A Proper Gander At Propaganda


PLEASE NOTE: This is not a conspiracy theory blog.

This website exists to serve as public resource for reverse imagineering world-wide culture, one that takes a critical look at the numerous artifacts and other types of relics that represent our shared collective international heritage. This blog is dedicated to examining social engineering and the use of tax funded governmental propaganda, and the mainstream media, as international human resource management tools.

About The AA Morris Proper Gander At Propaganda Podcast: Coming to you from one of the suburban metropolitan melting pots of international culture, outside of one of the multimedia capitals of the world, New York City, the Proper Gander at Propaganda podcast is meant to be a filter free look at our shared international cultural heritage, our shared social media infused and obsessed present, and what our children and their children could be looking forward to. This link will bring you to the podcast page of this website, with embedded squarespace audio: link: http://www.aamorris.net/podcast/

Thank you for taking the time to read this,

AA "The Proper Gander" Morris

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Simple Song Of Freedom

Bobby Darin - Simple Song Of Freedom (Live and with a Tux) A mega star in his own right, taken way to soon from this world. He was crossing over from the nightclub circuit into the arena of folk music, where his pacifist views were clearly developing.

Come and sing a Simple Song of freedom...

It's "Spooky" How He Seems to Know He Is Singing To Us!

Please experience the magic of television. Television was The Dawning of The Age of Aquarius.

Aquarius = Cultural Behavioral Manipulation - The Best Mind Control Device Around.

Guess what? - The man known as Bobby Darin knew this. He was a performer and actor and a director. He is singing to us. He was singing to the home audiences and telling them on the screen that most of what they read was made of lies. He said it. He explained the con job. His protest music is more real than the rest of the pop art sold as 'protest music'.  Most if not all of those supposed protest artists were controlled whether they knew it or not. The headlines are lie. The same headlines repeated on the television news and on talk shows and everywhere else, by the all-mighty "Everyone".

"MOST OF WHAT WHAT YOU READ IS MADE OF LIES" - Bobby Darin Simple Song of Freedom - a Protest Song

In the context of the time period, we would not understand what he was really saying. We would think he was referring to stopping real war. But he includes the line "most of what you read is made of lies", which exposes the truth.  Now that we know what we do, his lyrics are revealing.

If any of these figures deserve to be called a protest musician, it is most definitely 'Bobby Darin' who told the most truth to a very huge and growing audience. This is not over. This is just beginning. The internet makes this clip and many like it live on forever as echoes in the 'aether'.

The Idea of Freedom is not some Nostalgic Fantasy - & It Must Not Die & We Must Make Sure We Make Our Voices Heard In Some Way, No Matter How Small.

"Tesla was roaming in the mountains with some chums one winter day after a storm in which the snow fell moist and sticky. A small snowball rolled on the ground quickly gathered more snow to itself and soon became a big one that was not too easy to move. Tiring of making snowmen and snow houses on level stretches of ground, the boys took to throwing snowballs down the sloping ground of the mountain. Most of them were duds-that is, they got stalled in the soft snow before they accumulated additional volume. A few rolled a distance, grew larger and then bogged down and stopped. One, however, found just the right conditions; it rolled until it was a large ball and then spread out, rolling up the snow at the sides as if it were rolling up a giant carpet, and then suddenly it turned into an avalanche. Soon an irresistible mass of snow was moving down the steep slope. It stripped the mountainside clean of snow, trees, soil and everything else it could carry before it and with it. The great mass landed in the valley below with a thud that shook the mountain. The boys were frightened because there was snow above them on the mountain that might have been shaken into a downward slide, carrying them along buried in it.

This event made a profound impression on Tesla and it dominated a great deal of his thinking in later life. He had witnessed a snowball weighing a few ounces starting an irresistible, devastating movement of thousands of tons of inert matter. It convinced him that there are tremendous forces locked up in Nature that can be released in gigantic amounts, for useful as well as destructive purposes, by the employment of small trigger forces. He was always on the lookout for such triggers in his later experiments."


"television (n.) 

1907, as a theoretical system to transmit moving images over telegraph or telephone wires; formed in English or borrowed from French télévision, from tele- + vision.

Television is not impossible in theory. In practice it would be very costly without being capable of serious application. But we do not want that. On that day when it will be possible to accelerate our methods of telephotography by at least ten times, which does not appear to be impossible in the future, we shall arrive at television with a hundred telegraph wires. Then the problem of sight at a distance will without doubt cease to be a chimera. ["Telegraphing Pictures" in "Windsor Magazine," 1907]

Other proposals for the name of a then-hypothetical technology for sending pictures over distance were telephote (1880) and televista(1904). The technology was developed in the 1920s and '30s. Nativized in German as Fernsehen. Shortened form TV is from 1948. Meaning "a television set" is from 1941. Meaning "television as a medium" is from 1927.

Television is the first truly democratic culture -- the first culture available to everyone and entirely governed by what the people want. The most terrifying thing is what people do want. [Clive Barnes, "New York Times," Dec. 30, 1969]"

Come and sing a simple song of freedom
Sing it like you've never sung before
Let it fill the air
Tell the people everywhere
We, the people here, don't want a war

Hey there, Mister Black Man can you hear me?
I won't dig your diamonds or hunt your game
I just want to be, someone known to you as me
and I will bet my life you want the same

So come and sing a simple song of freedom
Sing it like you've never sung before
Let it fill the air
Tell the people everywhere
We, the people here, don't want a war

Seven hundred million are you listening?
Most of what you read is made of lies
But speaking one to one, ain't it everybody's sun
To wake to in the morning when we rise?

So come and sing a simple song of freedom
Sing it like you've never sung, never sung, before
Let it fill the air
Tell the people everywhere
We, the people here, don't want a war

Brother Yareshenko are you busy?
If not would you drop a friend a line?
Tell me if the man, who is plowing up your land
has got the war machine upon his mind

Come and sing a simple song of freedom
Sing it like you've never sung before
Let it fill the air
Tell the people everywhere
Taht we, the people here, don't want a war

Now no doubt some folks enjoy doin' battle
Like presidents and ministers and kings
But let us build them shelves where they can fight among themselves
and leave the people be who like to sing

Come and sing a simple song of freedom
Sing it like you've never sung before
Let it fill the air
Tell the people everywhere
That we the people here, don't want a war

Let it fill the air
Tell the people everywhere
That we the people here, don't want a war



A Song About Poisoning the human mind. The real environmental threat is not to the Earth, but to our imaginations and minds.

The manufactured toxic culture is the reference, not some imaged external pollutant. The real poison is on the screens, in print, and on the radio, the real damaging and toxic poison is found in between the songs and commercials, The real poison is spewed out of the mouths of the DJs themselves. It's not the musicians but the DJ that is the problem with radio. These talkers repeat and parrot propaganda and little else. They define our behavior in doing so.

