Bowie’s Dark Star & Trans-Plutonian Revelations Part 2, By Heather Eland

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David Bowie’s occult death, Blackstar, Binary Suns, Planet X, and now the 9th Planet, all moving through the orbits of inner space. In the realm of the symbolic it adds up to duality and the end of the times we are dwelling in. 2016, the “Nine Year,” Bowie dying at 69, the sign of Cancer, nines inverted. Hendrix, ponders what if a six turned out to be a nine? Jimi passed away on 9/18, nine and nine again.

In Baseball, there’s only nine innings. You get three outs per inning and a total of 27 (9) in the entire game.

There are nine players on the field.

Bases are 90 feet apart.

Baseball is Persephone’s sport and while the America’s past time isn’t officially associated with goddess of death and resurrection, she ascends from the underworld with the arrival of Spring and so does Baseball, heralding the rebirth of life, youth and the promise of re-generation.

One of my top students, Heather Eland has been doing some really powerful and I think groundbreaking work on Trans-Pluto aka “Persephone” and her latest article was profoundly synchronous with the timing of Bowie’s death, and the discovery of the 9th Planet.

It’s also interesting to note that Jennifer Connelly starred as Sarah Williams, a fifteen-year-old girl (6) in the Persephonic fantasy, “Labyrinth,” starring the aforementioned, David Bowie, as the Plutonian arch-wizard and Goblin King, Jareth. The film was released in England on 6/27 or 6/9 (Month of Cancer, again, 69).

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Connelly’s character buried ala Persephone in the Earth on the poster for Labyrinth.

Here’s Heather’s outstanding piece.

Transpluto Part 2: The Persephone Connection

[Author’s note:] In my last article, I wrote about my initial discovery and experience with Transpluto in my own life story and natal chart. This second piece serves as a continuation of the first, taking a more in-depth look at Transpluto and this outermost planet’s connection with Persephone, wife of Pluto and maiden goddess of the Underworld.

Transpluto and Persephone

In his earlier years, astrologer and theosophist Dane Rudhyar discussed the future discovery of a Transplutonian planet connected to both the Eleusinian Mysteries and the Sphinx. Rudhyar believed this planet to be “Proserpine,” or Persephone, ancient Goddess of the Underworld and the cyclical nature of our existence. Unlike astrologer Lynn Koiner, who believes perfectionist Transpluto to be the true ruler of Virgo, Rudhyar believed Persephone/Transpluto would find exaltation in the sign of Virgo, and connected her to the experience of greater life. Once discovered, Persephone/Transpluto would become the symbolic rebirth, providing a foundation for a new form of human existence in which the duality of life and death would be transcended, leading to a shift in consciousness enabling us to move between the experiences of both cyclically, without loss of identity. In essence, Persephone represents the next stage in our evolution and the stage of consciousness bringing us into what is often referred to as the “New” or “Aquarian Age.”

While there are many versions of the Persephone myth, many of us are most familiar with the version detailing the kidnapping and “rape” of the maiden Goddess Persephone by her counterpart, Pluto, Ruler of the Underworld.

For those who are unfamiliar, the kidnap-and-rape version of Persephone’s myth goes something like this:

The beautiful maiden Goddess Persephone is born of Demeter, the Goddess of agriculture, and Zeus, the patriarchal king of the Gods. The beautiful Persephone is very close with her mother, Demeter, so much so that they are essentially inseparable. For whatever reason, Pluto, the Ruler of the Underworld, has his eye on Persephone. One day Pluto conspires with his brother Zeus, to arrange for the kidnap of the beautiful maiden Persephone to be taken down into the underworld to rule alongside Pluto as his wife. Together Pluto and Zeus convince the Earth Mother Goddess Gaia to get on board with their plan and assist in luring Persephone into the underworld. In doing so, Gaia creates a beautiful flower called the Narcissi, and the beauty and intrigue of this unique flower becomes irresistible to the innocent and naïve nature-loving Persephone.

