2/22 Master Numbers, Rape Culture Power abuses

The Fool Numerology Astrology Tara Greene

The Fool card from the Visconti-Sforza Tarot deck.
Date circa 1450 .
Source Scanned from the Dal Negro reproduction: I Tarocchi dei Visconti.

Feb 22, 2019, is a big Master Number Day. The same as people seeing 11:11 on the clocks. Seeing 2/22 is a higher octave of 11:11.

22 in the Tarot is the symbol of enlightenment symbolized by the Fool in the tarot. This day symbolizes listening to one’s intuition the number 2 the High Priestess in the Tarot. The 22 is mastery of the magical dream and intuitive worlds. 22 is living fully in the now, it is the symbol of infinity. 

This is a BIG day for me. One of the most amazing events in my life happened on this day 40 years ago! I can’t believe Im even saying something 40 years ago.
I witnessed a STAR BIRD a real intergalactic spirit messenger on Isla Mujeres the Island of Women in Quintana Roo Mexico with my ex-husband and a German woman who was a follower of Bhagwan Rajneesh who was on her way to Oaxaca Mexico to meet with the famed shaman Maria Sabian who healed with Magic Mushrooms and                                                                                who famed filmmaker psychomagic                                                                                therapist Alejandro Jodorowsky                                                                                      studied under.
You can watch the Video  I made about it in 2012 https://www.youtube.com/watch?v=nNZY6D4whBc

I will be writing and meditating all day in honor of that momentous occasion.

This is a very big day planetary wise.

Moon is in LIBRA

There are 4 major planets aligning with each other.


This is the continuation of Mercury’s connection to Neptune on the 18/19th where hidden secrets, sabotage and karmic endings come to light. There have been many news stories reflecting these energies. Like the Jussie Smollett case of a crazy hoax who’s chart, I will cover separately. Or the Khloe Kardashian and her 2nd cheating scandal breakup with her baby daddy Tristan Thompson by her sister Kylie’s BF Jordyn Woods which has caused them to break up. 

Mercury in Pisces squares Jupiter with Jupiter ruling both signs is an opportunity to bring the spiritual into your aspirations and philosophy. It is a lovely dreamy creative emotional/mental energy challenging the fiery truth.  But WTF is the truth or reality? This energy brings out secrets like pedophilia, Jupiter rules religion and the Pope’s investigation into sex abuse by Catholic Priests is going on in Rome.

The other biggie is VENUS conjunct Pluto 22/23

Pluto rape culture Astrology Tara Greene

The Rape of Proserpina (Rome).jpgArchitas [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)%5D

Note the NUMEROLOGY of the 2/ 22 Master number 

Sexy Venus-Pluto conjunction energy in Capricorn 2/22 the 23rd in GMT. Its complicated, interwoven, intermingled, pose, lust, sex, secrets, control. Can be very enriching for those born with planets at 22+ degrees of the 10th sign and note the numerology significance.

Pluto is wealth and power from the depths of the soul manifested big time in the world.

Venus rules love, beauty, relationships, the arts, and women. This is a Scorpio overly energy with Pluto’s modern rulership of the 8th sign. Venus and Saturn are all very close they just met on the 18th. They are all moving at exactly the same declination of southern declination at about 21° Capricorn. It’s been a powerful week.

Look to where 22+ degrees Capricorn is on your natal chart and 22+ Aries, Cancer, and Libra are all powerfully affected by this. The Plutocracy s wealth may take a hit. Pluto always slays. ALways. 

Venus conjunct Pluto has many meanings. One of which is that Venus can also represent Persephone, a young girl, being raped {or going voluntarily some earlier myths say} by Pluto into the Underworld to be transformed through sex into becoming a woman. These Planetary mythic tales are archetypal.

Issues of rape culture, pedophilia, sexual power, secrets and abuse are coming up very strongly now to be transformed. The Popes meeting about Catholic Priests sexually abuse which has gone on for centuries is being addressed.  Parishes are publishing names of priests who have raped or sexually abused children. 

The Moon is in LIBRA squaring Venus and Pluto to add to the relationship mayhem. Libra is karmic justice.

