-This is the first time Billy's wrote a song that undeniably has to do with what's on record in the book, -as opposed to song writing about things that happened after the book ends with Zeitgeist, -an album that was his artistic way of responding to the courier letters he'd received from me. (The book documents this at the end.) That it's the most rocking track on the album, "Marchin' On", was something he knew I'd appreciate.
Before this, the only thing I could really point to was that he performed this song "Double R" acoustically the day after my birthday at Madame Zuzu's, seven years after our interaction ended. Yes he knew my birthday, and yes he knew my first and middle initial. -As per the book's record, they are two "R's", -Rahab and Rachel, -and Billy was very cognizant of this fact, -given my names first made mention when I took over his 2000 SP Forum online contest. (Producing the names was in acquiescence to a demand by SP forum members.) My birthday is on record in the book as being May 28th on p. 1,399, and Billy knew it from how it came up in the couriers I sent after the contest takeover, since "Gemini" came up in conjunction with his ruling planet (Jupiter) with other songwriters after I landed on his forum (p. 1792); -even in conjunction with his moniker for the essay contest, "June".
If you want the details of how I managed to take over The SP's online forum contest, you will have to read the book. Suffice to say, this was the fourth evolution of the premise, and all of these footnotes are literally copy/paste functions of the original html forum pages where I did this in 2000. Unfortunately to be adequate as proof I would have to produce them. (I have them, rest assured.) This is part of what I'm referring to when I say the book functions as documentation. The footnotes possess quotes of letters and communication that were given to both Billy and Bono word for word, with zero alteration. (Yes I still have every original document I sent to Bono and Billy, and they were unmodified after delivery. I also have courier receipts of every courier delivery sent to Billy's residence(s), ones that prove the addresses were real.) I created the online contest takeover closing with this appeal in big block caps: "WHO WILL BE MY WITNESS?" (That's in the link above.) The second courier Billy received had this quote: "Right Now, can't you see, that you're the object of the Mystery; in terms of this moment that we [three -> universal] are in, you're the sole possible witness." The three in reference were Bono, Billy, and myself. -Read the book (as pertains to the three couriers), -and this couldn't be more obvious. (Chapter 27: Chicago Times Two)
The book returns to the "witness" appeal on p. 1,994. In my final letter to Billy (delivered hand to hand); -I analyzed Tori Amos's The Beekeeper. It had the song "Witness":
“This was just phenomenal in the context of her personal campaign towards Billy, which had deliberately been initiated with “Who will be my witness?" She’d asked this at large during the contest, of course, but in terms of what she was attempting to establish, and who she had to convince in order to establish anything, this had had only one target. When she at last went to Chicago, his address had been supplied to finish it. So in effect because he was the sole individual she’d demonstrated the existing feedback loop to in the context that would prove she was “June”; if her quest was successful, he became her sole witness. But it went a level deeper than this”.... -you can read just how deep for yourself, but to give you the sense of just how immaculately Billy Corgan's chorus for "Marchin' On" mirrors this particular context, you can read the actual transcript of what I wrote and handed to Billy in 2005 with respects to Tori's song.
Excerpt From: Pamela Williams. “The Raydiant Labyrinth.” Apple Books. https://itunes.apple.com/us/book/the-raydiant-labyrinth/id1073311019?mt=11
-Let that sink in for a moment. I'm ending a years long (if rather one-sided) dialogue with a talk about how we were supposed to function as mutual witnesses, each reciprocally for the other, in a way that would demonstrate connective consciousness had occurred between humans who had never even actually met yet when it had happened, yet it performed as a transcendent reality, and how his lack of a response on the matter meant that this was never going to have the potential to exist as verifiable fact; -and that Tori Amos had managed, in the inspirational feedback, to elucidate this concept quite perfectly. This last letter pointed out how even the existing inspirational feedback occurring in other artists conferred our final good-bye, and was distilled in that one album by Tori Amos.
But here, thirteen years later, Billy produces a chorus that is the iteration of existing in this exact mutuality.... -acknowledging for the first time ever that he has always existed as my witness, ever since I let him inside my perspective and process in 2000. It only took thirteen years for him to make the acknowledgement, his first iteration of something sought from him all those years ago.
-Let it sink in for a moment: -Billy's recalling the course of events over a span of five years, the beginning and end of my proof exercise with him; -and that as far as eighteen years later it matters to him enough to assert that what I essentially needed of him for this to ever be manifest or verifiable in any way is something he's willing to respond with. And the icing on the cake? -He knows precisely the reason I essentially needed this of him, then as now, and brought him into the feedback loop so he too could see it. It's the opening couplet of the song that follows: "I've seen enough, it's all undone, 'Tis the secret of the Irishman".
