Tag Archives: culture

The Language and Culture of Poverty and Wealth

Several years ago when I was in my early teens I heard someone explain that the main difference between people who remain poor and people who become wealthy and maintain their wealth is their view of the purpose of money. ‘The poor,’ he said ‘see money as something to be spent, while the wealthy see money as something to be invested.’

I was young and poor when I heard this so I didn’t fully understand it, but I could tell it had the ring of truth. Over the years it’s an idea I have explored more thoroughly and with great results.

Poverty is a huge concern in American society, and all over the world. Politicians, activists and social scientists spend countless hours on this topic, proposing solutions. Billions of tax and charitable dollars are spent and new laws and policies are made each year trying to rearrange society to combat it, yet millions of Americans remain poor.

Poverty and Wealth are Cultural

In 1966, the anthropologist Oscar Lewis coined the term “Culture of Poverty” and asserted that the deeply impoverished, regardless of ethnicity, history, or location on the globe all tend to share “remarkable similarity in the structure of their families, in interpersonal relations, in spending habits, in their value systems and in their orientation in time.” Like all cultures, once it has “come into existence it tends to perpetuate itself.”

Just as there is a culture of poverty however, there is also a Culture of Wealth that can be observed, a manner of living and relating to the world that produces and maintains economic stability and abundance in the lives of its participants. There are many factors, beliefs, ideals, values, and behaviors that distinguish one culture from another. Oscar Lewis identified 70 markers that contribute to the culture of poverty, and the culture of wealth is directly inverse to them. But what is the primary factor by which anthropologists categorize and separate cultures from each other?

Language Matters

The most significant factor that separates one cultural group from another is language. Similarly, subcultures within larger societies can be distinguished by their use of language, lingo, slang, jargon, vocabulary and professional terminology.

Linguists Edward Sapir and Benjamin Lee Whorf suggested that language and its use may have a significant impact on an individual’s perception, cognition and their view of reality. This is known as the Sapir-Whorf Hypothesis.

Numerous other linguists have suggested that features within language from vocabulary and grammar to phrases and metaphors influence if not dictate the structure of human thought. The manner in which we perceive and comprehend the world is heavily dependent on our understanding and use of language.

This is also the theoretical foundation for the discipline of Neuro Linguistic Programming (NLP) which studies the effects language has on the subconscious mind and its influence on behavior.

The metaphors a person uses give the key to their life and the way they think. A person to whom life is an adventure is going to approach events quite differently from a person for whom life is a struggle.

Organizations use metaphors. An organization that prides itself on its team players is going to react differently from one that sees itself as a fighting force. One current metaphor for business is a ‘learning organization’, which conjures up a rather different picture.

Strangely the financial world is sprinkled with liquid metaphors. They talk of cashflow, flooding the market, liquid and frozen assets, floating a company. Money is like water, perhaps?
Metaphors are not right or wrong, but they have consequences for how people think and act. (O’Connor-McDermott, 122)

       

It’s well understood that in all fields of professionalism there is a lingo, a vocabulary, terminology that must be learned in order to function at even a novice level. If one aspires to be an engineer, a biologist, or a sailor he must learn the application of a particular vocabulary and vernacular. It should be no surprise to realize that economics, personal finance and simple successful household budgeting require a similar level of competency with its own vernacular, the language of commerce.

Robert Kiyosaki, the author of the popular Rich Dad series of financial books states;

The difference between a rich person and poor person is that person’s vocabulary. You need to learn words such as producer price index, profits and cash flow. In order for a person to become richer they need to increase their financial vocabulary. (Kiyosaki)

This makes sense. Pick up any book about finance and you will run across terminology such as: investment objective, index fund, international equity and the language of commerce, of the Culture of Wealth is revealed. If an individual never has a clear understanding of terms such as positive and negative cash flow, disposable income, financial assets and liabilities, he will never think to apply them to daily life and therefore find difficulty accruing and maintaining wealth.

       

ATTITUDE AND SPENDING PATTERNS

Without the language to conceive of basic financial principles, the Culture of Poverty carries with it many other behavioral factors that keep people stuck in the lowest economic bracket. This behavior is characterized by apathy or hostility toward wealth and finances, a belief in the virtue of poverty, as well as irresponsible and extravagant spending patterns in order to project an appearance of wealth. This equates to financial self sabotage.

Delayed gratification is a foreign concept to the culture of poverty. When the poor find a source of steady income they typically squander it through extravagant spending patterns on short term experiences and material things that quickly lose value. The financially secure however behave very differently.

Thomas J. Stanley, Ph.D., author of The Millionaire Mind, a study of the lifestyle and habits of millionaires found that common behaviors of people whose net worth was $1 million or more included such habits as living below one’s means, entertaining family and friends at home rather than going to extravagant parties in the tradition of the beautiful people. Rather than spending their money on excessive consumables they chose to study and plan investments, attend religious services, and they avoided the use of credit and debt (Stanley 366).

Dr. Stanley found that most millionaires have a well balanced life style without the flashiness of rock stars and Hollywood celebrities. They lead relatively normal lives, but spend a good portion of their time on activities directly related to their financial goals.

       

Similarly, Rabbi Daniel Lapin has compiled a whole list of behaviors, beliefs, and attitudes that tend to lead Jewish people into successful positions and financial outcomes.

Conclusion

In conclusion I’ll say again that poverty and wealth are cultural phenomena, and both of those cultures are in large part a result of language which determines a person’s perception of reality and therefore their behavior. Those individuals who escape the chains of poverty have learned to use and apply elements of the language of commerce while those who remain in poverty do not.