Moon inconjuncts Mercury in Pisces

There are plenty of hurt feelings, in relationships which have gotten out of balance. Legal issues, the scales of Justice is the Balance are also very strong right now. Lots of suing and cases to be settled. 

Please share widely all writing is copyright of Tara Greene

Get a reading with me http://www.taratarot.com


600 year evolution of Tarot Card art

The Radical, 600-Year Evolution of Tarot Card Art

Read some of the article here or read the entire article on its original website. https://www.artsy.net/article/artsy-editorial-radical-600-year-evolution-tarot-card-art

What would Antoine Court de Gébelin think of the Happy Squirrel?

De Gébelin was a Protestant minister born in the 18th century. He authored the multi-volume tome Le Monde primitif, which insisted that the tarot deck contained secrets of the ancient Egyptians, whose priests had distilled their occult wisdom into the cards’ illustrations, imbuing them with great mystical power. Before that point, tarot was primarily a card game—meant for fun, not prophecy.

It was a bold and somewhat absurd assertion, given that de Gébelin could not read Egyptian hieroglyphics (no one could at the time, since they weren’t deciphered until the 19th century). Despite a total lack of historical evidence to back his claim, the theory stuck: Tarot decks, once a novelty, became popular tools for divination after the publication of de Gébelin’s book.

Which brings us back to the Happy Squirrel, a relatively recent addition to the tarot’s Major Arcana, and one whose provenance is less hazy: it originated on season six of The Simpsons. Lisa visits a fortune teller who is unconcerned when Lisa picks Death, but gasps in horror when the next card she draws is the Happy Squirrel. (When Lisa asks if the fuzzy rodent is a bad sign, the fortune teller demurs, saying that “the cards are vague and mysterious.”) Although it began as a cartoon joke, the Happy Squirrel card has made its way into over a dozen commercially available tarot decks.

So what would de Gébelin’s reaction be? The answer depends on whether tarot is a collection of timeless, mystical wisdom—or a flexible framework that has endured by changing with the times. Although tarot imagery employs supposedly universal archetypes, new decks are constantly being invented, and old decks altered. The art of tarot cards can never fully transcend its milieu. Which begs a second question: How do the cards’ art and design relate to the social changes, technological advances, and aesthetic sensibilities of their particular eras?

A Wealthy Family’s Trick-Taking Game

  • Bembo Bonifacio, Female Knight (Swords), 1428-1447. Visconti Tarot from the Cary Collection of Playing Cards. Courtesy of the Beinecke Rare Book & Manuscript Library at Yale University.
  • Bembo Bonifacio, Empress of Swords, 1428-1447. Visconti Tarot from the Cary Collection of Playing Cards. Courtesy of the Beinecke Rare Book & Manuscript Library at Yale University.
  • Bembo Bonifacio, The King of Swords, 1428-1447. Visconti Tarot from the Cary Collection of Playing Cards. Courtesy of the Beinecke Rare Book & Manuscript Library at Yale University.

Despite their aura of mystery, medieval tarot cards were not used for divination, and were probably not created by ancient Egyptian magicians. The earliest surviving tarot decks—now preserved in various museum collections—are Italian, and were commissioned by wealthy patrons, the same way one might have hired an artist to paint a portrait or illuminated prayerbook.

The Visconti-Sforza Tarot is a collection of decks, none complete, commissioned by the Visconti and Sforza families from the workshop of Milanese court painter Bonifacio Bembo. Cards such as Death, who rides a horse and swings a giant scythe like a player in the world’s most high-stakes polo match, will seem familiar to contemporary enthusiasts. So will the Pope, who sits on a golden throne; and the Lovers, who hold hands beneath a string of heraldic flags. Rather than looking to these cards for mystic guidance, the Visconti and Sforza families would have used them to play a trick-taking card game similar to modern-day Bridge. (Although it’s unlikely—given the good condition of the decks—that they were ever handled with much frequency).