One day, Persephone is away from Demeter in a field somewhere picking flowers with her Nymph friends when she comes across the overwhelmingly beautiful and unfamiliar flower, which had been created by Gaia just for her. She picks the flower, and suddenly the Earth begins to quake and open up beneath her feet. Uncle Pluto arises from the underworld to snatch up Persephone, who then becomes his wife and assists him in receiving and initiating the dead. Demeter is enraged and devastated at the loss of her daughter and, in protest of the grave injustice suffered at the will of Zeus, she refuses to let the crops continue to grow, and the Earth becomes barren. After several months, the humans begin to die off and the Gods are feeling worried. With no humans left, there will be no one to give offerings to the Gods, and as a result, they too will perish. The Gods get together and convince Demeter to return the surface of the Earth to its once fertile state, but only under the condition that Pluto releases her daughter. Pluto agrees to allow Persephone to return to the surface, but since she has eaten a few pomegranate seeds, the food of the dead, she must split her time between her husband and her mother, spending several months out of the year in the underworld with Pluto, receiving and initiating the dead each winter while Demeter mourns her loss, eagerly awaiting her return each spring.

Given the mythology, if we were to support the theory that Transpluto is, in fact, Persephone, then it would be safe to assume that many of the themes present in the Persephone myth would come through in the lives of individuals with a strong Transpluto placement in the natal chart.

Well, interestingly enough, one such example of the Persephone connection recently happened to fall into my lap when I was invited to interpret the chart of someone quite close to my husband and I.

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Case Study: Tara’s Chart

Tara has Transpluto conjunct her Ascendant within a two degree orb at 21 degrees Leo. This placement not only puts Transpluto on her Ascendant at the onset of her 1st house, it also puts the theoretical planet in conjunction with her south node, squaring Pluto in Scorpio in her 4th house. As far as Lynn Koiner’s interpretation of Transpluto goes, Tara is a wonderful example of the critical, self-sufficient, perfectionist Transpluto influence. Her warm, dramatic, passionate Leo ascendant is flavored with the flawless outer appearance characteristic of a Virgo rising sign. She is a perfectionist by nature, owing her desire to be a strong, independent, self-sufficient young woman to both the direct and indirect influence of her mother. But below the surface of this apparent air of “put-togetherness” lies a challenging, deeply transformative Persephone experience that is very much responsible for making Tara the strong-willed young lady she is today. In many ways, Tara has unknowingly embodied the story of Persephone, both literally and figuratively.

At 16 years old, Tara was living in her family home under the care of her mother and her mother’s loving partner, Paul. Tara’s biological father had skipped out on her family many years ago, and Paul had since taken on the responsibility of aiding in the care of Tara and her older brother. While they had spent many years together, Tara’s mother had yet to marry Paul, as she had decided to wait until both of her children had grown up and graduated from high school. That day was soon approaching, and Tara’s mother and Paul awaited their upcoming nuptials in quiet anticipation.

One cold November night, Tara’s mother died quite suddenly of a heart attack. Her mother had planned ahead responsibly and taken out a lofty life insurance policy to be sure her family would be well cared-for long after her passing. Seeing an opportunity for financial gain amidst the tragedy of Tara’s mother’s death, Tara’s biological father came back into the picture. Just as suddenly as her mother’s passing, Tara was ripped from the only home and family she’s ever known to live with her Uncle Jimmy and his mail-order bride, miles away from her school and her community. Tara’s biological father had conspired with her uncle to create this arrangement in order to gain custody of Tara and control over her inheritance. For the four months of winter Tara blankly existed in her own personal hell. Her uncle’s family arrogantly believed her to be ungrateful for their assistance, and thus treated her poorly, but from Tara’s vantagepoint she had been forcefully taken into Pluto’s underworld with no means for escape. Come spring, Tara’s brother had been awarded custody of Tara after a particularly messy legal battle against their biological father. She emerged in the spring into a bizarre variation of the reality she once new, and from that point on she began to flourish. Tara has become a fiercly independent, strong young woman who recognizes her own power and knows how to use it. At the young age of 25, she’s already seen success beyond her years and, with a heavy 6th house influence in her chart, she is one of the most generous, hard-working people I know. Her personal transformative expereince connecting her to Persephone has inspired an unceasing drive for growth, learning, change, and perfection within herself and in those closest to her.


Persephone’s Creative Power and Rulership

As Pluto’s counterpart, Persephone completes an important cycle, which begins with the experience of death brought on by Pluto. Astrologers claim Pluto to be the planet of both death and rebirth, but tell me— where in Pluto’s story do we find the rebirth? The creative, regenerative, life-giving energy is found in Pluto’s female counterpart, Persephone. Without the Goddess of the Underworld and her divine feminine ability to give birth to new creation, the cycle remains incomplete.