How do you kill the ocean
How do you make it dry
Well you first dilute
Then pollute
Cut the fruit
At the root
And the ocean’s floor
Will be like a whore
Who will lie no more
’cause she’s dead
Use your head.
— Bobby Darin - Questions

Admiralty Law = Ocean Floor Whore

Words Have Two Meanings - This is Simply Poetry & Metaphor

Song lyrics and poems are supposed to be plays on words and puns, not deconstructed into babel, lyrics are supposed to communicate something with meaning, lyrics need content or they are just nonsense like much of the product of the multimedia beast.

floor (n.) Old English flor "floor, pavement, ground, bottom (of a lake, etc.)," from Proto-Germanic *floruz "floor" (source also of Middle Dutch and Dutch vloer, Old Norse flor "floor," Middle High German vluor "floor, flooring," German Flur "field, meadow"), from PIE *plaros "flat surface" (source also of Welsh llawr "ground"), enlarged from *pele- (2) "flat, broad; to spread out" (see plane (n.1)). 

Meaning "level of a house" is from 1580s. The figurative sense in legislative assemblies (1774) is in reference to the "floor" where members sit and from which they speak (as opposed to the platform). Spanish suelo "floor" is from Latin solum "bottom, ground, soil;" German Boden is cognate with English bottom (n.). Floor-plan is attested from 1794; floor-board from 1787, floor-lamp from 1886, floor-length (adj.) of dresses is from 1910. The retail store's floor-walker is attested from 1862.


Here we have a reference to the sea beast. The government control over the world as we know it.

The multimedia art beast serves the government that controls the entire global culture.

Ours is a culture and world based on scripts written at the behest of the long standing global Mafia crime ring.

 Darin's "Questions" is a song about getting rid of government.

We can see Bobby Darin is on our side. He is telling us to chip away a little at it every day. And to use our heads.

To think critically.


The Currency Wage Slave System

State and Federal Taxes must go. We were and are tricked into the, literally. That is a crime and that means these laws are they themselves natural and unlawful. Social Security is a scam. Interest rates and the rest are the tools of our imprisonment. We need to rid ourselves of the inhumane parts of this system and make it serve humanity in a logical and natural and fair way. 

So Many Layers of a System We Don't Need - No Matter Which Side We Choose We Lose!

The Revolutionary War was really about reducing freedom. No amount of layers of paper work can give us freedom. Paperwork binds us to the system! Now with the internet and the social cloud connected to our watches we can have even more things to fill out. This is Nikola Tesla's nightmare.

Admiralty Law is a Crime! See The Historical Con?

The Origins of Modern Business Paperwork and The Internet Form - Yellow Journal Wage Slave Artifacts of an Insane Culture

"Admiralty law was introduced into England by the French Queen Eleanor of Aquitaine while she was acting as regent for her son, King Richard the Lionheart. She had earlier established admiralty law on the island of Oleron (where it was published as the Rolls of Oleron) in her own lands (although she is often referred to in admiralty law books as "Eleanor of Guyenne"), having learned about it in the eastern Mediterranean while on a Crusade with her first husband, King Louis VII of France. In England, special admiralty courts handle all admiralty cases. These courts do not use the common law of England, but are civil law courts largely based upon the Corpus Juris Civilis of Justinian.

Admiralty courts were a prominent feature in the prelude to the American Revolution. For example, the phrase in the Declaration of Independence "For depriving us in many cases, of the benefits of Trial by Jury" refers to the practice of Parliament giving the Admiralty Courts jurisdiction to enforce The Stamp Actin the American Colonies.[4] Because the Stamp Act was unpopular, a colonial jury was unlikely to convicta colonist of its violation. However, because admiralty courts did not (as is true today) grant trial by jury, a colonist accused of violating the Stamp Act could be more easily convicted by the Crown.[citation needed]

Admiralty law became part of the law of the United States as it was gradually introduced through admiralty cases arising after the adoption of the U.S. Constitution in 1789. Many American lawyers who were prominent in the American Revolution were admiralty and maritime lawyers in their private lives. Those included are Alexander Hamilton in New York and John Adams in Massachusetts.

In 1787 John Adams, who was then ambassador to France, wrote to James Madison proposing that the U.S. Constitution, then under consideration by the States, be amended to include "trial by jury in all matters of fact triable by the laws of the land [as opposed the law of admiralty] and not by the laws of Nations [i.e. not by the law of admiralty]". The result was the Seventh Amendment to the U.S. Constitution. Alexander Hamilton and John Adams were both admiralty lawyers and Adams represented John Hancock in an admiralty case in colonial Boston involving seizure of one of Hancock's ships for violations of Customs regulations. In the more modern era, Supreme Court Justice Oliver Wendell Holmeswas an admiralty lawyer before ascending to the bench."


Origins of Our Modern Society - Medieval Jobs

We can see the origins of our modern society and we can learn why we have been dumbed down for centuries. Please read the so-called job descriptions below. This is where we get our modern ideas of professions. Even if we actually do elect a 'Reeve' do you think that 'Reeve' can override the Bailiff? Interesting title that one, no? Can we not agree we are trapped in some kind of cartoon Alice in Wonderland - House of Cards Prison? We have been for centuries.

Please read the descriptions below. This is the basis for the corporate world and industries we know today. We can now see how the Royalty can control our world. They control it because they were instrumental in the foundations of what we think of as the "real world".  All the corporate officer positions and the rest of the job titles and all else we take for granted have to have originated from somewhere. Doesn't it make sense to look to the original pyramid feudal structure itself? The very history that is used to bind us to this commercial enterprise also explains how it's all done.

The Global Mafia families run the global banking ring. They control the currency. They profit ultimately from all the currency exchange. On the corporate level there are boards of directors. Here we can see how all the companies can be controlled from 'behind the scenes', so to speak.

We also have institutional level managers of massive equities portfolios and the like. We can see how easily this system is manipulated from the top. The owners of this system cannot break any laws within the system, only we can. Get how it works? If someone profited from trades on 9/11 it is because they own the Monopoly Game™

We also have the individual wealthy shareholders. But we think these people probably possess very little actual power in the scheme of things. Unless they are Queens or Kings or the like.

We must not forget that retirement accounts and pensions are managed by mutual fund investors who oversee portfolios of huge numbers of shares of stock and bonds and so on. The entire Wall Street banking industry is based on these practices. A collection of mutual fund managers can make or break a company's stock price, for example. The system is rigged and it is not meant for us, in the way we think it is, it is actually a trap. If we happen to profit by it, it is a happy accident. This profit is only meant to bind us further to the system and so we can move one step or two, up the pyramid structure and earn a Gilded Cage! 