The cards each have intricately tooled gold backgrounds that glow like the luxury items that they were. Bembo is believed to have included portraits of the families in many of the cards, as well as adding the Visconti family motto here and there for good measure. Akin to the work of Fra Angelico and other early-Renaissance artists, the cards are opulent but pictorially flat, although the bodies appear in naturalistic perspective and their clothing billows around them, suggesting volume and form.

The 18th-Century Conver Classic

  • Nicolas Conver, Tarot card from Tarot de Marseille, ca. 1760. Via Wikimedia Commons.
  • Nicolas Conver, Queen of Clubs. Tarot card from Tarot de Marseille, ca. 1760. Via Wikimedia Commons.
  • Nicolas Conver, Tarot card from Tarot de Marseille, ca. 1760. Via Wikimedia Commons.

Produced in 1760, French engraver Nicolas Conver’s deck of delicate woodcuts, the Tarot de Marseille, is the template on which many contemporary decks are based. Like the Visconti-Sforza Tarot, the deck’s design likely originated in 15th-century Italy before traveling north to France. It’s a favorite of many tarot enthusiasts, most notably the cult film director Alejandro Jodorowsky, who designed his own deck based on the style. While the Conver deck wasn’t the first to be called the Tarot de Marseille, it’s highly prized by collectors for its delicate color palette of sky blues and minty greens. The graphic black outlines and blunt shading of the prints give the cards a simple and rough-hewn appearance, which adds to the ambience of ancient wisdom. The popularity of the tarot grew due to advances in printing technology and via the writings of 19th-century French occultists such as Éliphas Lévi and Etteilla, which popularized the use of tarot as a method of fortune-telling and assigned additional divinatory meaning to the cards.

The New Mystics

  • Pamela Colman Smith, The Empress, c. 1937. Courtesy of the Beinecke Rare Book & Manuscript Library at Yale University.
  • Pamela Colman Smith, The Star, c. 1937. Courtesy of the Beinecke Rare Book & Manuscript Library at Yale University.
  • Pamela Colman Smith, Queen of Cups, c. 1937. Courtesy of the Beinecke Rare Book & Manuscript Library at Yale University.

The Rider-Waite Smith deck, which debuted in 1909, remains the most recognizable and popular today. Designed by artist Pamela Colman Smith under the direction of the mystic A.E. Waite, it was the first to be mass-produced in English, and was intended for divination rather than gameplay. Smith and Waite were both active members of the Order of the Golden Dawn, a secretive organization devoted to the exploration of the paranormal and occult (allegedly Bram Stoker, Aleister Crowley, and Sir Arthur Conan Doyle were also members).

In addition to Smith’s occult bonafides, she was also an accomplished artist, championed by Alfred Stieglitz, who collected her work and showed it at his gallery. Smith created fully-realized illustrations of all 78 cards that made the deck a treasure-trove for cartomancers, who now had a much richer store of images to work with. (Previously, only the 22 Major Arcana cards such as the Fool, the Magician, and the Lovers had been elaborately illustrated—traditionally, the Minor Arcana cards, which are roughly analogous to the suits in a deck of modern playing cards, were not.) The Major Arcana were based on the Tarot de Marseille drawings, but rendered in an illustrative Art Nouveau style rich with patterns. Even the Fool looks debonaire; he carelessly approaches the cliff, a feather in his cap and a blooming rose in his elegant fingers, wearing a floral tunic that looks straight out of William Morris’s workshop.

An Occultist’s Pure Geometry

  • Frida Harris, tarot card from The Thoth deck. Photo by @cugeltje, via Instagram.
  • Frida Harris, tarot card from The Thoth deck. Photo by @cugeltje, via Instagram.
  • Frida Harris, tarot card from The Thoth deck. Photo by @cugeltje, via Instagram.

The Thoth deck, named for the Ibis-faced Egyptian god more commonly known as Horus, was painted by the artist Frieda Harris based on direction from the infamous occultist-about-town Aleister Crowley. Completed in the early 1940s, but not widely available until 1969, it features Art Decoborders resembling the pattern of a butterfly wing.