Once an individual familiarizes himself with the vernacular of finance to the point that he feels comfortable working with and applying it on a daily basis, he begins to view things from a much more financially competent perspective. Naturally, this financially competent perspective influenced by a familiarity with economic language is a significantly motivating factor to financially responsible behavior.

If more people of all ages were to become educated in this manner, though many individuals may still never become truly ‘wealthy’ those who put this education to use will come out of poverty and begin to establish executive control over many more aspects of their lives and their community.

If you really want to start learning to be financially independent, start by picking up a book on financial terms. It will change your life.



What is the Name of God?

Naming God can be one of the most challenging ideas to the religious mind. The Spirit from which all things emanate, the creator of everything is truly an unfathomable force in the universe. It is beyond gender and similar terrestrial attributes, but everything that is male and female exists within It.

This Supreme Being is the most exalted of all things in creation. It is also the most misunderstood simply for its incomprehensibleness. Due to the limitlessness of this Being and the limitations upon human understanding, this Being cannot even truly be imagined or thought about. The limitations on human understanding and imagination make it impossible to even construct an accurate thought of this Being therefore any thought directed toward It is in fact about something else, something less. Consequently it can be said that this Being is equally impossible to worship since to worship requires the ability to conceive of the object of worship which as stated is inconceivable. And this is the problem that is faced when trying to name God.

This force within the universe is the source of all things and the container in which all things are held. According to the Hindu scholar and former President of India S. Radhakrishnan in his commentary on the Bhagavadgita “God includes the universe within Himself, projects it from and resumes it within Himself, that is, His own nature.” This is the force in the universe which has been given many names.

The Hopi Indians of North America know Him as Taiowa the Creator of the universe whom in the beginning existed in endless space. Muskogees call Him Ofvnkv, the One Above or Hesaketamese; the Breath-maker. The omnipresence of Wakan Tanka in the Oglala-Lakota tradition is a central idea to the recognition of Him as the four quarters of the world. As Joseph Epes Brown noted from his discussions with the Oglala holy man Black Elk; “The message ‘Be attentive!’ well expresses a spirit which is central to the Indian peoples; it implies that in every act, in every thing, and in every instant, the Great Spirit is present and that one should be continually and intensely “attentive” to this Divine presence.”

To the Maya, divine unity was recognized in their supreme deity Hunabku, which translates as One-State-of-Being-God. Peter Tompkins explains; The Maya believed that their supreme divinity functioned through a principle of dynamic dualism, or polarity, active and passive, positive and negative, masculine and feminine, by which, through the agency of four prime elements, air, fire, water and earth (symbolizing space, energy, time and matter) the whole material world was engendered.

This Allfather figure was credited with dispensing all form of measurement and movement and the mathematical structuring of the universe, i.e. the divine laws of creation. In the simplest terms this One Being is the source that set the universe in motion and gave humans our most basic but most vital verb “to be.”

Rabbi Arthur Green describes the name YHWH as a verb artificially rested in motion serving as a noun. “A noun that is really a verb is one you can never hold too tightly. As soon as you think that you’ve “got it,” that you understand god as some clearly defined “entity,” that noun slips away and becomes a verb again.” Rabbi Green goes on to explain that a more proper translation for this Name should be “Is-Was-Will-Be.” The implication of this translation suggests that God the Almighty, Most High Creator is in fact the very essence of existence and a truly eternal state of Being. Green continues to say; “God is Being. The four letters of the Name, taken in reverse order spell the word H-W-Y-H meaning existence.’ All that is exists within God The Name contains past, present and future.”

Rabbi Green also notes that another possible conjugation of the Name is Ehyeh or “I shall Be” and says this is the deepest name of God and to listen to the God who calls himself “I shall be” is to surrender the illusions that we are masters of our own fate. Green continues to say that “when Moses needed to give the slaves an answer that would offer them endless resources of hope and courage, God said; Tell them “Ehyeh sent you.” The Timeless God allowed the great name to be conjugated, as though to say: “Ehyeh. I am tomorrow.” Even when pressed for a description or definition of God the Father,’ the Catholic Church claims His two names are Being and Love and describe Him as; “He is who is, as he himself revealed to Moses.”

The fullness of God has been assigned many names throughout the centuries, none the less which is the title “Supreme Being.” And perhaps that is it in the end; the incomprehensible fullness of God is simply the most perfect and complete state of being which propels the universe forward through existence. God is Being, both noun and verb, the substance of the creative principle of existence.

Sources;

Radhakrishnan, S., The Bahgavadgita, Indus, New Delhi, 1994, pg 215

Brown, Joseph Epes, The Sacred Pipe, Black Elk’s Account of the Seven Rites of the Oglala Sioux, University of Oklahoma, Norman, 1989, pg 65

Tomkins, Peter, Mysteries of the Mexican Pyramids, Harper and Row, 1976, New York, pg 283

Green, Arthur, Ehyeh, A Kabbalah For Tomorrow, Jewish Lights, Woodstock, VT, 2004, pg 2

Flannery Austied, O.P., Vatican Council II, Vol. 2 Costello, New York, 1982, pg 389


Indigenism and Native Revivalism (2018)

 

The middle of the twentieth century saw an upsurge in Native Revivalism in western countries.  Although exploration of ancient Western religious traditions had existed in Europe and America since at least the 17th century, it was mostly practiced by eccentrics in secrecy and never had the wider popular appeal we see today.

With the ‘back to nature’ trend sensationalized by the 1960’s Flower-Power generation many doors were opened in the realm of altered-native religion.  Many hippies, realizing the difficulty of being accepted within Native American communities began a quest for connections with their own roots religion, leading them into exploring occult practices which over time progressed into the modern cultural revivalist movement.

