The Maya Explained

Here we are. This time and this place. Time and place, time and place, time and place. So here you are. In this time and this place. Welcome.

Consciousness always, always has a location. A calendar is an agreement of a society or a civilisation. It is the pin-point center of any civilisation. The absolute dead-center of our civilisation is called the Gregorian calendar. Nobody even questions it. The Gregorian calendar was the physical measurement of Earth around the sun, the measurement of physical objects moving through space. The absolute dead-center of our civilisation is focused on only physical evidence. It's the calendar upon which all things are bought and sold. Our calendar has directed our consciousness only in this direction. To change or alter your viewpoint. To dominate people's consciousness. It's been that way throughout your whole life. So here we are. Time and place. This time and this place.
The Maya had two calendars at the very center of their civilisation. The Tzolk'in calendar was 260 days long. This was celebrated every day, by every person. Then they had the Tun calendar that was 360 days long and this calendar is known as the divine calendar. Every 52 revolutions of this calendar, every 52 Tun, all debts were absolved and it started all over.

Our calendar only has to do with our speck of mud going around this little speck of light we call the Sun, in the sea of a hundred billion stars in this one galaxy out of a hundred billion galaxies in the universe. So how big is our calendar? These guys were looking at something a lot bigger. They certainly weren't timing any physical cycles of things in our solar system.

What were they timing?

The Mayan calendar is in nine different levels. That's why all those pyramids always have nine levels. And each one of these levels is subdivided into 13 individual sections. There are seven periods of light and six periods of dark. Seven days and six nights to each level of creation.


Each day is a period of increase in consciousness and each night is a period of applying that consciousness. This very first cycle started 16.4 billion years ago. It's called the cellular cycle. 16.4 billion years is divided into 13 sections, each 1.26 billion years long. A day was one and a quarter billion years and each night lasted for one and a quarter billion years. Each one of this has a particular intention in creation. Action-reaction was this whole cycle.

The next cycle started 820 million years ago and it started going through these same 13 steps. In the first cycle, each of the steps was 1.26 billion years each. In the second, each of the steps is just 63.4 million years each. So the entire second cycle fits in the step of the first cycle. Very comfortably. It's not a coincidence. We're on a schedule.

# 16.4 billion years ago -- the cellular cycle
# 820 million years ago -- the mammalian cycle
# 41 million years ago -- the familial cycle
# 2 million years ago -- the tribal cycle
# 10.02 thousand years ago -- the cultural cycle
# 5 thousand years ago -- the national cycle
# 247 years ago -- the power cycle

It is now global consciousness.

Alizée - Moi...lolita

Moi je m'appelle Lolita
Lo ou bien Lola
Du pareil au même
Moi je m'appelle Lolita
Quand je rêve aux loups
C'est Lola qui saigne
Quand fourche ma langue,
j'ai là un fou rire aussi fou
Qu'un phénomène
Je m'appelle Lolita
Lo de vie, lo aux amours diluviennes

C'est pas ma faute
Et quand je donne ma langue aux chats
Je vois les autres
Tout prêts à se jeter sur moi
C'est pas ma faute à moi
Si j'entends tout autour de moi
Hello, helli, t'es A (L.O.L.I.T.A.)

Moi je m'appelle Lolita
Collégienne aux bas
Bleus de méthylène
Moi je m'appelle Lolita
Coléreuse et pas
Mi-coton, mi-laine
Motus et bouche qui n'dis pas
À maman que je suis un phénomène
Je m'appelle Lolita
Lo de vie, lo aux amours diluviennes

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01. My name is Lolita
02. Lo or even Lola
03. it's all the same
04. My name is Lolita
05. When wolves ravish my dreams,
06. it's Lola who bleeds
07. When my tongue slips,
08. I let out such a wild giggle
09. A wild little Phenomenon
10. My name is Lolita
11. Aqua vitae, Deluge of Love

12. It's not my fault!
13. Even when I stop trying
14. I see them all
15. ready to spurt on me
16. It's not my fault,
17. if all around me I hear
18. "L. O. L. I. T. A."
19. Me, Lolita...

20. My name is Lolita
21. Schoolgirl in stockings
22. dyed methyl blue
23. My name is Lolita
24. Hot-blooded, or not;
25. Partly-cotton, or partly-wool
26. Secretive lips that hide
27. from mom that
28. I am a Phenomenon
29. My name is Lolita
30. Aqua vitae, Deluge of Love

-----------------------------------------

Lines 1-4: Direct reference to Ch. 1 in Lolita.

Line 5: In French, saying "Elle a vu le loup" implies that she has lost her virginity (or "deflowered" as some say). Here, the literal translation would go something like "When I dream of wolves...." The word "ravishes" plays on both these ideas, for it has a primary meaning of consumption (i.e., the wolves consume her sleep), and a delicious secondary meaning of "deflowerment.")