Persephone/Transpluto rules the larger, transpersonal cycles that influence us on a collective level. While the moon rules over the shorter cycles of the tides, emotions, circadian rhythms, and of course, the female menstrual cycle, Persephone rules over the female reproductive life cycle, the cyclical nature of time and the death and rebirth (both literal and symbolic) of individuals, empires, and ages. She rules the cycle of the seasons on which Western astrology is based. And, perhaps most importantly of all, she rules over the cyclical nature of our individual and collective consciousness.

In the post-Hellenic version of Persephone’s story, as described above, Persephone is dragged unwillingly into the underworld and held captive against her will; however, this is only one version of her story. In the pre-Hellenic transmission of Persephone’s myth, during a time when Goddess culture was believed to rein supreme, Persephone descended into the underworld willingly, acting in service to assist the lost souls wandering beneath the earth by acting as their guide, initiating them into the world beyond the living. There was a need for this work that remained unfulfilled, and Persephone chose the path of courage, diving head first into the role she was destined to play.

Combining both versions of Persephone’s myth, we find a more complete picture of the Goddess and her influence as Transpluto. Regardless of whether she was kidnapped or went willingly, Persephone, separates herself from her mother, Demeter, and comes into her own power in order to show up in service (Virgo) of the lost souls in need. Taken together, what these myths also help demonstrate is the fact that if we fail to make the conscious choice to visit the underworld, we will likely be dragged down into the muck and forced to face our demons— for our own benefit, of course.


Persephone’s Global Influence

It is my sense that Transpluto/Persephone, currently hidden behind Pluto in the cold, dark, outermost layer of our solar system, will soon be reborn. We’re already living in the dawn of the age of Persephone, with death, darkness, and occult symbolism abounding, and our governments and hierarchies plagued by systemic rape and pedophilia. Held captive by Pluto’s influence, we are currently living Persephone’s experience of the underworld, and out of this shadowy chaos a collective awareness of something much bigger is being cultivated. The cold, dark age of Pluto is the necessary precursor to the ultimate springtime rebirth of a new consciousness, a new humanity.

Trans-Pluto Part One

And that leads us to Part 3 of our Transplutonian journey.

Heather Eland is an aspiring astrologer and multidisciplinary healer living in Austin Texas with her loving husband, her cat and her two rescue dogs. Heather dreams of one day homesteading a new type of community for the planet with her husband.

So Long David, Seeing Your Passing, On The Day Of Your Sun

videodefaultI awoke on Monday to a text. Ziggy Stardust has died. It was cryptic, but I knew what it meant. Bleary eyed, I rolled over, switched my computer on, hit the Internet and sure enough, Bowie had left the planet. And then it hit me; Friday’s show, his birthday, the chart. I talked about Bowie’s death. It was in there. I saw it, didn’t want to see it, but I saw it. After decoding his transits, I said, “Let’s appreciate him while we can.”

Then the texts and FB messages came in, “OMG you called it on your show.” It’s strange to have had that moment in time last Friday and gazed into the wheel. I had been connected to Bowie from the first time I heard, then saw him.

”Space Oddity” found it’s way onto home stereo when I was eleven. It was unlike any other song I had heard. I didn’t know it was Bowie at the time and wouldn’t find out for quite a while, which made it even more mysterious. Who was this? Where did this sound come from.

My next connection with Bowie was watching him in his last performance with The Spiders From Mars. It captured Bowie changing from costume to costume, shape-shifting from character to character, strange to stranger. Then he went down on Mick Ronson’s guitar when Mick was scorching one of his solos.

It was like I was watching Kabuki theater from Mars.

I found “Ziggy Stardust” and wore out the grooves.. With my Chiron in Aquarius in the Third House, I had discovered my soundtrack and glittered guide. From there I tracked Bowie’s peregrinations into various personas and styles. Most of you know who they were.

Needless to say, Bowie was a huge influence on me.

In 1999, I was working at MONDO 2000, a cutting edge cyberzine that was so sharp, it was bleeding to death by the time I got there. I did double time as a sales guy and music editor. We kept trying to get one more issue out, but we kept running into snag. We had run out of money. That didn’t stop us from carrying on as if we did.

One day, I got an email from Bowie’s publicist. She wanted me to interview David in New York for his latest album, the morbid “Hours” also known as Bowie’s mid-life crisis record.