Primarily, there are three wings within this movement.  I name them as such; Paganism, Heathenism and Indigenism.  On the surface, they all share many similar qualities, but represent three very different attitudes and beliefs concerning roots religion.

Paganism

This subcategory is the most common in the West and represents some of the most freeform and New Age spiritual ideas.  In this group we have modern witchcraft, Wicca, the Faerie traditions and eclecticism.  Typically the primary political interests of Pagans in general are those concerning freedom of religion issues, gender rights and ecological concerns.

Heathenism

Heathens are more geared toward recreating or revival of older and usually extinct religions.  In this category are groups such as Asatru, Imbas and other reconstructionist organizations.  Politically, heathens are often concerned with preservation of indigenous European cultural traditions, historical sites and language.  Generally speaking it’s also very important for Heathens to distinguish themselves from the more popular Wicca-oriented Paganism.

Indigenism

Indigenists represent living indigenous traditions of the world.  These are usually people somehow connected to a traditional native or aboriginal community.  This subgroup can easily stretch a bit to include communities such as the Vodoun, true Roots Rastafarians the Basques and certain Irish and Welsh communities of Europe.  Indigenists are politically tend to be involved with Native sovereignty struggles, land claims issues, ecological activism and cooperative communities.

Many individuals in the movement for Native Revivalism somewhat begrudgingly accept being labeled as a ‘pagan,’ though inside they feel more drawn to heathenry’s reconstructionist goals.  This yearning for an authentic connection to their indigenousness coupled with the goals of building and maintaining cooperative communities based on this separates them from the vast majority of the revivalists.  But it is when all these values become strongly aligned with and guided by the concerns and struggles of indigenous people in the world that they truly become Indigenists.

Indigenism is a little known term because in North America most Indigenists are Native American.   Few if any people that are not directly involved in indigenous rights movements have ever even heard of the term.  There are many dynamics and complexities involved in this philosophy.  Indigenism is a spiritual perspective wrapped in a socio-political movement.

             

The socio-political dynamics of Indigenism and its relationship to Aboriginal people of the world is the driving force behind the movement today.  This is perhaps the most rational and revolutionary perspective in circulation today for the manner in which it flies in the face of both global Capitalism and Marxism, confronting colonialism and imperialism from both camps in many parts of the world.

Spiritual Purpose

When we take notice of the similarities between Indigenous religions we are often prone to question from whence they came.  Was there an original religion?  The question has in many ways been a significantly motivating factor in a lot of my earlier religious pursuits.  It makes for a great approach with solid, steady footsteps.  It can also represent a sort of red herring.  The answer to the ‘real’ question here just may be more in the modern Indigenist movement rather than in a quest for the ‘original religion.’

A particular Indigenist view on the origin of religion is such; that there is in fact only one Truth, one reality.  This Truth or reality is essentially the “Sacred Mystery,” the “Great Spirit,” or the “Creator.”  The ‘Creator’s’ reality is and has always been (to the indigenous) interpreted to us through our geography, ecology and community.  In essence, the creator’s ‘words’ are interpreted to us by the Earth or regional ‘divinities’.  Through the regional variations (or nature’s dialect) concerning the manifestation of these ‘truths’ and from our communities’ organization in coping with them we established our traditions and our religions.  This accounts for the similarities as well as the differences in indigenous religion.

Example; we must have water to survive.  Water is sacred.  This is a common theme in most religions.  But there is a very different practical and therefore spiritual perspective regarding the type of emphasis placed on water by desert peoples than by tropical islanders or swamp-dwellers (in most cases) even though the basic thematic construct is the same.  Naturally, this paradigm carries over into even deeper realms of religion.

Indigenist religion is as much about physical and social action as it is about faith and philosophy.  And the truth it follows is the unobtainable truth that must be pursued continually through our lives.  The ‘Red Road’ doesn’t really have an end to it.  It is a way of life, not just a belief system.  If one gives up the pursuit, one effectively gives up the path.  You put your arrows down, leave the wild hunt, succumb to stagnation and lose all the ground you’ve gained, resorting to crude methods to deal with a sophisticated life.  This is why it is the ‘Way OF enlightenment’ not the ‘Way TO enlightenment.’

Political Purpose

Indigenism in America is heavily influenced by the work of The American Indian Movement, Russell Means, John Trudell, The Zapatistas, and to a lesser degree Che Guevara brought “back to the fire” (as Creeks say).  It is centered on ‘tribal’ communities and around Native struggles from the Americas to Africa, Scotland, Russia, Japan, Hawaii and anywhere else the Indigenous are oppressed, disenfranchised, or dispossessed.

The Indigenist perspective stresses social decolonization, and localism rather than assimilation and globalism as a means to our survival as a species.  Differences between culture and religion are to be respected because the Creator gave us different cultures and religions the same way we were given different landscapes.  Indigenism stresses more self-sufficient communities, ecologically sound commerce, and gentler kind of warfare.  These ideas also cut deeply into national boundaries, especially those of a colonial nature.

Importance of Indigenism

In the old days survival and self reliance was of the utmost importance to our ancestors.  And in a way this should still be a core concept in our religion today.  We never really know when we may be separated from the ‘tribe,’ when we may become lost in the forest, stranded on an island or a survivor of a major cataclysmic event.  If an individual’s core philosophy and ‘religion’ is based on survivalist concerns and his relationship to his environment, he’ll be more prepared to face his obstacles with the heart of a warrior rather than the ass of a couch potato.  Couple this with an indigenous commitment to your community and you have the foundations of true indigenous religion, the heart of the ‘original’ religion – ‘paganism’ at its core.