The system is meant as a way to enslave us. We think the system is meant to be fair and to give a chance at the American Dream™, but this is just a noble lie, like so many others.

A Shire Reeve is a Sheriff by the way. We can see how all these professions work for the King or Queen. All we have ever known is derived from this feudal system. We do not usually consider that the Universities, the Religions, The Governments, the Music, the Fashion, and the Arts are promoted not for our education nor benefit. These are the chains of our slavery.

Religion was once the only form of education for the masses. Then the Bible was mass produced by printing press and the so-called New World was open for business. The early colonists were free to live off they land as they desired and for a brief moment there was a Land of The Free and Home of The Brave. America was real and did mean Freedom. 

History is the story about how that all came to an end, step by step.

"Interesting history, facts and information about the life of the people
who lived in England during the Medieval times

Medieval Jobs - The names of the Medieval people who worked on the manors
The Lord of the Manor was based in the Manor House and from here he conducted the business of the manor. The names of the Medieval jobs of the people who worked on the manors are described as follows:

  • Vassal - A Vassal or Liege was a free man who held land ( a fief ) from a lord to whom he paid homage and swore fealty. A vassal could be a Lord of the Manor but was also directly subservient to a Noble or the King
  • Bailiff - A Bailiff was a person of some importance who undertook the management of manors
  • Reeve - A Reeve was a manor official appointed by the lord or elected by the peasants
  • Serf - A serf was another name for a peasant or tennant. Medieval Serfs were peasants who worked his lord's land and paid him certain dues in return for the use of land, the possession (not the ownership) of which was heritable. The dues were usually in the form of labor on the lord's land. Medieval Serfs were expected to work for approximately 3 days each week on the lord's land.
  • Peasant or Villein - A peasant or villein was a low status tenant who worked as an agricultural worker or laborer. A peasant or villein usually cultivated 20-40 acres of land
  • Cottager: A low class peasant with a cottage, but with little or no land who generally worked as a simple laborer
  • Servant: Servants were house peasants who worked in the lord's manor house, doing the cooking, cleaning, laundering, and other household chores


Two principal estates of the realm

"The gentry is formed on the bases of the medieval societies' two higher estates of the realm, nobility and clergy, both exempted from tax. Subsequent "gentle" families of long descent who never obtained official rights to bear a coat of arms were also admitted to the rural upper-class society: the gentry.

The three estates

The widespread three estates order was particularly characteristic of France:

  • First estate included the group of all clergy, that is, members of the higher clergy and the lower clergy.
  • Second estate has been encapsulated by the nobility. Here too, it did not matter whether they came from a lower or higher nobility or if they were impoverished members.
  • Third estate included all nominally free citizens; in some places, free peasants.

At the top of the pyramid were the princes and estates of the king or emperor, or with the clergy, the bishops and the pope.

The feudal system was, for the people of the Middle Ages and early modern period, fitted into a God-given order. The nobility and the third estate were born into their class, and change in social position was slow. Wealth had little influence on what estate one belonged to. The exception was the Medieval Church, which was the only institution where competent men (and women) of merit could reach, in one lifetime, the highest positions in society.

The first estate comprised the entire clergy, traditionally divided into "higher" and "lower" clergy. Although there was no formal demarcation between the two categories, the upper clergy were, effectively, clerical nobility, from the families of the second estate or as in the case of Cardinal Wolsey, from more humble backgrounds.

The second estate was the nobility. Being wealthy or influential did not automatically make one a noble, and not all nobles were wealthy and influential (aristocratic families have lost their fortunes in various ways, and the concept of the "poor nobleman" is almost as old as nobility itself). Countries without a feudal tradition did not have a nobility as such."

"The nobility of a person might be either inherited or earned. Nobility in its most general and strict sense is an acknowledged preeminence that is hereditary: legitimate descendants (or all male descendants, in some societies) of nobles are nobles, unless explicitly stripped of the privilege. The terms aristocrat and aristocracy are a less formal means to refer to persons belonging to this social milieu.

Historically in some cultures, members of an upper class often did not have to work for a living, as they were supported by earned or inherited investments (often real estate), although members of the upper class may have had less actual money than merchants. Upper-class status commonly derived from the social position of one's family and not from one's own achievements or wealth. Much of the population that comprised the upper class consisted of aristocrats, ruling families, titled people, and religious hierarchs. These people were usually born into their status, and historically, there was not much movement across class boundaries. This is to say that it was much harder for an individual to move up in class simply because of the structure of society.

In many countries, the term upper class was intimately associated with hereditary land ownership and titles. Political power was often in the hands of the landowners in many pre-industrial societies (which was one of the causes of the French Revolution), despite there being no legal barriers to land ownership for other social classes. Power began to shift from upper-class landed families to the general population in the early modern age, leading to marital alliances between the two groups, providing the foundation for the modern upper classes in the West. Upper-class landowners in Europe were often also members of the titled nobility, though not necessarily: the prevalence of titles of nobility varied widely from country to country. Some upper classes were almost entirely untitled, for example, the Szlachta of the Polish-Lithuanian Commonwealth.

Before the Age of Absolutism, institutions, such as the church, legislatures, or social elites, restrained monarchical power. Absolutism was characterized by the ending of feudal partitioning, consolidation of power with the monarch, rise of state, rise of professional standing armies, professional bureaucracies, the codification of state laws, and the rise of ideologies that justify the absolutist monarchy. Hence, Absolutism was made possible by new innovations and characterized as a phenomenon of Early Modern Europe, rather than that of the Middle Ages, where the clergy and nobility counterbalanced as a result of mutual rivalry."


Provided to YouTube by Universal Music Group International Jingle Jangle Jungle · Bobby Darin Songs From Big Sur ℗ 2004 Bobby Darin Testamentary Trust, under exclusive license to Varese Sarabande Records ℗ 2004 Bobby Darin Testmary Trust, under exclusive license to Varese Sarabande Records Released on: 2004-09-13 Author, Composer: Bobby Darin Auto-generated by YouTube.

A still from the film Monsignor, this is set In Rome during and post World War Two. The film is about the cargo-cult that is our global culture and shows what war is really about. What we see on the screens is propaganda. What is real is kept hidden from view. The NEWS promotes a very distorted and false view of the world. The military and the governments do not let any of us see what war really means. We have only seen highly edited and staged Hollywood productions on screens.The news and the mainstream media beast is designed to screen the truth not reveal it.


The artifacts of cultural imprisonment. Weaponized culture comes in many forms. This is what the wars are for. Not what we've been told or shown.

