Author Phyllis V. Schlemmer- The True Source of Gene Roddenberry's Inspiration

[yowusa.com]

Star Trek will likely remain the most successful science fiction
television series ever. What fueled this incredible success? Simply
put, Gene Roddenberry tapped into the an ancient source of enlightened
consciousness, says Phyllis V. Schelmer, author of The Only Planet of
Choice: Essential Briefings from Deep Space.

She knows, because she revealed this truth of his own source of
inspiration to him.

In this unique interview, a rare treat for Star Trek and Schelmer
fans, Phyllis describes her close relationship with Gene Roddenberry
and the great difficulty he had in accepting the true source of his
own inspiration. She also discusses what The Elohim told her about the
coming pole shift in 2012 and how to survive it.

A renowned psychic, medium, astrologer and healer, Phyllis is loved by
many all across the globe. As the medium for The Elohim, she has also
consulted to and helped inspire other notable authors to include Andre
Norton, Sybil Leek and Stuart Holrod.

STREAM FOR FREE
http://yowusa.com/radio

[hinm...@hotmail.com]

Marshall.

I hate to burst your bubble, but Nostradamus NEVER mentioned anything
about the "world" ending in 2012. I contacted John Hogue and here's a
review of the 2012 nonsense on the Histroy Channel from John Hogue.

By the way...

There is No End, No Beginning...

There is Only Change...

Friends,
Sunday, 28 October 2007 was Nostradamus Day on History Channel.

First, we "warmed up" with a replay of the popular Ice Road Truckers
series. While burly men barreled down roads of ice over frozen
Canadian lakes, the upper left corner of my TV frequently blazed a
warm and inviting Gothic title of the premier treat to come with a
time clock subtracting second-by-second the time remaining before a
documentary would introduce to the world Nostradamus' greatest and
long lost book of prophecies.

After the sun went down and the ice truckers faded into the Arctic
sunset, earlier Nostradamus History Channel documentaries played warm
up band for the big-ticket event. The first was a show I had the
pleasure to appear on as a guest called "The Other Nostradamus" - a
comparative study of America's greatest 20th-century prophet, Edgar
Cayce, and the 16th-century mage of France, filmed in 2005. I regard
it as the best documentary I have appeared on, to date. After "Other"
came "Nostradamus: 500 Years Later," a two-hour epic documentary from
2003 with great production values - except for some Nostradamus
sequences with an actor ruminating on the future in his secret study
with a stiff glued-on beard. It struggled to be historically factual
about the life of Nostradamus while debunkers, such as bombastic Pen
and mute Teller (thank goodness because he really has a potty mouth in
private) go toe to toe with a stalwart second string assortment of
Nostradamian scholars. I can't tell if some of them were trying to
look like Nostradamus or like yours truly.

Then came the big event: a two hour romp with great production
quality, whizz-bang special effects around the subject of a book by
Nostradamus no less, that had been "discovered" in a public Library in
Rome in the mid 1990s. The manuscript apparently was handed down to
posterity by the prophet's son, Cesar (pronounced "Say-zar") to
Cardinal Barberini in Rome in 1629. Its predominant feature is a set
of esoteric pen and ink illustrations, thought to be symbolic works of
prophecy about the future of the Catholic Church during the end times
-- our times it seems.

Ted Twietmeyer, a reporter and writer for Rense.com, has coined a new
and apt phrase for it all. This documentary often turned Nostradamus'
prophecies into "video bites." That is, quick flash pan blinking facts
in images with a starvation diet of background or sourcing. For much
of the two hours the documentary dwelled on projecting rather thinly
and freely associated bits taken here and there out of Nostradamus'
accredited prophecies to fit their premise that they were used as
verbal captions to these all-too-vague illustrations from the
rediscovered book. The book that really stepped into the limelight of
this documentary was not the new find but an old stalwart of 450
years: Nostradamus' famous history of the future "Les Propheties" (the
Prophecies), the authorship of which is without question. It was
originally published in his lifetime in serialized form from 1555
through 1560. Benoist Rigaud reprinted it posthumously as one volume
in 1568, in which form it has since generally appeared.