Indigenism is a practical philosophy and way of life respecting human nature and its response to the modern world.  It is not a utopian dream.  It’s not for everybody; it’s for indigenous people and those with indigenous spirits.  Colonial people and their respective governments will have conflicts with this perspective, being that there is too little emphasis on control of the individual and of the land.  But this is our way of life.  This is our faith.  And this is what motivates us to act.  We live as natural people gifted with our own freedom and ingenuity, keeping our roots as firm as our branches and remaining One.

(Originally written and published in 2005, now revised for 2018)


Dr. John: Under a Hoodoo Moon, Review

The funky bluesman Mac Rebennack, otherwise known by his stage name Dr. John is a much-honored part of the cultural fabric that is 20th and 21st century New Orleans.  His autobiography Under a Hoodoo Moon chronicles Rebennack’s life from his time as a child coming of age in The Big Easy, through a young struggling musician’s career, and eventually building a legacy as one of America’s most treasured musical icons.

Under a Hoodoo Moon is written in a loose manner with a bit of Rebennack’s New Orleans vernacular, giving it a sense of authenticity and the playfulness that is characteristic of funk music in general and New Orleans music specifically.  The book for the most part follows a linear path, but it repeatedly backtracks to cover stories that Rebennack decided were more relevant at a later point in time. In some cases this seems like a less efficient method, but it does not detract from the overall presentation.

At times Rebennack’s story seems to focus more on the development of his career, business associations, projects and the politics surrounding the music industry, without any emphasis on the personal, philosophical, emotional and inspirational experiences that contributed to the making of the man.  Then he very candidly writes about his struggle with heroin addiction that plagued him for thirty years until he finally kicked it in 1989, but not before doing a stint in Louisiana “Angola” State Penitentiary.  In his writings, it seems Dr. John tended to compartmentalize his professional activities from his more illicit affairs. He introduces the reader to an assortment of characters, hustlers, and junkies along with the musicians he calls family.

In his early days, Rebennack paid the bills by gigging with racially integrated bands at a point in American history when such groups were technically outlawed, and by working as a session musician for countless popular acts. He paints a picture of a golden era of New Orleans music in the 1950s and early 60s before the musicians unions caused so many problems which drove national recording acts to take their business to other cities such as Memphis and Los Angeles.

In 1965, after Rebennack was released from prison, with the music scene dead in New Orleans he too set out for the west coast.  In California he made contact with several colleagues from back home and began working as a session musician with many of the top acts of the day.  These included The Rolling Stones, the Grateful Dead, Sonny and Cher, the O’Jays, Frank Zappa, and Iron Butterfly just to name a few. Dr. John offers some interesting and often humorous observations about some of these acts and his experiences working with them.

During his tenure in Hollywood Rebennack created and adopted the persona of Dr. John, a New Orleans hoodoo medicine man from the 1860s and recorded his ground-breaking Gris Gris album. This is a point in the story where more strictness toward a linear narrative would have improved upon this biography.

Though Dr. John rose to fame on the popularity of Gris Gris with all its voodoo and hoodoo imagery, there is very little in the first two-thirds of the book about his experiences with those traditions.  Up until this point what is mentioned amounts to a brief reference to making goofer dust, a companion burning a black candle to curse the police during a drug score, and more humorously a brief description of a joint ritual in California with another musician who practiced Aleister Crowley styled ceremonial magic in order to curse a producer who had screwed them both in a deal.  It’s not until chapter nine, well after he covers the recording of Gris Gris that Dr. John goes into any detail about his personal connection to a Voodoo temple, and his investment in a voodoo curio shop in New Orleans which really inspired the album.

Under a Hoodoo Moon is a great read, and also provides a fair bit of ethnographic gems covering the roots of the New Orleans musical tradition. He describes his first experiences with the Black Indian Tribes, Mardi Gras Krewes that competed for marching routes during the annual Mardi Gras festivities and pioneered second-line drumming that gives New Orleans music much of its uniqueness.  He also dedicates a significant chunk near the end of the book to speaking nostalgically and reverentially about his time playing with Professor Longhair, the New Orleans pianist who had more influence upon him than anyone else.

I enjoyed reading every page.

          


A Creepy Time at Austin’s Museum of the Weird

Something called The Museum of the Weird sounds just like the type of place I should visit.  And during my most recent trip to Austin, Texas that is just what I did.

It’s tucked away in an old building from the 19th century that was reportedly the residence of actor Johnny Depp during the filming of What’s eating Gilbert Grape.   Upon first entrance it’s just like any other curio shop that can be found in a historical part of town, selling creepy stickers, posters and books about a varied assortment of mysteries, and legends.  For twelve bucks you’re handed a receipt which acts as a ticket to get you through a turnstile in the back.

At this point you come to a couple rooms stocked full with a collection of sideshow pieces, from voodoo sculptures, jars containing preserved deformities, and movie props.  After some time spent to ponder the collection, further in the back our guide met us and delivered her brief introduction accompanied with a brief video describing the museums “prized” piece, the Minnesota Iceman, a sideshow exhibit from the 1960s.

The Iceman is the first stop on the guided portion of the tour where the body of something resembling a Neanderthal is kept incased in ice in an old deep freezer.  This was the only portion of the museum where photography was not permitted.  In the spirit of the fun that this museum is meant to be I’ll withhold any critical opinions at this point so the reader can make up their own minds when they visit.