Do any of us really believe that with all the security clearances and the so-called "need to know basis" and the supposed clandestine nature of the 'biz', that anyone in their right mind would allow real pictures of military tactics to be shown to the public and the world? This would be highly illogical and stupid.

This is the promised Revelation. This is the Apocalypse. These mass produced goodies aren't as innocent as we think. They can be if freed from this 'Satanic" or "Saturnian" System of Cartoon Inspired Social Control. We still might want to realize that we can grow our own food and raise our own livestock, and that living off the land is not as difficult as we've been led to believe. We can also make our system of food production more humane. We can focus effort on things like that. We can focus our energy on things that really make sense. Climate change is as fake as the rest of this social control cargo cult. We have been duped for a very long time.

Please Take A Listen to This Very Insightful Podcast

Hoax Busters: The Ultimate Cure Every Disorder and Disease.Hoax Busters: Conspiracy or just Theory? - Live & Recorded Episodes: Call No. 460 "How many lies can you allow yourself to believe before you belong to the lie?" (Mort Sahl-Political Comedian), International Association of...hoaxbusterscall.blogspot.com

World War Two Theatre Outside

We now know about the Ghost Army and how they are the original Kraft Services. This World War Two unit was comprised of all sorts of artists and went around France and Germany putting on a fake war show, complete with Bell Labs sound effects and inflatable tanks. The went into taverns and spread rumors of war. These guys were trained by the British, who had pulled this trick earlier during the same war.

We have also learned how a bunch of the World War Two footage is admitted as fake. Layers of the lies to protect the truth. The reality is it was all faked. There's so much of it. Go and watch it, we have. The footage screens what really went down. We never see any real images of war, just like how whenever saw the towers fall on 9/11, what we saw, was on the screen, and was just a Hollywood production. It's interesting how so many actors from Canada and Britain, ended up seeing combat and performing for the cameras later on. In the context of all this fakery, it's safe to say there's a really good chance these actors, like Start Trek's James Doohan, did not see the combat they claim, but were newsreel actors. 


The Overlooked Absurdity of the USO

We have been conditioned to accept nonsense as logic. Perhaps this is why so many minions come across so stupid. They have to be. Down is up and up is down, or so they have to claim. They have to either be duped themselves or in on it. The idea of worrying about things like Coca Cola bottling plants and putting on theatrical prodcutions for the boys is taken for granted as history. We find these narratives absurd. If this were true we could take over this world with spoons. What kind of military brain trust would think it wise to worry about traveling road shows and cocoa cola bottling plants during a time of war? If this doesn't wake us all up, what will?

"After being formed in 1941, in response to World War II, "centers were established quickly... in churches, barns, railroad cars, museums, castles, beach clubs, and log cabins."[9] Most centers offered recreational activities, such as holding dances and showing movies. And there were the well-known free coffee and doughnuts. Some USO bases provided a haven for spending a quiet moment alone or writing a letter home, while others offered spiritual guidance and made childcare available for military wives.

But the organization became mostly known for its live performances called Camp Shows, through which the entertainment industry helped boost the morale of its servicemen and women. Camp Shows began in October 1941, and by that fall and winter 186 military theaters existed in the United States. Overseas shows began in November 1941 with a tour of the Caribbean. Within five months 36 overseas units had been sent within the Americas, the United Kingdom, and Australia, and during 1942 1,000 performed as part of 70 units. Average performers were paid $100 a week; top stars were paid $10 a day because their wealth let them contribute more of their talents.[10]

These overseas shows were produced by the American Theatre Wing, which also provided food and entertainment for the armed services in their Stage Door Canteens. Funds from the sale of film rights for a story about the New York Canteen went toward providing USO tours of shows for overseas troops.[11]

In 1991, 20th Century Fox produced the film, For the Boys, which told the story of two USO performers, and starred Bette Midler and James Caan. It covered a 50-year timespan, from the USO's inception in 1941 through Operation Desert Storm, in 1991. Another movie was planned in 1950 but never made. Just 10 days after Al Jolson returned from entertaining troops in Korea, he agreed with RKO producers to star in a new movie, Stars and Stripes for Ever, about a U.S.O. troupe in the South Pacific during World War II. Unfortunately, he died a week later as a result of physical exhaustion from his tour.

Camp Shows began in Normandy in July 1944, one month after Operation Overlord. Until fall 1944 overseas units contained five performers or fewer; The Barretts of Wimpole Street, using local theaters in France and Italy, was the first to use an entire theater company, including scenery.[10] At its high point in 1944, the USO had more than 3,000 clubs, and curtains were rising on USO shows 700 times a day. From 1941 to 1947, the USO presented more than 400,000 performances, ..."


Astrologers believe that an astrological age affects humanity, possibly by influencing the rise and fall of civilizations or cultural tendencies.

Traditionally, Aquarius is associated with electricity, computers, flight, democracy, freedom, humanitarianism, idealism, modernization, astrology, nervous disorders, rebellion, nonconformity, philanthropy, veracity, perseverance, humanity, and irresolution.
— https://en.wikipedia.org/wiki/Age_of_Aquarius
This Is Tom Jones TV Series (October 2 1969)

Bobby Darin The Proper Gander

Bobby Darin — Sausalito (The Governor's Song)

1. Bobby Darin - 01. Me & Mr. Hohner

2. Sugar. Bobby Darin - Man

3. Bobby Darin - 03. Sausalito (The Governors Song)

4. Bobby Darin - 04. Song For A Dollar

5. Bobby Darin - 05. The Harvest

6. Bobby Darin - 06. Distractions (Part 1)

7. Bobby Darin - 07. Water Color Canvas

8. Bobby Darin - 08. Jive

9. Bobby Darin - 09. Hey Magic Man

10. Bobby Darin - 10. Light Blue

The "Sage" of Sausalito and the sounds Bobby Darin refers to in song, were from the mouth of this interesting guy. Alan Watts (with an "S" at the end of his name) is not Alan Watt. This guy gets lumped in with people like Alan Ginsberg but there is a huge difference between Mr. Watts and the rest of the West Coast guru's who sold one kind of snake oil for another. This guy's informal lectures are available on Youtube, (complete with squeaky chair noises). Apparently these talks took place in his houseboat living room.

Alan Watts has some interesting anecdotes and insights to share that transcend ay media labeled "Eastern Philosophy" genre kind of thinking. Alan Watts was a student of Western and Eastern Religions and his thoughts are worth considering for one's self. Governors exist to control thought and reason of course. Sacramento is the capital of California and these sounds Bobby Darin tells us we should ignore in favor of the sounds from Sausalito. 

"To paraphrase Papa John, we are living in a California nightmare."