This regurgitation of a true book to support a doubtful work
supposedly penned and painted by Nostradamus should have been
presented with less end-time hysteria and more sober investigation
than I witnessed in this documentary. The most important mistake was
an attempt to make Nostradamus fit with the current Chicken-Little-ism
fad of pinning the end of the world on the year 2012.

Anyone who has read Nostradamus' confirmed prophetic works knows that
the end of the physical earth will take place, according to his pen,
in the year "3797" and definitely not 2012! This documentary failed to
explain this discrepancy. It perpetuated this mistake, as we will see.

The documentary introduces the six-by-eight inch book in remarkable
condition, its pages often one second palmed with naked hands, the
next second with gloved hands of an army of Italian scholars. Old book
researchers do not as a rule touch original editions with their bare
hands because the salts and sweat - let alone the minutest trace of
spaghetti sauce - on their fingers destroys the aged parchment. It
makes me wonder if the book in such mint condition was real or a
prop.

Quite late in the second hour, the documentary introduces the findings
of forensic testing that concluded the book was a copy produced with
zinc-laden ink - a unique signature in time for tomes penned no
earlier than the 18th century. Definitely not from Nostradamus' time.
Still, in their defense, books where frequently recopied over time as
the rot and dust motes of lonely libraries in Rome, Vatican or
otherwise, do inexorably devour unrefreshed, hand drawn illustrated
manuscripts. I would have preferred this information come sooner in
the documentary, especially since it was established early in the
second hour that Nostradamus' son, Cesar, may have painted the
prophetic images because his father had no talent to paint them
himself. We are told the drawings have the crude innocence of a young
hand. Young indeed! It is plausible, though. Cesar was twelve years
old when his father passed away in 1566. In his final years, the great
prophet was crippled with arthritis ravaged hands that could scarcely
scratch his signature on papers dictated to his secretary, Chavingy,
who was hired among other things to make his writing legible.

Cesar did indeed grow up to become a fine portrait painter. Among his
works are the best likenesses of his father. I must say that I found
these ink and watercolor paintings no less sophisticated than those
prophetic images produced by Nostradamus' contemporary, Paracelsus in
the early 1500s. The lost manuscript of Nostradamus seemed modeled
after Paracelsus in design. I find those images are also equally vague
and open to the whim of projection.

The documentary from its first moments to the last based much of the
strength and persuasion of its argument for the discovered book's
illustrations by relying on pulling - mostly out of context -
prophecies universally established as coming from Nostradamus and not
from the so-called lost manuscript. For example, we are told to
decipher the image of a castle keep vomiting flames from its parapet
and two arrow slits as a visual allusion to Nostradamus' prophecies
about the terrorist attack on the World Trade Center Towers in New
York on 9/11 - 2001.

It is my view that Nostradamus did foresee the 9/11 attacks in two
prophecies indexed Century 6 Quatrain 97 and Century 10 Quatrain 49,
but like so many examples in this documentary the illustrations are at
best vague and don't clearly match. Yes, we had an image of a turreted
tower on fire like the "two" towers of New York. I would have been far
more impressed if two flaming castle keeps appeared on the
illustration, because in the prophecies Nostradamus described them in
the plural as manmade "hollow mountains" plunged into the boiling
caldron of their own debris fields into "the tub." By the way, the
builders of the Twin Towers in New York erected them out of an eight-
story deep, watertight cement foundation called "the tub." We know the
hallowed pit today as Ground Zero.

This so-called lost book has not resurfaced just now but years ago in
1994. It was an Nostradamian scholar and retired analyst for the
Italian National Police named Ottavio Cesare Ramotti who first
published an interpretation under the titles "The Nostradamus Code" or
"Nostradamus: The Lost Manuscript." I have both versions, with the
illustrations in my library since they came out in 1998. The
documentary flashes the cover of one a few times before the TV
viewers. By the way, the picture on the cover is a self-portrait of
Cesar as an older man, and not the prophet. No mention is made of this
discrepancy in the documentary. Also, the painting of Nostradamus
shown as an example of Cesar's skill as a portrait painter is not a
work painted by the son. Nostradamus holds a telescope in his hand.
The artist, whoever he was, had to have painted the portrait after the
invention of the telescope in 1600, at least 34 years or so after the
prophet's death. Certainly, that could have made him a contemporary of
Cesar. Some researchers believe the portrait was painted as late as
the early 1700s.