The deck is an aesthetic departure from the Rider-Waite’s homey Arts and Crafts aesthetic. Shaped by Harris’s interest in pure geometry, the cards are reminiscent of the work of Swedish painter Hilma af Klint (a visionary artist who shared Harris’s interest in spiritualism and the writings of Austrian philosopher Rudolf Steiner, both popular subjects of study among the middle and upper classes in the early 20th century). Harris’s shaded orbs and compass-inscribed curves that fill the background of each card bear more than a passing resemblance to Klint’s highly-saturated geometries. Klint, considered by some to be Europe’s first abstract painter, believed that her luminous compositions were the created under the influence of spirits. (The same could easily be said of Harris because she was taking direction from Crowley, who was believed to be a medium, able to channel ancient and magical forces.)

It’s no coincidence that Klint’s paintings and Harris’s Thoth illustrations were shown in the same pavilion at the 2013 Venice Biennale, which was intended to amplify voices that had previously been excluded and “cover 100 years of dreams and visions,” according to curator Massimiliano Gioni.

Sex & Self-Help, ’70s Style

  • Bill Greer and Lloyd Morgan, card from Morgan-Greer Tarot, 1979.
  • Bill Greer and Lloyd Morgan, card from Morgan-Greer Tarot, 1979.
  • Bill Greer and Lloyd Morgan, card from Morgan-Greer Tarot, 1979.

Created by the artist Bill Greer under the direction of Lloyd Morgan, the Morgan-Greer deck is, like the 1970s themselves, both opulent and optimistic. The Magician sports a mustache that would make Tom Selleck blush, and the naked and embracing Lovers would fit right in with the hirsute and curvaceous illustrations in the original 1972 edition of The Joy of Sex.

The ‘70s enthusiasm for all things New Age created a renewed interest in tarot as a tool for self-discovery, and the Morgan Greer deck was there to greet it. The cards’ colors are lush and the lines are fluid. Greer chose to crop his figures tightly and removed the borders, allowing the illustrations to extend to the edges. The effect is fresh and personal. Formally, the Morgan-Greer illustrations have more in common with Jefferson Starship’s Spitfire (1976) album cover than with contemporary painting of the same period—the pendulum had swung away from figuration and would take a few years longer to swing back—but it’s possible to find a resonance between this deck’s art and a work like Judy Chicago’s Dinner Party (1979), with its powerful goddess and blooming flowers. Greer’s strong women and frank sexuality make the deck very much of its time.

Minimalism & Identity in the Present Day

  • King Khan, card from the Black Power Tarot.
  • King Khan, card from the Black Power Tarot.
  • King Khan, card from the Black Power Tarot.

read more of the original article here https://www.artsy.net/article/artsy-editorial-radical-600-year-evolution-tarot-card-art

Get a Tarot card reading with me http://www.taratarot.com

Numerology guidance 2016, completion, #9

With all the negativity, fear, anger, racism, misogyny, white supremacy, blaming, bombings and demonstrations going on not just in America but all over the world. I feel we need to turn to the Numerology symbol and base number for 2016 for wisdom and advice now. The Hermit, Tarot Arcana #9.The Hermit Tarot Tara Greene

The Alchemical Tarot 

2016 is governed by the symbol of The Hermit. The number 9 is a symbol of completion. Nine is a magical number which always reduces to itself. The Hermit is associated with the Astrology sign of VIRGO, the 6th sign, of earth, mutability, discipline, health, accounting and work, budgets, economics, harvest, food,  health, digestion, frugality, perfectionism, and worry. 

The HERMIT in itself, is a mysterious figure, traditionally shown as a hooded sage or wisdom seeker.  Hermist were religious seekers in all religions, Christianity, Buddhism, Hinduism, Islam -Sufism and Taoism, living an ascetic form of life. The Hermit is solitary, living alone secluded in the woods, a cave, crossing the desert as Jesus did for 40 days, or Superman who had his Fortress of Solitude, or anyone seeking  inner wisdom, and new perspectives of the heart and soul. The Hermit symbolizes the quest for inner wisdom. 

Periodically we need to take time out, to ground ourselves. To seek within for the answers as we know the end of a cycle is ending.  We have been living under the Hermit’s light and influence all of this year which is quickly drawing to a close. We can see the themes that the Hermit has brought up to our awareness. 