Bobby Darin Sausalito (The Governors Song)

"Towards the end of his life, he divided his time between a houseboat in Sausalito and a cabin on Mount Tamalpais. Many of his books are now available in digital format and many of his recorded talks and lectures are available on the Internet. According to the critic Erik Davis, his "writings and recorded talks still shimmer with a profound and galvanizing lucidity." "

Hell in a Bucket music video by the Grateful Dead released in 1987 on the album In the Dark. Take A Gander at the Proper Goose on the Bar in this video. A gander is a male Goose and a symbol of the God of The Arts and Music, the Sun God Apollo.

Please listen to this brief part of this lecture where Alan Watts describes California Prison attire from the 1960's and compare that description to how Bobby Darin is dressed in the clip from the same era, above.


The television debut of Bobby in his "Bob" Darin persona...

Bobby Darin dressed as a blue jean garbed 1960’s Californian prisoner. Is this in protest of our very real economic servitude? 

Bobby Darin singing, "Long Line Rider" on, The Dean Martin Show.

Bobby Darin & Alan Watts Hung Out Around Big Sur

This would explain why Bobby Darin's lyrics from his "Big Sur" period relate to what Alan Watts lectures about.

"The Esalen Institute, commonly just called Esalen, is an American retreat center and intentional ... The official business name was "Big Sur Hot Springs" although it was more ... Alan Watts gave the first lecture at Esalen in January 1962."
"...After graduating from Stanford, Price attended Harvard University to continue studying psychology. Then Price joined the Air Force and lived in San Francisco, where he met Alan Watts and experienced a transformative psychotic break. Price was admitted to a mental hospital for a time, before returning to San Francisco.[16] Murphy, meanwhile, traveled to Sri Aurobindo's ashram in India,[17] and then he also returned to San Francisco.
Alan Watts gave the first lecture at Esalen in January 1962.[27] Gia-fu Feng joined Price and Murphy,[28] along with Bob Breckenridge, Bob Nash, Alice and Jim Sellers, as the first Esalen staff members.[22] In the middle of that same year Abraham Maslow, the prominent humanistic psychologist, just happened to drive into the grounds and soon became an important figure at the institute.[29] In the fall of 1962, they published a catalog advertising workshops with such titles as "Individual and Cultural Definitions of Rationality", "The Expanding Vision" and "Drug-Induced Mysticism".

Esalen Institute - Wikipedia, the free encyclopedia

"Alan Wilson Watts (6 January 1915 – 16 November 1973) was a British philosopher, writer, and speaker, best known as an interpreter and populariser of Eastern philosophy for a Western audience. Born in Chislehurst, England, he moved to the United States in 1938 and began Zen training in New York. Pursuing a career, he attended Seabury-Western Theological Seminary, where he received a master's degree in theology. Watts became an Episcopal priest in 1945, then left the ministry in 1950 and moved to California, where he joined the faculty of the American Academy of Asian Studies.
Watts gained a large following in the San Francisco Bay Area while working as a volunteer programmer at KPFA, a Pacifica Radio station in Berkeley."
"Towards the end of his life, he divided his time between a houseboat in Sausalito and a cabin on Mount Tamalpais. Many of his books are now available in digital format and many of his recorded talks and lectures are available on the Internet. According to the critic Erik Davis, his "writings and recorded talks still shimmer with a profound and galvanizing lucidity."


See: Sausalito (The Governor's Song) by Bobby Darin



Robert Plant - Sensational Space Shifters - Another Tribe - Live - Forum, London - 12 July 2012 Band; Robert Plant -- vocals, harmonica Patty Griffin -- vocals, guitar Juldeh Camara of JuJu -- ritti (one-stringed African Violin), kologo (African Banjo), talking drum, vocals.

Will the meek inherit all the Earth? He refers to us the audience here. 

This song isn't about some far off tribe in some other land, it is about us right here and now.

The great divide is the mental one we've created in our own minds thanks to the constant barrage of the news media. We are to be divided from our fellow human beings as much as possible.

The fear of the imagined other is critical to the social control system's existence.

We need to believe we need the protection of the government so we continue to pay our taxes like good wage slaves.

The multimedia beast encourages us to stay separated. The beast encourages division and false choice.

We've been subjected to a massive multimedia blitz since 1946.

Another example of what we consider real protest music.

Provided to YouTube by Universal Music Group International Maybe We Can Get It Together · Bobby Darin Songs From Big Sur ℗ 2004 Bobby Darin Testamentary Trust, under exclusive license to Varese Sarabande Records ℗ 2004 Bobby Darin Testmary Trust, under exclusive license to Varese Sarabande Records Released on: 2004-09-13 Author, Composer: Bobby Darin Auto-generated by YouTube.
It is futile to fight one habit by another habit Questioner: If I understand you rightly, awareness alone and by itself is sufficient to dissolve both the conflict and the source of it. I am perfectly aware, and have been for a long time, that I am 'snobbish.'

"Seven hundred million are ya list'nin'?
Most of what you read is made of lies
But, speakin' one to one ain't it everybody's sun
To wake to in the mornin' when we rise?

Come and sing a simple song of freedom
Sing it like you've never sung before
Let it fill the air
Tell the people everywhere
We, the people here, don’t want a war."

Simple Song of Freedom - Bobby Darin

Great Shades of 9/11 Drills - ROYALS PLAYING WITH TOYS - WARGAMES - The Origin of the Modern War Drill

We can read the history of the royals playing dress up as Generals and playing with toys and make believe wars. Little boys and toys. Now we understand the line from Bobby Darin's "Simple Song of Freedom":

" Now, no doubt some folks enjoy doin' battle
Like presidents, prime ministers and kings
So, let's all build them shelves
Where they can fight among themselves
Leave the people be who love to sing." 

"Drawing inspiration from chessHellwig, Master of Pages to the Duke of Brunswick, created a battle emulation game in 1780. According to Max Boot's book War Made New (2006, pg 122), sometime between 1803 and 1809, the Prussian General Staff developed war games, with staff officers moving metal pieces around on a game table (with blue pieces representing their forces and red pieces those of the enemy), using dice rolls to indicate random chance and with a referee scoring the results. Increasingly realistic variations became part of military training in the 19th century in many nations, and were called Kriegsspiel or "wargame". Wargames or military exercises remain an important part of military training today.

Modern wargaming originated with the military need to study warfare and to 'reenact' old battles for instructional purposes. The stunning Prussian victory over the Second French Empire in the Franco-Prussian War of 1870-1871 is sometimes partly credited to the training of Prussian officers with the game Kriegsspiel, which was invented around 1811 and gained popularity with many officers in the Prussian army. These first wargames were played with dice which represented "friction", or the intrusion of less than ideal circumstances during a real war (including moraleweather, the fog of war, etc.), though this was usually replaced by an umpire who used his own combat experience to determine the results."