The final leg of the tour is a dimly lit wax museum containing the likenesses of Nosferatu, Dracula, the Hunchback of Notre dame, King Kong and others.

The Museum of the Weird is a fun little stop for tourists and oddity enthusiasts in Austin, Texas.  It’s worth a visit just to see some of the aptly described “weird” displays and exhibitions of art, culture, cinematology, technology, and just plain creepiness.

Watch the video below for a glimpse at Austin’s Museum of the Weird.


Lughnasadh: Harvest of Life

The Irish Celtic Festival of Lughnasadh is traditionally celebrated on August 1st but extends throughout much of the month. It is the first genuine harvest festival of the year and it coincides directly with the Anglo-Saxon holiday of Lammas.



The holiday is named for Lugh, the Irish hero of light. His name derives from the word for lightning and illumination. Amongst Germanic peoples, this day was sacred to the god Thor: the god of thunder, storms and agriculture. Thunder and lightning are obvious signs of rain and storm which are naturally an important ecological phenomenon for agricultural societies.

Lugh is of course more than a simple agricultural deity. As a patron of light, Lugh is the embodiment of all things light represents: intelligence, knowledge, wisdom, enlightenment. Science and artistry are also considered to have been invented by Lugh. Considering his close association with the Roman god Mars, Lugh is a patron of martial prowess, which is perhaps best exemplified through his son Cuchulain. All of these attributes, whether agricultural or innovative attest to Lugh as a god of wealth, the guardian and benefactor of the tribe’s prosperity.  It is probably more than mere coincidence that this time of year in Anglos-Saxon tradition, bondsmen would pay their rent.

This holiday, along with Imbolc, Beltane and Samhain represent the four main festivals of the medieval Irish calendar.  As the first true harvest festival in the seasonal cycle, Lughnasadh has certain associations with death.  In fact, the name itself translates roughly as “the wake of Lugh.”  Whereas holidays in the earlier seasons coincide with increasing life, harvest festivals are the first signs of the summer’s demise.  With the summer day’s becoming noticeably shorter at this time, it becomes quite obvious that winter’s grip is only a short way off.  Although the theme of a wake is a significant part of the festival, the overall atmosphere is generally one of joy and revelry.

The legends tell us that Lugh established the harvest fair of Lugnasadh in honor of his foster-mother Tailtiu at the Town of Teltown in County Meath.  Tailtu’s death was a necessary component in establishing the growing of the crops and the abundant harvest that follows.  These celebrations quite often resembled today’s Scottish Highland Games. Lugnasadh often involved horse races, and martial arts displays or competitions.  Competitive games such as chess were also a part of the festivities, representing Lugh’s victory over the Fomorian King Bres who previously controlled the powers of the Harvest, establishing the Irish agricultural tradition.

                     

Lugh is the hero of Light. For this reason he is often compared with the Sun, since the Sun is the greatest source of light with which humans and earthly crops interact. As a hero of Light, Lugh is also called Samh-ildánach, “the many gifted one,” because of his multiple skills in all the arts and trades.  Just as darkness represents ignorance, Light represents knowledge, and in this case knowledge of many, if not all things. In the old legends we find that Lugh (representing the Sun) conquers the Fomorians (representing darkness, ignorance and oppression). When this is done, Lugh wrestles from the King of primitive darkness the knowledge of cultivation and the harvest.

This is a celebration of the Harvest.  On this day families gather together to give thanks for the bounty of the Harvest and to reenact the mythological event that brought the Ancestors from a life of oppression and into a life of abundance with the knowledge of agriculture. It must be remembered that it is only with this knowledge that humankind has managed to not only survive, but to thrive in even inhospitable environments. It is agriculture that has allowed human beings to settle lands, build defensive structures and over all make life safer for acquiring food. This has allowed civilization to flourish and become specialized, developing art, literature, economics, and other remarkable aspects of material culture.

Pong to Pokemon, the Evolution of Electronic Gaming Opening Night!

Tonight I attended opening night of a brand new exhibit at the Bullock Texas State History Museum in Austin; Pong to Pokemon, the Evolution of Electronic Gaming.


Just as the name suggests it was a pretty neat walk through the history of video games from the earliest home terminal, Pong through the decades’ most popular video and computer games.  There were exhibits of everything from Atari and Activision games like Pitfall and E.T. the Extraterrestrial that I spent so many hours of my youth playing.



There were even really early games like Zork, and the Oregon Trail and of course, Pong.
There were arcade games like Pac-man, and Street Fighter, Nintendo games like Super Mario Bros., Sega games like Sonic the Hedgehog and many more.  A lot of these games were actually interactive and you could play them as they were designed.
The only thing missing as I could tell was anything to do with Pokemon Go, though I may have just missed it even though I pretty thoroughly explored the exhibit.
 Check out the video below!

 



A Day at Seaworld San Antonio, Texas

I’ve taken the time to head out to Texas once again, visiting family and friends in the Austin-Round Rock area. While we’re out here we decided to take the kids to San Antonio to spend the day at Seaworld. I’ve never been to Seaworld before and I tend to be reluctant about attending zoos, circuses and other animal shows, but I made an exception here because I’m not militant in this view and it was a big multi-generational family activity.

It was a brutally hot July day, but I hail from Florida so it wasn’t too far out of the ordinary for me. The first thing we did was make our way to the Sea Lion High show featuring Clyde and Seamore as they work toward a scholarship to Ocean University while a snobby young preppy cheerleader tried to undermine them the whole way. Much like high school I don’t know what her problem was, but the show was corny fun with all the classic seal and sea lion tricks, swimming, splashing, and bouncing a ball on their noses that the kids loved.