You see Bowie loved MONDO and it was his personal choice, his call.

In February, 1999, I flew to New York and interviewed Bowie in the boardroom of Virgin Records. We got on amazingly well. He told me about how he played baseball when he was young on an army base in Dullage, England. He played right field for The Dullage Jays. He also confided in me that, as he got closer to his birthday, small nubs, like horns would protrude from his forehead and then recede after.

I found him charming, smart, funny and mischievous. As a journalist, it was the highlight of my career. You can read the interview HERE.

There was something about “Black Star” everyone was feeling it. It was dark, much darker than anything David had done in years. The imagery was startling. Bowie’s visage was taking yet another turn, thin, gaunt, and ashen, he was looking more like a Tall Grey. The alien inside of David was finally emerging, bursting at the edges.

”Blackstar” had decoders spinning. It’s about “Planet X” aka “The Blackstar.” It’s about the illuminati’s plans to enslave and destroy us.

I just saw a man coming to terms with his life.

What tipped me off about David’s chart and life? It was Pluto on Sun/Mars in the 12th, squaring Neptune in Libra in the 8th. It was Station to Station. David was stepping through the door of the 12th, gateway to the soul.

I’m tired. I’ve done 32 readings in the last ten days, which is why I haven’t been writing much. But I had to get this out.
If you want to listen to my breakdown of Bowie’s chart, check out last Friday’s broadcast, below.

David Bowie is the “Man Who Left The Earth.”

The Sound Of Pluto In Capricorn, Bowie’s Sonic, Kabbalisitic, Tour-de-Force, Station To Station

smoking-face_jpg.jpgThe Return Of The Return Of The Thin White Duke

I’ve been trying to come up with a musical track that I think exemplifies one particular aspect of Pluto in Capricorn and the best example that I could come up with right now, is David Bowie’s anthemic, “Station To Station” off the album of the same name. Bowie (Capricorn) was hanging out a lot in LA, particularly The Chateau Marmont and Harry Houdini’s old place, now owned by Ric Rubin. He was doing loads of cocaine, saw himself as a modern day incarnation of Merlin, dabbled in grey magic and assumed the identity of “The Thin White Duke,” a decadent, Euro, disco vampire.

Most people think that “Station To Station” refers to a train, perhaps The Trans-Euro-Express, but when in truth, he is referring in part to the Kaballah, particularly when he references going from “Malkuth to Kether” or “Station To Station.” The song is a high speed journey on the left handed path of consciousness, it is the manipulation of subtle matter; “one magical moment/such is the stuff from where dreams are woven/bending sound/dredging the ocean/lost in my circle.” The last line seems to be a reference to a magical circle, much like the ones drawn up by Enochian magicians such as John Dee and Francis Bacon when they would summon entities known as “macrobes.”

In interviews with Earl Slick, a metal blues guitarist from Toronto recruited for his ability to wrench big, walloping chords for numbers like “Station to Station” and “Stay,” Slick barely remembers the sessions that took place in LA as they were recorded in a frenzied blizzard of choice, Peruvian flake, a sonic blur, tripping across the over-amplified circuitry of distorted memories.

Bowie had just finished filming “The Man Who Fell To Earth” where he played Thomas Newton, a frail genius from another world. Director, Nicholas Roeg, told Bowie that he thought the character would stay with him for a while after they had completed shooting and so it did, morphing into the icy Duke, reptoidal and reserved on the surface, but manic and possessed beneath it, consorting with alien intelligence through symbolic arcana and magical powders,

For me, “Station to Station” is a sonic ritual, a knowing assemblage of craft on many different levels, and one that invokes power. Just listen to the realm splitting roar of the guitar on this rare video from 1976, a dress rehearsal from a show in Toronto.

I’ve been tracking Pluto in Capricorn from a socio-political perspective, but it can also represent the conscious application of ritual magic and outside of Led Zeppellin and Jimmy Page (also a Capicorn), nobody did it better than Bowie in his dark, astral phase.

Back when I interviewed him in 1999, we touched upon astrology briefly, off record, and how he shares the same birthday as Elvis (January 8th). He confided to me that the closer he gets to his birthday the more pronounced, two protruding bumps in his forehead, one above each eye, like budding horns, begin to bulge.

Pluto In Capricorn, from base to capstone, root to fruit, “Station To Station.”