The documentary made another laborious attempt to match a picture with
another well-known vision of Nostradamus: the suspicious death of the
first Pope John Paul by his own priests in the Vatican. The narrator
conditions our minds to see a pope standing beside a jeering mob. In
the illustration that they showed, I saw an assembly of red robed
Cardinals in broad rimmed red hats. I did not see them showing
disrespect to the pope in any way. To my eyes, they were just standing
there in quiet reverence of the pope. The narrator framed them as
doing otherwise.

More projections on images mount the TV screen, many of them spiced
with flashing, reverse negative images of Usama bin Laden and 9/11. A
color illustration is divided into vignettes; one we are told is the
outline of New York City during 9/11.

This was another stretch for me. I thought the narrator was coaxing me
to see what he wanted me to see, not what was there. The skyline of
the city, to my eyes, looked like a ubiquitous skyline of any
fortified city one would find in the Renaissance era drawing,
definitely not New York. Now, if two towers close together had risen
above the skyline of this city, I would have been very impressed!

Another picture displays a pope riding a dragon, flashing his dagger
at a bear. The documentary said, this signified John Paul II's
struggle with Russian Communism during his reign.

OK, what I saw facing the pope was a bear. A rather emaciated bear.
Indeed, it could have been a big dog standing on its hind feet. The
narrator went on and on about the Russian commie bear and ignored the
dragon, never explaining why the pope bestride this symbol for
communist China was fighting the Communist bear.

You've heard the story of the 800-pound gorilla in the room no one
mentions?

Things that make you go, Hmm...

Now I must come clean with all of you. In all fairness to the
production company, I was approached to do an interview. Late in their
production cycle, they contacted me. When I examined the illustrations
and their conclusions I had to tell them that in all fairness to my 30
years of study, I had to play the role of a sympathetic though
skeptical Nostradamian expert. Especially as there are many
circumstantial clues to works like this being written either by frauds
under the name of "Nostradamus" or as an embellishment of the prophet
by his son, Cesar.

I proposed to contribute a theory in the second hour of the
documentary that Cesar had this devotional yet jealous relationship
with his father. No other friend or sibling did more to establish
Nostradamus' legacy, and yet, Cesar may have had this weird desire to
garnish his father's prophetic work with prophecies of his own. It
could have been an act of rebellion against his father for predicting
in writing that none of his descendants would possess his gift of
prophecy. (That means you too, Cesar.) The Lost Book of Nostradamus
could be another questionable tome penned and painted by Cesar, or
Nostradamus' grandson, Seve, such as the Sixians. Seve presented the
Sixians (six line poems attributed to Nostradamus but written by
"somebody else") to King Henry IV of France in the early 1600s.

In the documentary, researchers report that the last page of the Lost
Book states that it was delivered to Cardinal Barberini (the future
Urban VIII no less) in 1629. This is a key fact supporting the
manuscript being produced by Cesar Nostradamus who, near the end of
his life, might have bequeathed the manuscript to Barberini before
dying of the plague in 1630. In support of the documentary, I concur
that it is quite possible for a manuscript to reach Rome from South
France. Merchants and scholars traveling from Provence to Rome did so
frequently. Nostradamus had sojourned through Italy more than once. He
even mentioned his long stay in Florence in his Treatise on
Pharmacists - his recollection of recipes for medicines, preservatives
and plague cures published in 1552, several years before his major
prophecies.

When at last the forensic report about the book's authenticity came
through late in the second hour of the documentary, it concluded that
neither Nostradamus nor his son Cesar had penned the copy.