-Take a wild guess who the Irishman is. He's the one I can't require and don't trust to ever follow through by going on record that he wrote the song "Book of Your Heart" in response to my book. (He only intended the implication to do its personal work on me, the author. That's why it was done in a way only the author of said draft could see. For him it was probably an experiment.)
You're going to find out with this book that Billy knew all about Bono with respects to me; I told him what had transpired with the first encounter as I had met them both in tandem, one right after the other, (Bono was first). In fact the encounter with Bono worked as another thread of proof for Billy that what I said was happening really was, so much so I was able to say of Bono, "Meet my star witness." (You can search that phrase in the book.) My second last missive and last courier to Billy in that period was a song by song analysis of How to Dismantle an Atomic Bomb. (You can search that by title in the book.)
Last but not least, -let this sink in for a moment: Without the personal choice I made of Billy in 1998 (Chapter 21: "The Dream Season"), and everything that transpired consequent and subsequent to that, there would be no narrative. This book would probably not even have the ability to exist; -its very elucidation probably would have proved utterly redundant. This is how essential, and how essentially desperate, my open appeal in 2000 I isolated down to him was. That is how essentially I still need him as my witness today, then as now.
-Thirteen years is a long time to wait for hope. The hope that, as opposed to my total lack of hope in Bono, Billy might prove ready and willing to attest that everything related in the book pertaining to him is fact.
What if I have an explanation for every term of reference in the song, "Marchin' On" as well, and they all pre-exist in the book? -That the book ends by direct messaging Billy about "Sister Rose"? (I don't think the lyric is "violet rose", -rather it's "violent rose".) It was within two months of the DM missive hyperlinked above that Billy released American Gothic featuring "The Rose March"; -an EP he deliberately tailored to respond to my reappearing to direct message him in MySpace after going offline completely after that last communication in 2005. (Analysis of that EP closes the book.)
“Ian’s Brown’s official video for “Sister Rose”, [...] depicted a woman taking on two men and besting them in martial arts” (p. 2183)
Excerpt From: Pamela Williams. “The Raydiant Labyrinth.” Apple Books. https://itunes.apple.com/us/book/the-raydiant-labyrinth/id1073311019?mt=11
Now search the term "Sister Rose" in the book, and discover the scale of its import before it ever hit the airwaves, and realize it formed one of the strongest threads in the proof that worked on Billy; -that it referenced a prophetic dream long before the contest takeover went down in 2000, -and that rose is birth flower for Gemini besides. (Sister Rose is Michael Stipe's, however unlikely that seems. It's with him forever.)
"September's dear dread is her evening's code" - I made mention of September in an attachment to Billy I dubbed "The Trip" because I realized Chapter 21: "The Dream Season" inaugurated with a dream in September that turned out to initiate a massive series of inter-related dream signs given by my sub-conscious. By the turn of the following year this turned into a series that indicated to me far later (after I'd given up on Billy completely due to the "Black Wings Over America" Tour) that Billy was still indeed the one. The keystone of that dream series was the prophetic "Sister Rose" dream, which came into play with that missive. The dating of that discovery, which most certainly would have made it into the missive "The Trip", -was September 23/24th 2000 (p. 1427 -the "Sister Rose" discovery is on the same page). -As I said, how this "Sister Rose" element plays out in the feedback before Billy's eyes in real time becomes the strongest proof of the inspirational feedback loop that he ever gets to see, other than perhaps what David Bowie did. I emailed "The Trip" as part of a massive missive on Full Moon Friday the 13th, October 2000 to the Official Smashing Pumpkins website (they had an e-mail address that took attachments, no less), -and took over Billy's online SP contest in November. I promised seven Mysteries as an answer to it all in December, and posted them early January. So that month, and the span of months, packed a wallop where he was concerned.
U2 released their video for the song "Please" which elucidated the same span of months initiated by September (p. 825 and p. 865), -which was the most deadly accurate elucidation of the dread secret of [her]/my existence to ever be put on display, apart from possibly "Stand Inside Your Love". Certainly it was in the arch-typical/religious sense. This was the last chapter written into the book, which seemed to get isolated in the feedback by the rather terrifying prescience informing David Bowie's "The Next Day" (which is why it's the chapter header for Chapter 19, hearkening the "Please" video's harrowing analysis). It might pay to note as well I was posting about book discoveries in real time on my twitter as I wrote, and literally witnessed the video for the first time in its entirety after I considered the book finished. (That discovery was on record in twitter.) It was so devastating it prompted that chapter, which was the last one.
With respects to the Billy interaction and how it might conflate with this happening, bear in mind that by this point Billy had ghosted my presence online and engaged in active real time feedback with my personal live journal account for over two years (2007-2009) using his social media accounts and performances, so it stands to reason he could well have been ghosting me after he dumped me (hence, "For the love of irony let's love, let's love", -since he was the one who ended it). The lyric, "It's your signals that hurt me most" -might even be hinting at ghost behavior, which isn't a first. And this was (and still is) our break up song.
