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We will be planning our marketing and business plans along with our future Ascension Center ET Spirit Space Port. This will also include the quest for all past history that is of the Ancient Mystery Schools and all the antique relics. This is the worker bees so to speak on this planet. We all are volunteers and we include our hobbies and most are collectors of some type. IF not of ET UFO information, then of ancient artifacts as in archaeology and some can only afford fine replicas of things. Now, I plan to build one outside the New Atlantis. At this point, I am the creator founder of this project due to every corporation will need a founder as the point of origin or who first received the idea which will spread around the world. That is how we have learned to share our energy on earth. I have done this before in the past and many people have just been waiting for me to finally get the last piece of the puzzle so that they could participate with me as staff in the Ascension Center, the New Atlantis, the ET Spirit Organization, or the TJ Morris Organization. I hope to see many jobs created and we will support drop shipping for obvious tectonic economic reasons. We of course will use the present global community idea of utilizing corporations with angel backers who will then become stockholders preferred and common. I will leave my four daughters in charge of four separate corporations as the founder’s heirs. That daughter will have to manage the money in the trust that I plan on making for our own family to exist. Right now, I only require a tithing or 10% for my consulting fee of what I begin as thought. Right now, as far as my books are priced I am given the cost of material and labor but we have to add in shipping cost which is now part of our formula being that we are a global community. So FedEx, UPS, and US Mail are a part of our extended global reach family. Keep in mind if you join our organizations that whatever products and services we create, we will sooner or later set up franchise businesses around the world with our logo and service marks.

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Though they started modestly with intimate gigs on L. A. s Sunset Strip, the trio has found more solid footing on the festival circuit as well as a current tour with Clutch in which they shred through a set list of classics like “War Pigs” and “Fairies Wear Boots,” complete with layered solos, air raid sirens, and Wylde’s take on front man Ozzy Osbourne’s nasally timbre that have become the stuff of legend. As a fan of course, but perhaps part of it also stemming from his long relationship with Osbourne. “I owe everything to him. He introduced me to the world,” Wylde admits of being discovered by “The Prince of Darkness” in the ’80s. At the time Osbourne had been fired from Black Sabbath and was in the throes of a successful solo career, and after securing Wylde’s early demo, hired him to become lead guitarist and cowriter of hit albums like “No More Tears” and “Ozzmosis. It was a role formerly held by Wylde’s personal guitar hero, the late Randy Rhoads. And though it’s possible Osbourne will resume his solo career with some more time on his hands in the coming months, Wylde still is holding onto “positive thoughts” that this is not really the end for Black Sabbath whose last U. S. date is scheduled for November. “Hopefully the fellas will make horrendously bad business decisions with their finances and everyone will become broke and will be forced to put the band back together,” he jokes. But until that time comes, Wylde is content to carry on the torch with Zakk Sabbath in much the same way he has done for the music of Jimi Hendrix on the annual “Experience Hendrix” tour and like he may possibly do someday for his late friend Dimebag Darrell in the much-hoped-for reformation of Pantera. “It’s really up to the Rex and Phil and Vinnie. The reason all of them are so great is because they play what they want to play and do what they want to do, and everybody else should be following that lead. Police accountability overhaul 'beginning — not the end,' IG says chicago. untimes.

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While within the Voudou belief tradition lies the conceit that both Felicia and Narcisse had died and been raised from the grave as slaves, most believed, like Haitian psychiatrist Dr. Lamarque Douyon, that a more pharmaceutical explanation lay behind the zombie mystery: Though convinced zombies were real, he had been unable to find a scientific explanation for the phenomenon. He did not believe zombies were people raised from the dead, but that did not make them any less interesting. He speculated that victims were only made to look dead, probably by means of a drug that dramatically slowed metabolism. The victim was buried, dug up within a few hours, and somehow reawakened. (Del Guerico 1989, 328) Hurston, thirty years earlier, spoke with then director general of the Service d’Hygiene, Dr. Rulx Leon, and both held the same belief that zombification was likely pharmaceutical in origin (Hurston 1990). It was this pharmaceutical solution that Wade Davis sought in the early 1980s and documented in his book The Serpent and the Rainbow. Ironically, when Wes Craven came to film Davis’s book in 1988, he resorted to the kinds of sensationalistic stereotypes of “voodoo” and the scary “zombies” for which Brown aptly criticizes popular culture. 0 An alternative perspective on the zombie emerges from this scientific literature: the zombie ceases to be the mindless monster battering down the shopping mall doors and emerges as more of a tragic figure whose memory has been chemically erased and sent to live a life of slavery. In Haiti, the fear of zombies comes not from meeting one on a darkened street but from being turned into one (Del Guerico 1989). Certainly there seems to be a distinct disjunction in the displacement of the zombie from the Caribbean to the American screen. The early zombie films, most notably Victor Halperin’s White Zombie (1932), seems distinctly at odds with the ethnographic materials currently available. The film works more as a melodrama wherein a “witch doctor” (Bela Lugosi) is enlisted to enchant a young woman away from her fiance, but instead the “voodoo priest,” Murder Legendre, falls in love with her himself and turns her into a zombie so she will stay with him forever. In the background are Legendre’s zombie slaves toiling away in his mines. Despite the vaguely Caribbean setting of the film and the use of the term zombie, not a single character of African descent is visible. While this might not be too surprising for a film made in the early 1930s, Legendre’s zombies are made not through the sensationalistic “voodoo” rites one would expect but more through a form of mesmerism.

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