A Taste of Armageddon

"A Taste of Armageddon" (season #1, episode #23, production #23) is a first-season episode of the original American science fiction television series, Star Trek. It was first broadcast on February 23, 1967, and repeated July 20, 1967. It was written by Robert Hamner and Gene L. Coon, and directed by Joseph Pevney.[citation needed]

Set in the 23rd century, the series follows the adventures of Captain James T. Kirk (William Shatner) and the crew of the Federation starship Enterprise. In this episode, the crew of the USS Enterprise visits a planet whose people fight a computer-simulated war against a neighboring planet. Although the war is fought via computer simulation, the citizens of each planet have to submit to real executions inside "disintegration booths" to meet the casualty counts of the simulated attacks. The crew of the Enterprise is caught in the middle and are told to submit themselves voluntarily for execution after being "killed" in an "enemy attack"."

World War Two: A News Reel Scripted Fictional Con

We used to wonder about why the powers that be would be so bold as to do do 9/11 at the dawn of the age of the internet and Youtube and digital video creation tools. We wondered why they were so bold as to sell Apollo and other NASA fakery as real. Now we know why, it's because they've been doing this for centuries and for the most part, with few exceptions, they've gotten away with it. 

The royals and their minions have gotten away with it since the 1700's. That we can say for sure.

One of the writers of this episode was Gene L. Coon. He had the same kind of theatrical Hollywood war background as the rest.

"Gene L. Coon (January 7, 1924 – July 8, 1973) was an American screenwriter and television producer. He is best remembered for his work on the original Star Trek series."

"Gene Coon served in the United States Marine Corps for four years during and after World War II, seeing combat in the Pacific theater and serving in China and in occupied Japan.

Coon graduated from the Frederich H. Speare Professional School of Radio Broadcasting in Hollywood, California in 1948. The same year he joined fellow Marine Andy Petersen (they served together in China and in occupied Japan after the war) at radio station WREL-AM in Lexington, Virginia as an on-air personality. After about a year in Lexington, he returned to Hollywood.

Coon wrote mainly for television. His writing credits included Peter Gunn, Dragnet (for which Gene Roddenberry, using the pen name "Robert Wesley," also wrote in addition to providing technical advice), Bonanza, Zorro, Have Gun – Will Travel, Wagon Train, and The Wild Wild West, as well as the premiere episodes of The Four Just Men and McHale's Navy. He also became a producer for The Wild Wild West and later became a producer and writer for the original Star Trek."

His background would not make him a good candidate for combat. This is yellow journal cartoon reasoning and not logical. His background makes him perfect for faking war. We know these guys came back home after the war and formed things like the Defense  Information School and the CIA and so on. They also formed and created the modern entertainment and news system, the modern multimedia beast. 

Captain Kirk destroys the real war machine. The script here is slightly deceptive, as we know, wars aren't as real as we've been conditioned to believe. Some of the same people, (like James Doohan and Gene Roddenberry himself), that scripted and did the production work for the show we call, World War Two, worked on Star Trek.

"Everything I Needed To Know About Life I Learned From AD&D First Edition"

Myths and Legends And War-games: Understanding The Artist -  The Bard Class

King Arthur, Aragorn, Aengus and so many other mythological figures, like modern pop stars, like Robert ‘Plant’ seem to metaphorically embody the concept of the artist as the one who is a trickster, a thief, a warrior and most importantly a charismatic leader who can act like a pied pipe, leading the people astray or to sanity and truth. This is the idea of the role playing game character class known as the “Bard”. The Bard has to have a relationship with nature. The Bard understands the way things really work and can either hide or reveal this truth.

"Dungeons & Dragons (abbreviated as D&D[2] or DnD) is a fantasy tabletop role-playing game (RPG) originally designed by Gary Gygax and Dave Arneson, and first published in 1974 by Tactical Studies Rules, Inc. (TSR). The game has been published by Wizards of the Coast (now a subsidiary of Hasbro) since 1997. It was derived from miniature wargames with a variation of the Chainmail game serving as the initial rule system.[3] D&D's publication is commonly recognized as the beginning of modern role-playing games and the role-playing game industry.[4]

D&D departs from traditional wargaming and assigns each player a specific character to play instead of a military formation. These characters embark upon imaginary adventures within a fantasy setting. A Dungeon Master serves as the game's referee and storyteller, while maintaining the setting in which the adventures occur and playing the role of the inhabitants. The characters form a party that interacts with the setting's inhabitants (and each other). Together they solve dilemmas, engage in battles and gather treasure and knowledge.[4] In the process the characters earn experience points to become increasingly powerful over a series of sessions."


Advanced Dungeons & Dragons 1st edition

"Bards in First Edition AD&D were a special class unavailable for initial character creation. A character could become a bard only after meeting specific and difficult requirements, achieving levels in multiple character classes, becoming a bard only later. The process of becoming a bard in the First Edition was very similar to what would later be standardized in D&D as the prestige class—the First Edition bard eventually became the Fochlucan Lyrist prestige class in the Third Edition supplement Complete Adventurer.[citation needed]

To become a bard, a human or half-elf had to begin with very high ability scores: Strength 15+, Wisdom 15+, Dexterity 15+ and Charisma 15+, Intelligence 12+ and Constitution 10+. These daunting requirements made bards one of the rarest character classes. Bards began the game as fighters, and after achieving 5th level (but before reaching 8th level), they had to change their class to that of thief, and after reaching 5th level as a thief (but before reaching 9th level), they had to change again, leaving off thieving and begin clerical studies as druids; but at this time they are actually bards and under druidical tutelage.

Bards gained a limited number of druid spells, and could be any alignment that was neutral on at least one axis. Because of the nature of dual-classing in AD&D, bards had the combined abilities of both fighters and thieves, in addition to their newly acquired lore, druidic spells, all level dependent druidic abilities, additional languages known, a special ability to know legendary information about magic items they may encounter, and a percentage chance to automatically charm any creature that hears the bard's magical music. Because bards must have first acquired levels as fighter and thief, they are more powerful at first level than any other class.

This version of the bard is a druidic loremaster, more than a wandering minstrel and entertainer, though the bard does have song and poetic powers as well."