Line 6: Again in reference to defilement, the bleeding is a cause of the first penetration. Don't know if there is a non-sexual meaning for this line...

Lines 7-9: There is a great play on "f" sounds here in the French version that is simply impossible to capture in a translation. The basic idea behind these lines is the fact that she is a tease, and she knows she is. For me, the French "fourche ma langue" always evokes an image of a forked snake tongue, which leads naturally to temptation. She tempts men (older men... Humbert Humbert, to be exact) with her half-child, half-adult ways, almost drawing them in and then retreating in fit of giggles and laughter; she understands her power, and she loves playing with it.

Line 8-9: To play on sounds in the French is "reproduced" with a play on words in these two lines with "wild." (This translation is deep, I tell ya!). The word "Phenomenon" here is capitalized to detract from the primary meaning of "phenomenon"; that is, she is not a phenomenon in the precise sense of the word. Rather than the singular miracle that the word suggests, we strive here for a reference to the fact that she is a wild nymphet.

Line 11: This line in translation is simply beautiful. No other way to put it. To understand the meaning, we must look at the French: "Lo de vie, lo aux amours diluviennes." The first phrase carries three primary meanings: (1) the traditional translation of "Lo of life," or "Lo is life"; (2) a play on "Lo" as "l'eau de vie," giving a sense of the fact she is the spring water of life ("water of life," Biblical references, etc.); and (3) "eau-de-vie," as in a cognac, meaning that her effect is
one of light-headed alcoholic pleasure. The second phrase ("lo aux amours diluviennes") carries two primary meanings: (1) "diluviennes" implies "torrential," so there is an unrestrained, overflowing, abundance of love for her; and (2) there is such a "torrent" of this feeling that it is in fact deadly (i.e., Humbert Humbert committing murder out of jealousy). Finally, there is a play between the two phrases with their water imagery. Here, "Aqua vitae" refers both to an alcoholic beverage, as well as (literally from the Latin translation) "water of life." The word "deluge" captures the two meanings mentioned previously of the second phrase, adhering to the water allusions. Finally, the word "aqua" ("water") plays beautifully with the word "deluge."

Line 12: Oh but it is your fault! Hehe. This emphatic renouncement of her power actually affirms it. Connects back to lines 7-9.

Line 13: The word "chat(te)" is the French word for cat, and just like in English the word "pussy (cat)" carries a dirty connotation to the female reproductive system, it is likewise in French. Note here, though, the word is "chat" instead of "chatte." The phrase "Quand je donne ma langue aux chats" is an idiomatic expression that means "When I stop trying to get an answer" or "When I don't get an answer." Literally, it translates as "When I give my tongue to the cat," from which, after making a slight leap to a frame of vulgarity, can yield a possible lesbian reference. (You figure out the rest).

Lines 14-15: One of my proudest lines of translation, "se jette" means not only to throw, but also to eject (as in a man ejecting his manliness). The word "spurt" is great, cause it carries both these meanings, with the latter one probably stronger than the former

Line 16: The "à moi" gives a nice emphasis reproduced here. It is similar to line 12, but carries it a bit further; she knows very well it is her fault (...that little nymphet!).

Line 18: Reference to Ch. 1 on Lolita. Possible reference to Serge Gainsbourg.

Line 21: This is primary translation--knee-high schoolgirl stockings. However, there is also the possibility for a secondary translation. We can translate "collegienne" as an "inexperienced person," "en bas" as "down below," and we arrive at "inexperienced down below." This makes a nice reference to her childish, pure, virgin state.

Line 22: "Hot-blooded" here as both a fiery temper and as a fiery, passionate aura.

Lines 22-23: These two lines capture her half-childish, half-adult state, playing back onto "c'est pas ma faute," as well as lines 7 and 8. Here, she is saying, "I can be hot-tempered, or not; it's my choice, my whim." Many people translate "mi-coton, mi-laine" as "half-cotton, half-wool," and use it to describe her sexy schoolgirl stockings. To me, that sounds illogical due to it's placement in the song. Rather, it is more of a reflexion on the idea expressed in the previous line. She is partly like cotton (fuzzy, soft), yet partly like wool (itchy, irritating); and she can change on a whim. Finally, "mi-laine" in the French makes a nice reference to Mylène.

Lines 26-28: "Motus a bouche" being an idiomatic expression for "hush, hush!," we have here a reference to (1) Lolita's mom is oblivious to the power her daughter wields, and (2) the secret "relationship" that Lolita has with Humbert Humbert (Ch. 12-13, for example).

So there you have it, a translated and elaborated "Moi...Lolita" by Alizée.