Billy also would have known from my communications that September was when I woke back up in 1998, in a manner of speaking. September initiates Chapter 20: "October", with an inaugural dream (p. 903). This stretch of months had recurred in the feedback twice over (p.963); -that same recurrence of months kept on being significant. September comes up again on p. 1,169, because in terms of PJ Harvey's song linked above, the music feedback literally predicted this was the month "she" would appear. As it so happened, this was the first time Bono ever recognized me in his hotel and walked out into the lobby to see if it was me, -due to my first encounter with him in August at U2's secret studio. The encounter precipitated the writing to Bono that was delivered to him personally two days before the Ireland supermoon in December, 1999. (Four years of communications with Billy prior 2005 makes me think this would've come up.)
Then there's "September rolled in with a dream of Bono" on p. 2078, -and that Fall stretch is simply Holy. Hell. September was also when Billy and The SP made their AOL livestream appearance (which utterly rocked my world when I came across it (p. 2,199)), where he delivered the epic total rewrite of "Heavy Metal Machine" that was deliberately tooled to wake me back that time 'round, literally dubbed "resurrection machine". (I hadn't paid attention to Zeitgeist's release and when my ex brought it over, it hardly registered.) As it turned out, Zeitgeist got to work its magic in October, after I registered what was going on for the video release for "Tarantula" (-that was the trigger). I resumed contact by direct messaging the official Smashing Pumpkins on MySpace October 22nd, and had the privilege of relaying just when and how that AOL performance melted my face off. In October I promised Billy I was going to send him the last chapter first, which is the one that ends the book describing all this. It is "The Last Chapter".
-October is the freaking-est month, over and over and ever and ever; -that lyric just got volumes. It was when BC resurrected me last time in 2007, manner of speaking. It's got too many signifiers to tell, enough that it's the only month to title a chapter.
"Bleeding the Orchid" (the feedback's a stage in the eye of the beholder, who is also the object of the inspirational feedback (that's what makes her a beholder), -and went through a ritual sacrifice while it was happening - hence, - all the inspired artists' expressions of this is actually "bleeding the orchid"), -was part of the Zeitgeist watershed and appears on p. 2,156.
All that is engaged by just one song. There are a cascade of other key concepts referencing the book's elements, the things written to Billy long ago, over and over again on this album, but as you can well see this preoccupation is either for the serious or seriously bored, considering this is the depth of elements captured in a mere four choice phrases. I've applied myself to the album, nonetheless, because the fact that Billy would respond so matters, and matters a great deal.
Why, do you ask? -Because the book's premise is integral. Unless there is reciprocal awareness and acknowledgment from "the other side", the book's premise doesn't exist. It didn't potentially exist until the moment both of these albums were written.
The Rest of the Album
(3:20) "We're high and dry, like ash made time, With sun still bright, We're nothing but a body in my mind, We're nothing but a body in my mind" -Smashing Pumpkins, "Solara" live at The Troubador
This was the first single release off the album and the only live video track. This is a theme that surfaces elsewhere in terms of entrapment and lack of progess, which is the general substance of "Silvery Sometimes", with the chorus being "We're in the middle, ghosts".
"Solara" did not express this line in the plural as "we" in recording but "I'm", and the shift is significant, as it doesn't really make sense except from the vantage of the central plot of the book, which was defined in the contest to Corgan thus nineteen years ago, under the moniker "feedback loop". The collective awareness formed by the feedback loop via many songwriteres exists no where but in "June's" mind. It's the body trapped in her mind, -at least that's where it resides until it gets externalized with this book, and the book has not met success in being externalized as of yet, which is the same as being caught in the middle, mere ghosts of a kingdom come, because "June" stumbles before she speaks.
"This union has its breaks, Its ordinary aches and pains, I'll take"
"Please, stay confused
This union has its use
Its sadness, dead goons, and pageants of harm
For the love of irony
Let's love, oh let's love" - "With Sympathy"
Yes I don't agree on the lyrics there and the union he's referring to is the union of awareness introduced to him nineteen years ago, which he tried to restore and resume with "Tarantula" (07/07/07) - "Don't break this oath" (p. 2153, but just search that word and you'll know what an impact that song had).
"Where omens scar your door like a harvest, we're bound and set for war, but no soldier comes" - "Knights of Malta"
When Billy Corgan himself responded to my SP Forum contest takeover in a veiled way, he did it by replying to a dream with a dream, -to the dream I'd used as the winning entry to take over his online SP Forum contest. This is on p. 1642. It was just a tiny blurb, the second last paragraph. The soldier in the dream was himself, and yes, he never showed. In the dream he felt commanded in a war where he had no clue what or whom he was fighting for, so I made it my mission to give his faceless soldier a face. I started by taking over the contest and providing the seven Machina Mysteries to answer it, so the soldier had words for the first time, with a purpose. (Michael Stipe was the only artist named in the Mysteries pretty much, -outside of the subsequent Chapter 4 list.)