Dungeons and Dragons is a role playing game that requires the players to map and navigate a maze like ‘dungeon’ and to gain power and knowledge through experience. The game is actually less about rolling the dice and more about using our heads to avoid the gamble in the first place. The real idea is to get the treasure from the monster without fighting, if this is possible. The idea is to use our ‘heads’ not our ’stats’ and ‘muscles’

Celtic Myth The Source for The Bard

"Taliesin (fl. 6th century) (/ˌtæliˈɛsᵻn/; Welsh pronunciation: [talˈjɛsɪn]) was an early Brythonic poet of Sub-Roman Britainwhose work has possibly survived in a Middle Welsh manuscript, the Book of Taliesin. Taliesin was a renowned bardwho is believed to have sung at the courts of at least three Brythonic kings.

Eleven of the preserved poems have been dated to as early as the 6th century, and were ascribed to the historical Taliesin.[1] The bulk of this work praises King Urien of Rheged and his son Owain mab Urien, although several of the poems indicate that he also served as the court bard to King Brochfael Ysgithrog of Powys and his successor Cynan Garwyn, either before or during his time at Urien's court. Some of the events to which the poems refer, such as the Battle of Arfderydd (c. 573), are referred to in other sources.

In legend and medieval Welsh poetry, he is often referred to as Taliesin Ben Beirdd ("Taliesin, Chief of Bards" or chief of poets). He is mentioned as one of the five British poets of renown, along with Talhaearn Tad Awen("Talhaearn Father of the Muse"), Aneirin, Blwchfardd, and Cian Gwenith Gwawd ("Cian Wheat of Song"), in the Historia Brittonum, and is also mentioned in the collection of poems known as Y Gododdin. Taliesin was highly regarded in the mid-12th century as the supposed author of a great number of romantic legends.[2]

According to legend Taliesin was adopted as a child by Elffin, the son of Gwyddno Garanhir, and prophesied the death of Maelgwn Gwynedd from the Yellow Plague. In later stories he became a mythic hero, companion of Bran the Blessed and King Arthur. His legendary biography is found in several late renderings (see below), the earliest surviving narrative being found in a manuscript chronicle of world history written by Elis Gruffydd in the 16th century."

"Poems in the Book of Taliesin, a 14th-century manuscript containing 56 poems, include many which have been dated to the 12th and 13th centuries and are likely to be the work of poets adopting the Taliesin persona for the purposes of writing about the source of the Awen or the nature of poetic inspiration. A full discussion of the provenance of each poem is included in the definitive editions of the legendary poems by Marged Haycock.[15]

Some of the texts of The Book of Taliesin, scholars believe, are examples of 10th-century Welsh. Since much if not all Welsh poetry was transmitted orally in Taliesin's day, it is possible that the original poems were first written down four centuries later, using the contemporary spellings of that time. Sir Ifor Williams, whose work helped lay the foundations for the academic study of Old Welsh, particularly early Welsh poetry, published the text with notes in Canu Taliesin (1960), and subsequently in an English version as The Poems of Taliesin (1968).[16]

John Gwenogvryn Evans dated the Book of Taliesin to around 1275, but Daniel Huws now dates it to the first quarter of the 14th century. Most of the poems in the collection are quite late (around the 10th to 12th centuries), though some claim Taliesin as author while others are attributed internally to other poets. A few of the "marks" presumably awarded for poems – or at least measuring their "value" – are extant in the margin of the Book of Taliesin.

Of the poems in The Book of Taliesin, twelve are addressed to known historical kings such as Cynan Garwyn, king of Powys, and Gwallog of Elmet. Eight of the poems, however, are addressed to Urien Rheged, whose kingdom was centred in the region of the Solway Firth on the borders of present-day England and Scotland and stretched east to Catraeth (identified by most scholars as present-day Catterick in North Yorkshire) and west to Galloway. One poem, a marwnad or death lament, was addressed to Owain, son of Urien.

The rest comprises some poems addressing mythological and religious topics as well as a few works such as Armes Prydein Vawr, the content of which implies that they were by later authors. Many lack the characteristics, metre and 'poetic tag' associated with the work of the historical Taliesin. Much of this material is associated with the legendary Taliesin:

I have been a multitude of shapes,

Before I assumed a consistent form.

I have been a sword, narrow, variegated,

I have been a tear in the air,

I have been in the dullest of stars.

I have been a word among letters,

I have been a book in the origin."

"More detailed traditions of Taliesin's biography arose from about the 11th century, and in Historia Taliesin ("The Tale of Taliesin", surviving from the 16th century).[17] In the mid-16th century Elis Gruffydd recorded a legendary account of Taliesin that resembles the story of the boyhood of the Irish hero Fionn mac Cumhail and the salmon of wisdom in some respects. The tale was also recorded in a slightly different version by John Jones of Gellilyfdy (c. 1607). This story agrees in many respects with fragmentary accounts in The Book of Taliesin.

According to these texts Taliesin was the foster-son of Elffin ap Gwyddno, who gave him the name Taliesin, meaning "radiant brow", and who later became a king in Ceredigion, Wales. The legend states that he was then raised at his court in Aberdyfi and that at the age of 13, he visited King Maelgwn Gwynedd, Elffin's uncle, and correctly prophesied the manner and imminence of Maelgwn's death. A number of medieval poems attributed to Taliesin allude to the legend but these postdate the historical poet's floruit considerably.

The idea that he was a bard at the court of King Arthur dates back at least to the tale of Culhwch and Olwen, perhaps a product of the 11th century. It is elaborated upon in modern English poetry, such as Tennyson's Idylls of the King and Charles Williams's Taliessin Through Logres. But the historical Taliesin's career can be shown to have fallen in the last half of the 6th century, while historians who argue for Arthur's existence date his victory at Mons Badonicus in the years either side of AD 500; the Annales Cambriae offer the date of 532 for his death or disappearance in the Battle of Camlann, only a few years earlier than the date of 542 found in the Historia Regum Britanniae. Taliesin also appears as a companion of Bran the Blessed in this era, by which time he was clearly perceived as a legendary figure who existed in many different times.

A manuscript in the hand of 18th-century literary forger Iolo Morganwg claimed he was the son of Saint Henwg of Llanhennock; but this is contrary to other tradition. In it he is said to have been educated in the school of Catwg, at Llanfeithin, in Glamorgan, which the historian Gildas also attended. Captured as a youth by Irish pirates while fishing at sea, he is said to have escaped by using a wooden buckler for a boat; he landed at the fishing weir of Elffin, one of the sons of Urien (all medieval Welsh sources, however, make Elffin the son of Gwyddno Garanhir). Urien made him Elffin's instructor, and gave Taliesin an estate. But once introduced to the court of the warrior-chief Taliesin became his foremost bard, followed him in his wars, and wrote of his victories."