It was high noon by this time and the heat was wicked. We made our way over to the Sesame Street Bay of Play, a little water play ground full of industrial sized sprinklers and such for the kids (and adults too) to cool off. I stripped down to a pair of swimming trunks and joined in the festivities with my girls. It was just the thing to lighten my mood from the heat.

After playing in the water we went to the Penguin Encounter to observe the Antarctic birds swim in a dimly lit pool behind glass. Because they’re from the southern hemisphere and there is low light this time of year it was kept pretty dark. It was indoors, nice and cool and just what we needed after the heat.

We watched the Pets Ahoy show next. It was pretty impressive with cats, dogs, rats, and a pig performing all manner of nifty tricks. I have to say I was more impressed by the people who were capable of training such animals than I was by the animals themselves. My little nephew loved this show the most.

A few rides were ridden, the most enjoyable being the Journey to Atlantis, a short ride with one dip followed by a plunge toward the water which makes a great splash. I have to say the best part was standing on the side and allowing that great wall of water hit me, and it hit pretty hard too. I went from sweaty, hot and fatigued to soaking wet and cheerful in about a second’s time. I stood there and let that wave hit me about five or six times before we moved on.

We also caught the Ocean Discovery Show with beluga whales and Pacific white-sided dolphins. I thought it was pretty impressive and even better than the One Ocean show featuring the killer whales that made some impressive jumps and flips and splashed the crowd.  It was fun to watch the acrobatics of the animals, but I was a bit distracted by killer whales’ collapsed dorsal fins which I’m fairly certain is a poor indicator of the wellbeing of the animals in captivity, but other folks seem to have different opinions on that matter, and I’m not a marine biologist.

Our evening concluded with Shamu’s Celebration: Light up the Night, which the best I could tell was pretty much the same as the Ocean discovery show but at sunset with more flashy lights and an annoying adolescent DJ with a high-pitched elfish voice trying to rap us through the evening – I REALLY could have done without that.

As we made our way out after 9pm there was a rocking Hydro Power Extreme FX show going on that we didn’t attend that included wave runners, fireworks and a band playing I Wanna Rock, Crazy Train, and few other rock anthems from the 80s. We caught a bit of it from the other side of the lake, but by this time our crew was just too tuckered out to stick around much longer.

Over all I’m glad I went even though it wasn’t really my thing. But it wasn’t for me; it was for the kids and they loved it so as far as I’m concerned it was a great time and a mission accomplished.
Watch our video below.


The Medicine Wheel

A prayer from the Oglala Holy Man Black Elk;
“Hear me four quarters of the world, I am a relative.
Give me the power to walk the soft Earth, a relative to all that is.
Give me eyes to see and the strength to understand that I may be like You.
With your power only can I face the winds.”

The Medicine Wheel symbol is a central spiritual and philosophical device used by many Native American communities.  It consists of an equal-armed cross placed inside a circle.  This is also a universal symbol that can be found throughout the nations of the world from the ancient days to today.  It has been called by many names; the medicine wheel, sacred hoop, solar disk and sun circle, just to name a few.  This symbol is central to Muskogee philosophy and is the basis for the layout of traditional ceremonial dance grounds.

As a symbol, the Medicine Wheel is made up of two symbols; the circle and the compass cross.

The Circle

The circle is the most basic symbol for life and divinity.  It is also the most perfect metaphor for God in geometry.  The circle, like the Creator has no beginning and no end and therefore it represents eternity.  Geometrically it is the essential symbol of balance and equality.  And as the perfect symbol of the Creator, you could expect it to be apparent in creation.

The circle is also the perfect metaphor for Nature, which is the manifestation of the Creator.  We find the circle everywhere in nature.  Natural things tend to be round or function cyclically.  The most obvious examples are the sun, the moon and the earth, all which are round.  The earth and other planets revolve around the sun in a circular motion.  On the earth, the circle can be seen like the signature of the Creator in the rings of a tree or the fruit growing upon it.  The seasons of the year follow a cyclical pattern with winter turning into spring, summer, autumn and then returning to winter.  The Oglala holy man Black Elk explained the meaning of the circle in this manner;

You have noticed that everything an Indian does is in a circle, and that is because the Power of the World always works in circles, and everything tries to be round.  In the old days when we were a strong and happy people, all our power came to us from the sacred hoop of the nation, and so long as the hoop was unbroken, the people flourished.  The flowering tree was the living center of our hoop, and the circle of the four quarters nourished it.  The east gave peace and light, the south gave warmth, the west gave rain, and the north with its cold and mighty wind gave strength and endurance.  This knowledge came to us from the outer world with our religion. Everything the Power of the World does is done in a circle.  The sky is round, and I have heard that the earth is round like a ball, and so are the stars.  The wind, in its greatest power, whirls.  Birds make their nests in circles, for theirs is the same religion as ours.  The sun comes forth and goes down again in a circle.  The moon does the same, and both are round.  Even the seasons form a great circle in their changing, and always come back again to where they were.  The life of a man is a circle from childhood to childhood, and so it is in everything where power moves.  Our tepees were always round like nests of birds, and those were always set in a circle, the nation’s hoop, a nest of many nests, where the Great Spirit meant for us to hatch our children.[1]

The Pawnee Indians regarded the circle with much the same philosophy.  According to one Pawnee priest;

The circle represents a nest, and it is drawn by the toe because the eagle builds its nest with its claws.  Although we are imitating the bird making its nest, there is another meaning to the action; we are thinking of Tirawa making the world for the people to live in.  If you go on a high hill and look around, you will see the sky touching the earth on every side, and within this circular enclosure the people live.  So the circles we have made are not only nests, but they also represent the circle Tirawa-atius has made for the dwelling place of all the people.  The circles also stand for the kinship group, the clan, and the tribe.[2]

The sun which we depend on so directly in our lives has served as another great metaphor for the Creator throughout history.  It is round and therefore the Medicine Wheel is also symbolic of this solar enlightenment.  For this reason the medicine wheel symbol is often displayed within a solar motif with the rays of the sun extending outward in eight directions.  With the sun circle and compass cross both being direct metaphors of the divine nature of the earth and the celestial respectively, the Medicine Wheel as a spiritual and philosophical tool is therefore an unparalleled tool for use in coming to knowledge of Nature and of Nature’s God.