Fair enough. Books are recopied all the time. Nevertheless, one can
still do a good job zeroing in on the author by comparing writing
styles. I would have suggested that they compare Cesar's published
works to this manuscript. He had a specific style of word use. His
father, for that matter, had an eccentric writing style very hard to
mimic. Why didn't the documentary look into this? This is a common
practice of trying to prove authenticity of authorship.

I thought the Cesar-writing-as-father story was worthy of a television
introduction. I hope to present it myself on television someday. You
can read about this theory in detail in my biography Nostradamus: A
Life and Myth

By the time I pitched this idea, the producers of the TV documentary
had established a narrative story arc that could not include this
tributary story. I understand and respected their decision not to have
me in the documentary. Actually, I am grateful I didn't appear in this
documentary as it turned out. I liked many of its cinematic elements,
but I have problems with the near hysterical pace and emotive
projections. They did their heroic best to pin the "tale" of
Nostradamus' true works of prophecy on the donkey of these
illustrations. It didn't work for me, sorry to say.

I can't let one thing go by unaddressed. I found this cinematic device
of flashing 9/11 and Usama bin Laden as the boogie man of doomsday
throughout the show to be the most brazen bit of propaganda, as well
as another chance missed for telling a fascinating story. Bin Laden,
like Saddam Hussein and even the current US president can all see
their names decoded from Nostradamus' anagram for whom he masks the
name of the third and final Antichrist - "Mabus."

Then we come to the documentary's final, climax - a seemingly cogent
but altogether far-fetched attempt at dragging the poor Mayans and
their 2012 "doomsday" calendar together with Nostradamus.

First off, much is made of the parallel between the illustrations and
the Romanesque relief statuary of a 12th-century church located
virtually next door to Nostradamus' house in Salon de Provence, just a
block or so south. Because the Knights Templar built it, we are to
assume between the lines that Nostradamus was part of the secret cult
whose story was famously edited together in the movie blockbuster
bust, the Da Vinci Code. (Actually, I loved the music score and the
opera buffo performances from Paul Bettany and Ian McKellen!)
Apparently, the Romanesque church statuary matches the illustrations
of the lost book, so there must be a connection, right? I have been to
that lovely Church and at first; I even liked to think Nostradamus
prayed there. However, documentation of baptisms of Nostradamus'
children and other papers do not support him being a member of that
Christian community. Rather, he worshipped at a smaller more modest
chapel outside of town to the north that has since been destroyed. It
was at this Church of the Cordeliers that Nostradamus' body was first
laid to rest. It was his dying wish, written in his will.

The documentary completely missed these historical facts.

You would think that if Nostradamus supported the other church and its
Templar symbolism he would have been buried in its walls, as was the
custom.

Next we are told that the statue on the wrong church built by the
Templars is a representation of an illustration in the Lost Book of
Nostradamus. It illustrates, so they say, the constellation of
Ophiuchus - sometimes known as the "thirteenth" constellation of the
Zodiac. You see the center of our galaxy situated right near
Ophiuchus. The arrow of the nearby constellation Sagittarius is said
to point exactly at the galactic center. On the day the sun rises in
conjunction with Ophiuchus and the arrow of Sag, we will experience
what the documentary calls the Great Alignment. This is the last day
on the Mayan Calendar, the Winter Solstice: 21 December 2012. At that
moment, it is predicted that time ceases and the world will end.

I don't know if it is just me, but the image they showed of Ophiuchus
was about as close to the tropical constellation demarcation line as
any other constellation hanging just outside of the 12 tropical signs
of the Zodiac. I mean, even the foot of poor Ophiuchus was above the
tropical line. Just pull out your star charts everybody. If Ophiuchus
is close enough then why not sandwich the constellation of Auriga next
to Taurus or insinuate the head of Cetus the Swan between Aries and
Pisces. I found this to be an astronomical and astrological stretch.

The warnings and astrological dates of Nostradamus' authentic
manuscripts and those of others are clearly set for our times without
the need to project them on a recovered "Lost Book." We are at a
critical stage in human evolution and if a more balanced examination
of collective prophecy could find its way into a TV documentary we
might all be surprised how many time cycles are converging in our
times, right now. So many in fact that the Mayan Calendar might be
lost in the crowd.