Bowie Revisited

In Bowie’s Head

Reportedly worth over $800 million, David Bowie has gone from “The Man Who Sold the World” to “The Man the World Is Buying.” From space oddity to corporate entity, he’s busy recreating his persona once again. With the ISP BowieNet, his Web site, Bowie Bonds, and arrangements to set up ISPs for the likes of the New York Yankees and Baltimore Orioles, Bowie is becoming a computer baron.His energy, a titanic clash of classical cultivation and maniacally driven curiosity, has given birth to a new record, Hours…the first major-label release to be sold in its entirety over the Internet.

The album finds Bowie in a contemplative mood. With middle age looking him dead in the third eye, he’s addressing the themes of loss, regret, and redemption.He’s also had a hand in creating the new computer game Omikron: Nomad Soul, from which many of Hours’ tracks are culled. Omikron provided a vehicle for Bowie to virtually recreate himself as a 21-year-old rock star (Boz) who performs in an alternate dimension. Dorian Gray looks back through pixilated reflections in the digital mirror.Hidden beneath Bowie’s alien veneer and his ability to fuse artistic effort with Wall Street smarts is a trickster-par-excellence — a corporate coyote who’s not above blowing the mind of a sweaty-palmed journalist at Virgin’s New York offices.

A half-hour late, he arrives with his publicist in tow–stuporifically stumbling across the room, teeth badly broken, dead eyes staring at me through a Thorazine dream. I say to myself, “Christ… Bowie’s fucked.” I extend a hand to a shaky hand. We sit. Bowie rips fake teeth from his mouth and laughs with a vengeance: “Unflappable — I like that!”

I’ve passed the initiation. The interview can now proceed.

Phoenix: Along with the release of Hours…, Iggy [Pop] and Brian Ferry have releases coming out at the same time. Is this a coincidence or a conspiracy?

Bowie: How about that! If I’d had my druthers, I’d rather not have put out an album right now. But Virgin wanted me to put this album out now, because everyone has gone for the end of the millennium thing. I don’t mind. But I would rather have had it come out earlier this year or waited until the beginning of next year. But at least it will come out and I can move onto the next one — which is how I tend to think. I don’t like to sit around and watch it, dust it off and say, “yeah, that’s a beauty.” It doesn’t bother me that it’s coming out with everyone else and their fathers.

Phoenix: Do you still communicate with Iggy?

Iggy and Ziggy

Bowie: I don’t see Iggy at all. I’ve not seen him since ’97. We were working on a tour in Germany. He seemed fine. I think he does far, far more touring than I do. I like touring, but I don’t like it quite so obsessively as [he does]. We have drifted away from each other, and in a way I understand why. I’ve never talked to him about this and I probably shouldn’t talk to you about it…

Phoenix Oh c’mon.

Bowie: All right then. [Laughter] I think there was a moment where Jim [Iggy] decided that he couldn’t do a fucking article without my name being mentioned, and I don’t think that’s a very comfortable feeling. I completely understand — I really, really do. Unfortunately, I think Jim took it personally, and that’s a shame because I would have liked to remain closer to him.I think that he felt he had to physically take himself out of the picture to become autonomous again. We’ve never voiced this to each other, because we’re sensitive to each others’ feelings. I’m not saying that it’s a resentment, but I do believe that he always felt that there was this svengali-type figure dogging him. Because I did such a load of work with him and I was a major mainstream artist myself at the time. [A phone begins to ring in the boardroom where we sit] What do you think?

Phoenix: Why don’t you get it?

Bowie: You think? Okay. [The trickster rolls up his sleeves, springs across the room and answers the phone]Hello, Polygram! [Hearty laughter at his own hijinx]

Phoenix
: Here comes the Velvet Goldmine question: How did you feel about the portrayal?