The Cross

The cross is a four cornered compass.  Each one of the four arms of the cross is attributed to a particular compass point, which is in turn associated to a particular philosophical or spiritual principle.

In contemporary society the four directions tend to be taken for granted and with little regard.  But to the elder ancestors they represented the very survival of the people.  Our ancestors did not have the crutch of a GPS on which to rely.  Instead they watched the sky, the path of the sun, moon, stars and even the shadows in order to keep track of the directions to avoid becoming lost or disoriented in the forest or on the prairie, something that could quickly result in death.  In fact the very meaning of the word ‘disoriented’ is to be incapable of locating the east.

Living in tune with the directions, the seasons and nature in general kept the elder ancestors alive, so naturally a system of philosophy developed about life and the hereafter as demonstrated through that symbolism.  Each direction is thought of as a separate land, world or dimension, symbolically if not literally.  Therefore each direction has its own natures, associations and inhabitants.  In some ways each direction is thought of individually as separate Heavens and their inhabitants are spiritual beings like angels, ancestors and medicine powers.

While the specific associations of each direction can vary greatly from people to people and from age to age, the following cardinal directions and their associations are based heavily off those that are most commonly encountered in native circles, with special emphasis placed on associations identifiable within Muscogee, Yuchi and Cherokee traditions.

                  

East — place of the sun

The east is associated with light and knowledge, because the sun comes up from the east and travels across the sky.  The sun is the source of life on earth and its light removes the cover of darkness, revealing what was previously hidden from view, therefore the east is associated with revelation, illumination and enlightenment.

In Muskogee lore it is the Hawk which flies highest of all creatures.  He is the messenger of the Creator, like an angel delivering prayers to Him and knowledge and revelation from Him.  It is traditional in Muscogee as well as many other traditions to face east when praying.

North—place of wind

The north is the land of wisdom, the breath of life and inspiration.  This is a land of elders, the source of ancestral wisdom and so the north is sometimes referred to as the “place of the white hairs.”  It is associated with the buffalo and the deer who live closely to nature and know her ways intimately.  The bald eagle is said to be stationed here, guarding the health and cleansing wind.

In the Creek Migration Legend, the people took the red and yellow fire from the north and mixed it with fire from the sacred mountain and this is said to be the fire that Creeks use to this day, which sometimes sings.

West—place of earth

West is the place of darkness and introspection.  The sun sets in the west and therefore this direction is associated with sleep and the subconscious.  The spirits of departed are said to travel to the western world and so it is associated with death and the afterlife.  The nature of the west’s earth association also connects it to the underworld caverns from whence tradition tells us the Muskogee people emerged.  This is the womb of creation as well, and therefore represents life at its most primal state and incubation.

The black bear is associated with this direction as is the panther.  The bear’s penchant for residing in caves and sleeping through large portions of the winter make him a skilled adept of navigating the womb of creation and the world of dreams.  Black Elk taught that the west is the home of the Thunderbird, which in Muscogee tradition is the Thunder being who brings the rains and lightning.

South—place of water

The south is associated with warm purifying waters and virtue.  These waters are specifically the deep bodies of water aside from the storm and rains.  For the most obvious reasons water is the element of cleansing.  Not only is it essential in daily hygiene but it is also vital in the human body’s natural process of purification and detoxification.  Water also represents change over time by the process of erosion which reshapes old landscapes and renews the earth.

Water is also intricately connected with the underworld.  Muskogee tradition tells us that the Great Snake guards the southern waters.

 

Together, the sacred circle and the compass cross portray the divine in both the ethereal and the physical sense.  It is important to understand that these are considered to be integrated and whole, not separate perceptions.  Each person must come to fully understand and integrate the teachings of each direction, one by one until they have traversed the entire compass in order to attain a life of wisdom and fulfillment.  All together it teaches us balance and provides us with the tools to build a healthy spiritual life.

The integration of these attributes and principles into a person’s spirit is achieved by diligent efforts in meditation, contemplation and daily application of these principles.  When we consider our relationship on the medicine wheel, we truly consider our circumstances; literally where we stand inside the circle.  These efforts can be heightened by living close to the earth and taking part in our native traditions.  This Medicine Wheel philosophy is a root philosophy which has influenced the lives of native people for centuries.  It is practical, logical and metaphorical.  It connects us to our time and place, instills our perception of the world with wonder and provides us with a basis by which we can contemplate our own nature and that of all creation.