Also, let me state for the record that great cycles of centuries don't
turn on a second's dime. The margin is decades long. If one must find
a regular year to mark the shift of ages, we are in it now. Do not
wait for 2012. The time of the shift in history's path is right this
moment.

The frightful interpretations proffered at the end of the show about
running out of food, water and "ammunition" - whatever that means -
are just more examples of conclusions derived from fragments pulled
out of context, out of Nostradamus' authentic work, to support
nebulous illustrations from an 18th century copy of a book that may or
may not contain even the writing style of Nostradamus or his son.

All of this leads at last to a climax that stands as the most glaring
and fundamental mistake of this documentary: pinning Nostradamus to
the Mayan Calendar and the year 2012, forcing his predictions to align
with the end of the world at that time.

Anyone who has read the prophet KNOWS he predicted the end of the
world taking place nearly 1,800 years from now, in 3797 A.D. I also
recall one of the researchers during the show shamelessly lifting that
very prophecy from the Preface out of context inferring it related to
the year 2012, and not 3797 as it is written by Nostradamus in hard
print!

Tisk...tisk...

I challenge these "experts" to retire from prophetic research and get
a life when 2012 comes and goes and the wheel of time continues to
role. This objectively unsupported tie-in of Nostradamus with the
Mayan End-Time is a pure case of irresponsible, fear mongering
"Chicken-Little-ism." The sky is not falling in 2012.

Let me say for posterity, right here, right now - on my 52nd birth
day, it so happens (29 October 2007) - that there will be no end of
the world or an end of time in December 2012. There will be a world
full of evolutionary crisis and challenge, that is for sure, but the
world will go on, and we will be responsible for growing up as a
people and as a more heartfull culture in the year 2012, 2013, 2020,
et cetera, or continue to suffer the global consequences until we do.

The only thing we have to fear about the near future is not bin Laden,
Bush, or even 2012, but a hypnotic addiction Americans have to fear
itself.

It is fear used as a weapon of human unconsciousness that makes the
future a scary place. I have had interchanges with the producers of
this show. I do not believe they consciously intended to foment fear.
Rather, they are like many of us, prone to interpret the future and
its prophecies fearfully. They did the best they could and will do
better next time, hopefully. May we all do better.

I hope and work towards the day when a more balanced and fact based
documentary on Nostradamus' actual prophecies might be produced for
the sake of our enlightenment beyond fear to grasp a future - a golden
age.

--END--

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Please send your comments to:

talk...@hogueprophecy.com

[yowusa.com]

Burst your bubble? Pretty cocky language bucko.

Hogue says "It is my view that Nostradamus did foresee the 9/11

attacks in two
prophecies indexed Century 6 Quatrain 97 and Century 10 Quatrain 49,
but like so many examples in this documentary the illustrations are at
best vague and don't clearly match."

FYI on Century 6 Quatrain 97 - New York is not at 45 degrees.

As to C10:Q49, how does it explain 9-11?

Garden of the world near the new city,
In the path of the hollow mountains:
It will be seized and plunged into the Tub,
Forced to drink waters poisoned by sulfur.

What his clear in Hogue's analysis is that he views this program as
being out of lockstep with his own 2012 denier analysis. That's all.
Keep in mind that he has been featured in several History Channel
productions and was probably annoyed that he wasn't paid to voice his
opinion on this one.

I watched this entire 2-hour program twice before jumping to any
conclusion and they discussed the provenance issues at great length.
There was no attempt to foist a fraud. What is consistent is that it
parallels other works.

Before you go busting bubbles, do a little of your own footwork.

Marshall

> above the skyline of this city, I would have been ...
>
> read more >>

[hinm...@hotmail.com]

Here's John's review of the program...

http://www.hogueprophecy.com/prophecy/index.htm

THE LOST BOOK
OF NOSTRADAMUS
A Review of History Channel's New TV Documentary
All material (c) John Hogue