Behold the door appears before you
Walk on through
Observe the doorway now behind you
Look ahead
Call the spirit of the symbol
Come to me
Allow the deity to guide you
Follow me
As above, so below
As above, so below
As above, so below
As above, so below
A web of thought; of tangled vision
Tear away the veil before me
Set me free
Tales to picture that you give to me
Tear away the minds that bind me