[1] Neihardt, John J., Black Elk Speaks, University of Nebraska Press, Lincoln and London, 1932-1961 Pg 195-6

[2]Alice C. Fletcher, The Hako: A Pawnee Ceremony (22nd Annual Report, Bureau of American Ethnology, part 2; Washington, 1904), pp. 243-244. Cited by Joseph Campbell, Hero With a Thousand Faces


Finnegan’s Wake, a Glance at Irish Mysticism through Lyrical Satire

 

Finnegan’s Wake is amongst my favorite traditional Irish songs and it has been a staple of the Irish balladeer’s repertoire since the middle of the 19th century. Over the past several decades it has been covered by great and legendary Irish bands like The Clancy Brothers & Tommy Makem, The Dubliners, the Pogues, and most recently the Massachusetts-based Dropkick Murphys.  However, like much of Irish lyrical tradition stretching back to the ancient bards “Finnegan’s Wake” is in reality a work of deep esoteric value cleverly disguised as a silly drinking song that only the initiated were likely to fully comprehend.

At Face Value

The story tells of Tim Finnegan, a poor construction worker with a love for the liquor who drank a bit too much before work one morning, fell from a ladder, broke his skull and died. Upon the eve of his wake his friends and relatives arrive at his home to mourn him.  Biddy O’Brien begins crying loudly and is essentially told to shut up by one Paddy McGee.

Once Maggie O’Connor gets involved in the exchange telling Biddy she’s wrong, Biddy punches her in the mouth, leaving her ‘sprawling on the floor.”  Then all Hell breaks loose as the entire house becomes engaged in a brawl “woman to woman and man to man,” brandishing their shillelaghs, the classical Irish club.

A bottle of whiskey is thrown across the room, just barely missing Mickey Maloney, and instead landing on Tim Finnegan’s bed with the whiskey scattering all over his body. At that point Tim revives and “rises from the bed,” and delivers the punch line of the ballad; “Whittle your whiskey around like blazes, Thanum an Dhul![1] Do you think I’m dead?”

 

The Mystery Unveiled

While this ballad is typically considered a comical drinking song, it actually gives us a glimpse into an old Irish and western mystical tradition.

Tim Finnegan is a construction-worker. Although this was a common vocation amongst Irishmen throughout the 19th century, there is much more being said here than meets the eye, or ear.  As the lyrics clearly tell us “to rise in the world he carried a hod.” A hod is a tool used for carrying bricks and mortar, telling us that Mr. Finnegan was, in fact a mason. Since no later than 1717 AD the repository for esoteric wisdom in Western countries has been the order of Free and Accepted Masons who trace their historic origins to the medieval stone masons guilds, and from there symbolically to the ancient builders of Greek, Egyptian and Israelite temples.

Let us also take note that Tim Finnegan carries his hod “to rise in the world.” In Freemasonry, it is said that a candidate is “raised” to the degree of a Master Mason. Freemasonry also makes use of the symbolism of death and resurrection through the allegory of the architect Hiram Abiff.

Architecture, construction work and craftsmanship have been metaphors for mystical knowledge going back thousands of years. In ancient Irish mythology the three brothers Luchta, Goibniu, and Credne are known as the Trí Dée Dána (the three gods of art).  Each represented the respective trades of carpentry, blacksmithing, and silver-smithing, and they crafted the weapons which the Tuatha Dé Danann (Irish ancestor gods) used to conquer the Fomorians (Irish beings of chaos and darkness).

In ancient Egypt, the god Ptah was the patron of craftsmen and architects, and he was closely associated as an aspect of the dying and resurrecting god Osiris.  Both of these deities were incorporated by the Greeks into the god Dionysus, well known as a patron of wine and spirits.  It is more than coincidence that Jesus of Nazareth, perhaps the most well-known dying and resurrecting god is often cited as having been a carpenter before he began his spiritual mission and he, much like his forebears also had an affinity toward life-giving and preserving drink.

A further look at the lyrics of this ballad reveals that at the wake of Finnegan they placed a gallon of whiskey at his feet and a barrel of porter at his head. This sentiment is echoed in the Irish ballad “Jug of Punch” in which the balladeer requests upon his death “just lay me down in my native peat with a jug of punch at my head and feet.”  This is a particularly Irish rendition of the tradition found amongst the world’s cultures of making sacramental offerings to the dead.  The making and pouring of libations is well documented in European traditions.

As mentioned previously, Jesus, Osiris and Dionysus are not only associated with death and resurrection, they are all three also closely associated with drinking rituals. Amongst other things, Dionysus is a god of wine. Osiris is said to have taught the world the art of brewing.  Jesus turned water into wine. Similarly, the Irish craftsman-god Goibniu also brewed the beer of immortality.

The English word whiskey is derived from the Irish Gaelic uisce beatha which translates as “the waters of life.” So when the whiskey scatters across the corpse of Tim Finnegan, it literally, magically and sacramentally imbues him with life; a spiritual conception which stretches back through centuries of esoteric tradition.

Conclusion

The dying and resurrecting god is not just a rhetorical device for dramatic affect. To ancient civilizations death and rebirth are symbolic of the annual cycle, the dying and rebirth of the summertime, the growing season and of the sun, so often symbolic of divinity. This symbolism has been revised, reincorporated and redistributed as a multitude of myths, legends and doctrines throughout the world in order to teach each civilization or cult’s particular perspective on the meaning of creation.

A creator god’s primary attribute is creativity, and this trait has been imitated through the creative works of humans whom are believed to be made in the divine image. Art, music, agriculture and most especially architecture has long been associated metaphorically if not literally with godliness, and enlightenment.
Finnegan’s Wake is far more than just another drinking song. It is a humorous retelling of an ancient initiation myth.  Tim Finnegan is not just a drunk construction worker who died and came back to life.  He is the personification of the mystery of the dying and resurrecting god represented in the form of Irish lyrical satire.

[1]d’anam ‘on Diabhal. a common curse: your soul to the Devil, from the Irish D’anam don Diabhal