"His name was used, spelled as Taliessin in Alfred, Lord Tennyson's Idylls of the King. The modern Welsh poet John Davies of Denbighshire (1841–94) took the bardic name of Taliesin Hiraethog.[18]

He also makes an appearance in a number of works of modern commercial fiction that blend history and Arthurian legend, including quite a lengthy appearance in Bernard Cornwell's Warlord ChroniclesGuy Gavriel Kay's The Fionavar Tapestry, and Stephen R. Lawhead's Pendragon Cycle, including most notably the first book, eponymously named Taliesin. He is also a central character in Moonheart, an urban fantasy novel by Charles de Lint. He also appears as the chief Bard of the Kingdom of Prydain in the children's novels of Lloyd Alexander which are based on the Welsh Mabinogion. The historical novel Radiant Brow – The Epic of Taliesin by H. Catherine Watling is based on "The Tale of Taliesin" and the poetry contained in The Book of Taliesin.

The American architect Frank Lloyd Wright, whose mother, Anna Lloyd Jones, was born in Wales, named his Wisconsin home and studio Taliesin and his studio near Scottsdale, Arizona Taliesin West in honour of the poet.

Deep Purple's second studio album was named The Book of Taliesyn in honour of the bard."

"The Book of Taliesyn is the second studio album by English rock band Deep Purple, recorded only three months after Shades of Deep Purple and released by Tetragrammaton Records in October 1968, just before their first US tour. The name for the album was taken from the 14th-century Book of Taliesin.

The structure of the album is similar to that of their debut, with four original songs and three rearranged covers, although the tracks are longer, the arrangements more complex and the sound more polished than on Shades of Deep Purple. The music style is a mix of psychedelic rockprogressive rock and hard rock, with several inserts of classical music arranged by the band's keyboard player Jon Lord.

Deep Purple's American record label aimed at a hippie audience, which was very influential in the US at the time, but the chart results of album and singles were not as high as expected. This setback did not hinder the success of the three months long US tour, when the band played in many important venues and festivals and received positive feedback from audience and press. On the contrary, Deep Purple were still an underground band which played in small clubs and colleges in the United Kingdom, largely ignored by media and public. The British record company EMI released The Book of Taliesyn only in June 1969 on the new underground prog rock sub-label Harvest Records, but the album did not chart. Even the release of the new single "Emmaretta" and new dates in their home country in the summer of 1969 did not increase the album sales or the popularity of Deep Purple in the UK. Perception of the album changed in modern times, when it received more favourable reviews."

The Book of Taliesyn - Wikipedia, the free encyclopedia

DEEP PURPLE -- The Book Of Taliesyn -- 1968 (HQCD K2HD 2011) 01. Listen, Learn, Read On 0:00 02. Wring That Neck 4:05 03. Kentucky Woman 9:19 04. Exposition / We Can Work It Out 14:04 05. Shield 21:11 06. Anthem 27:17 07. River Deep Mountain Hig 33:50 08.

"William Shakespeare (/ˈʃeɪkspɪər/;[1] 26 April 1564 (baptised) – 23 April 1616)[nb 1] was an English poetplaywright, and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.[2]He is often called England's national poet, and the "Bard of Avon".[3][nb 2] His extant works, including collaborations, consist of approximately 38 plays,[nb 3] 154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright."

Greene’s attack is the earliest surviving mention of Shakespeare’s work in the theatre. Biographers suggest that his career may have begun any time from the mid-1580s to just before Greene’s remarks.[34] After 1594, Shakespeare’s plays were performed only by the Lord Chamberlain’s Men, a company owned by a group of players, including Shakespeare, that soon became the leading playing company in London.[35] After the death of Queen Elizabeth in 1603, the company was awarded a royal patent by the new King James I, and changed its name to the King’s Men.
— https://en.wikipedia.org/wiki/William_Shakespeare#London_and_theatrical_career



"In addition, it was advantageous for the ruler class and the clergy to keep the serfs away from education institutes so that they may successfully rule over them. The fees for education which was required by the Church, monasteries and cathedral schools were often too high for a common serf to pay for.

The whole education system was designed to keep serfs and peasants uneducated; indeed, education during that time was very elitist. Study books were very rare and they were highly expensive and hence, the only way to get education was to seek a teacher."

- See more at: http://www.thefinertimes.com/Middle-Ages/education-in-the-middle-ages.html#sthash.JNwL8wcm.dpuf


Queen Elizabeth The Patron of Shakespeare

More modern stagecraft was in developed in England between 1576-1642There were three different types of theaters in London - public, private and courtThe size and shape varied but many were suggested to be round theaters. Public playhouses such as the Globe Theatre used rigging housed in a room on the roof to lower and raise in scenery or actors, and utilized the raised stage by developing the practice of using trap-doors in theatrical productions. Most of the theatres had circular-design, with an open area above the pit to allow sunlight to enter and light the stage. It was a penny admission to stand in the pit. Prices increase for seating. Court plays were used for holidays and special occasions.[2]

Theater in The Round or Circle or Church

Church, and the word chakra mean "circle". Theater can be thought of as replacing "church", both mean the same thing.


"kirk (n.) 

"church,"c. 1200, surviving as a northern England and Scottish dialectal word, from a Scandinavian source such as Old Norse kirkja "church" (see church(n.)). Hence kirkland "church land" (mid-15c.).

circus (n.) 

late 14c., in reference to ancient Rome, from Latin circus "ring, circular line," which was applied by Romans to circular arenas for performances and contests and oval courses for racing (especially the Circus Maximus), from or cognate with Greek kirkos "a circle, a ring," from PIE *kirk- from root *(s)ker- (3) "to turn, bend" (see ring (n.)). 

In reference to modern large arenas for performances from 1791; sense then extended to the performing company, hence "traveling show" (originally traveling circus, 1838). Extended in World War I to squadrons of military aircraft. Meaning "lively uproar, chaotic hubbub" is from 1869. Sense in Picadilly Circus and other place names is from early 18c. sense "buildings arranged in a ring," also "circular road." The adjective form is circensian."

circus (n.) 

late 14c., in reference to ancient Rome, from Latin circus "ring, circular line," which was applied by Romans to circular arenas for performances and contests and oval courses for racing (especially the Circus Maximus), from or cognate with Greek kirkos "a circle, a ring," from PIE *kirk- from root *(s)ker-(3) "to turn, bend" (see ring (n.)). 

In reference to modern large arenas for performances from 1791; sense then extended to the performing company, hence "traveling show" (originally traveling circus, 1838). Extended in World War I to squadrons of military aircraft. Meaning "lively uproar, chaotic hubbub" is from 1869. Sense in Picadilly Circus and other place names is from early 18c. sense "buildings arranged in a ring," also "circular road." The adjective form is circensian.


Church - Online Etymology Dictionary

Theatre in the round - Wikipedia, the free encyclopedia