Bowie: I didn’t notice that I was in it. Am I really that uninteresting? God, he was about as interesting as a soapdish, wasn’t he? I presumed that they kind of backed off the portrayal characterization and just went for cipher. I had the advantage of reading the script before it was made and knew it was a stinker from the moment I read it.It had two things going against it: First, they wanted all of the songs that I want to use for Ziggy Stardust, and from about halfway on, the writing just fell to pieces. It had a fairly interesting start and totally disappeared somewhere. I anticipated it would be a bomb. I also think its location was totally wrong. I think [writer/director Todd Haynes] located it in the early ’80s — unwittingly. I presume that’s when he grew up. Because for me, I was watching Steve Strange and Boy George and the New Romantics, who had by that time, (when they had reinvestigated the idea of Glam) put a certain kind of ennui, a certain kind of sophistication on the thing. It was all very mannequinish, by the time it got to the ’80s. It was all made very well. The stitches didn’t show in the ’80s. In the ’70s it was vulgar, tacky and funny and there was a lot more shopping. They didn’t show that in the movie. It was located in the wrong era. The only entertaining areas for me were the gay things. I think that [Haynes] inherently has an understanding of the gay situation.But the lovely thing that came out of it was a fantastic five-page letter from Michael Stipe who asked me to be involved — which I’ll keep for the rest of my life and is far too personal and adoring for me to reveal, yet. But of course it will go up on the Internet eventually.
Ziggy Stardust

Phoenix: Are you doing a Ziggy film?

Bowie: Yeah, I’m not only doing it (overly ambitious as always), I’m doing it on three platforms. I’m working with people on a film version and I’m working with people on a theater version that’s completely different and I’ll synthesize the two into a huge version of Internet hypertext — where we will find out about Ziggy’s mum and things like that. I want this kind of parallel world with Ziggy on the Internet that stays there as archive forever — like a living organism. But the theater version and the film versions will be completely and utterly different from each other. The stage show will be about the interior values of Ziggy and his contemporaries. It won’t have terribly many characters in it. The film would be the audiences’ perception of who or what Ziggy was. It will be a bigger, grander, more blah, blah. But the three taken together is, I suppose, lazy post-modernism where the same story is told in different ways.

Phoenix: What’s the timeline on that?

Bowie: 2002. It’s scary. It’ll be exactly 30 years by then. I hope we can get one of them out by that time.

Phoenix: While we’re on the subject of film, weren’t you going to do a film with Derek Jarman called Neutron?

Bowie: Neutron, yes, absolutely. I still have the script and Derek’s drawings. It’s so sad that things get left behind. I tend to want to do too much. I want to approach his family at some time to see if we could do something with it. I have his script and his drawings. I even know down to the music how he wanted to do have things done. And it would be lovely posthumously to do his piece. It would be fabulous. A wonderful script — very scary piece of work. How did you know that anyway? Very few people know that.

Phoenix: Well there’s another part of the story I want to ask you about. The guy that I heard it from said that you had left a pack of Marlboro’s at Jarman’s and that word had gotten back to you about your cigarettes being there and you stopped the project because you thought Jarman was practicing sympathetic magic on you.

Thin White Duke

Bowie: No, absolutely not!

Phoenix: Urban legend?

Bowie: God yeah. I would’ve given my arm to work with Jarman. My remembrance of the thing was that, as usual, he couldn’t get the funds to actually make the movie. It had some quite spectacular scenes in it. It did require proper sets. There weren’t existing properties around London. He went back to his set designing ideas for it and came up with these amazing Neo-Fascistic buildings for it. I don’t think that anybody was willing to put up the bread for it.

Phoenix: How does it feel to be considered a “Buy-In” versus “Sell-Out?”

Bowie: I like the phraseology, but I’m not quite sure what you mean.

Phoenix: Bowie as commodity, Bowie as brand.

Bowie: Ah, the branding of David Bowie! Well it’s been done to artists after they’re dead, like Presley Ltd. and selling ashtrays and so forth. It’s definitely a viable option and it’s quite exciting. It’s sort of pioneering and it’s not an acceptable way to go. And that I always find subversive enough. People say; “How can you brand yourself? How disgusting — oooh.” [Gleeful and slightly pervertedly] Yes, I know!

Phoenix: Finally, in Omikron, there’s this theme of transmigration of souls with different characters within the game. And a player can be anyone including Iman, but not you.

Bowie: Yes, that’s right. [More laughter]

Phoenix: How does she feel about that? How do you feel about that?

Bowie: She is a freelancer. You can hire her. She’ll work for anyone… apparently. Well, I quite like that they can’t get inside of me. That was tabled by the French. It’s a French game. A really diplomatic courtesy was extended toward me. They said,[in his best camp French] “but of coorse, nooone can become you. You are David Boweee.” I said, “Yes, you’re absolutely correct.” I’m not lettin’ anybody climb inside of me.Originally Published gettingit.com