"A serpent for your fist, and a scarab for your mouth, the symptoms say persist, so resist, but a cure is not in doubt" - "Knights of Malta"
Yes, well, it looks like Billy knows all about what went on in revisiting "Blackstar", or, "meet my Prologue". "Whose symbol was the serpent in the Garden of Eden?" That is what the book intends to cure. The scarab symbolizes resurrection, which is how the book does it. Billy got to find out all about this with the advent of the Machina Mysteries on his SP Forum nineteen years ago.
"Catch that blazing star" - "Knights of Malta"
"Starz" from Zeitgeist appears on p. 2,158, and there you discover he incorporated the multitude of stars theme he's brought back here on this album, "For every one of you, there dwells a trillion stars, lighting way from truth to absolute" - "Alienation" -It was a concept I'd introduced in my first courier to him (thanks to R.E.M's Reveal).
If you read how the SP Forum Contest takeover was framed, you're going to find it explains how absolute truth confers the abnegation of free will, and that this is the requisite impact of proving there is a God. It is also going to demonstrate how the feedback loop obtains absolute truth in the form of a transcendent truth. Basically proving the feedback loop really exists, which is what her contest takeover set out to do to BIlly, and what the participating stars in the feedback loop effect on a participating observer, -this lyric is exactly what happened to him.
"Alienation" is really a pun and what he's saying more often is "Alien nation", meaning again he's asserting the collective awareness that exists only in "June's" perspective as being a real thing he is part of and hopes to be revealed. The true regret is that he dumped her/me, which covers another.
"All hail, there's no spinning back from an orbit laid in vain, from this empire man cannot name" - "Alienation" - again, the collective awareness that got buried inside "June's" awareness because none of the particulars she reached deigned to acknowledge it in a way that anyone else could see (which would have validated it) going on twenty years now.
"Safe beyond the regents and their hives, Safe from clench of jackals and plus nine cries" - "Alienation" -Try this on for size, "like static robbed from the bees" p. 2141. It doesn't get much scarier than that.
Also, this dream was also in "The Trip": the dream of the parabolic hive, because the dead expressions on people's faces in the hive were closest to the expressions on the faces of his Seattle audience exiting his "Black Wings Over America" tour (p. 1407).
And Tori Amos's title track, btw, "The Beekeeper" is also about a male regent of the hive, it so happens (p. 1,792). Honeybee/bee symbolism in this book is a massive element, because of Jane Siberry's Maria, which uses the honeybee as goddess symbolism (which it really was/is). It's why Bono has a song like "Wild Honey", and with him bees are a combined symbol of overt sexuality/fertility (prime reason for goddess symbolism, which is also an element of why he used "honey" for that song). The book's pseudonym, "Pamela" means "all honey" and you can search "honey" in the book to find out what happened with that one, before and after. It made it as Billy's 5th online Mystery, along with "Sister Rose", because this was the moment where both of these were real events. Pamela is the book's pen name because a psychic gave me the moniker on Essex Street in Dublin (p. 1,280). It literally is the name "honey".
Billy revisiting "jackal" in this context is a big deal. In the song "X.Y.U." off Mellon Collie and the Infinite Sadness, "the Jackyl" is sort of a stand in for the Devil. This gets referenced in the book on p. 707, with the song analysis starting on p. 704. Back when it was written, the song's working title was "Rachel", which is the book protagonist's middle name ("June's" real name in other words). It was the song Billy wrote that most convinced her that they were somehow linked, because it somehow "knew" her worst secret. This got revealed during the Machina Mystery contest launched on the SP Forum. Rachel's real family she grew up in was comprised of nine, two parents and seven children, with her being the oldest.
"To say there goes my wishing tree
I then chose this outer space
And the idyllic swing on which I’d swung from
Exchanged for apparent disgrace" - "Alienation
"Yet I sing, how does a wishing tree run dry, Cherished in remembrance in my mind, The embrace of those who loved you cannot die" - "Alienation"
Yes, the tree's in the book as an element of her personification (p. 924 - search "tree of life"). And yes, he would have known about "The Mother Tree" thing.
"For every one of you
There dwells a trillion stars
As with any true regret
Truth gets dumped by charge
Which deigns how I’ve arrived
Via an old, archaic slingshot" - "Alienation"
When you're using Old Testament biblical prophecy as your start point (which I was forced to do with Bono, actually, the moment I met him, -and yes, Billy knew all about this), trust me, the instrument is archaic. David used a slingshot to kill Goliath (and yes, Biblical wise, there's a tie in there too).