The Hermit always holds up a lamp. The lamp shines in the darkness, it gives us comfort, security, protection and guidance. The lamp is a symbol of the Inner light that the Hermit possesess. This archetypal figure can be seen as an outer guide holding up the light of hope and faith { Virgo is the opposite pole to Pisces}  guiding us out of the darkness when we feel lost, clueless, alone, rejected and abandoned. 

To be alone is a powerful initiation, to learn to be able to live by oneself, to learn to trust and be self sustaining and mature is part of the Hermit’s lessons. Being alone and learning to like one’s own company is a prime spiritual practice and necessary to having an honest well balanced love relationship. If you are afraid to be alone, you must face that shadow that fear. What are you afraid of? YOu need to ask yourself these questions and learn to be strong. In an overly busy distracting world of constant information, the need to go within and tune all that racket out is more important than ever, This is the whole point of doing yoga, to find the inner silence and the inner light.

The dark is the place of all birthings, all creativity, it is the void, the emptiness of the mind which the Mercury Ruled Hermit is seeking. We need to go into the the dark as a source of nourishment and security. We all lived in the dark in our mother’s wombs before being born into this world. It is the place where you felt the most secure, loved, cared for, and closest to spirit. 

Years ago I did an amazing experiential workshop on Tarot which was led by a British born, physicist, 32nd degree Mason and student of the Venerable Namgyal Rinpoche, the first Westerner to be recognized by the Dalai Lama. In the 3 day intensive workshop we experiences each of the 22 archetypes of the Major Arcana. I particularly remember the Hermit. The workshop was held in the country at a rustic Buddhist retreat centre.  We were outside in the forest at night. The Hooded figure of the Hermit appeared with his candle lit lamp to light our way. It was a very touching scene. I felt the Hermit to be silent, wise, benevolent and his lamp light to be a source of real protection.

So go within now to find stability, new direction and to find the answers. If you don’t find what you seek within you will never find it without. The Lamp is your own inner wisdom, you always have it lit. It is your spirits life force, the soul’s burning passion to be alive. Listen to your body’s wisdom as well. Be humble, do the practical things that need to be done. 

This is a year of completion. Finish off what you started 9-10  years ago in 2007, the last #9 year.  

2017 is a universal #1 year. The MAGICIAN, the symbol of Mercury. A dualistic sign, everything will be new again. 2008 was a number 1 year as well. The market had a huge crash back then. Think about sowing seeds of magical thoughts and intentions for the next 9 year cycle, till 2025 which will be a huge huge shift in the world’s consciousness. I’ll write about 2017 soon, I’m still meditating on it.

PLease share widely all writing is copyright of Tara Greene

Get a reading with me. http://www.taratarot.com

A beautiful video about the Tarot from the polymath Alejandro Jodorowsky

The Inner Light by George Harrison, The Beatles

Long conversation about art, consciousness, movies by Alejandro Jodorowsky

I am sharing this long interview with one of my favorite artists in the world. At 87 years old sharing this interview by Anthony Paletta for the awl.com


or read it here

An Eagle Fighting with Flies: An Interview with Alejandro Jodorowsky


A conversation about art, consciousness, the movie industry, and how to organize your life

Alejandro Jodorowsky, best known in the U.S. as a director, particularly for his psychedelic films El Topo and The Holy Mountain, has pursued a sixty-year career of astonishing variety. Born in Tocopilla, Chile, the son of Ukrainian Jewish immigrants, his family moved to Santiago, Chile, where he met Pablo Neruda and Nicanor Parra and immersed himself in the city’s artistic community. In 1953, he moved to Paris, where he worked for Marcel Marceau and Maurice Chevalier, among others, before turning to filmmaking, a pursuit he continued in Mexico, where he attracted financial support from Allan Klein, John Lennon, and others. In the wake of Jodorowsky’s failed efforts to adapt Dune—the subject of a recent documentary—he took up writing comics and novels.

Most recently, Restless Books published Where the Bird Sings Best, a fantastical narrative of Jodorowsky’s ancestors, spanning from the expulsion of the Jews from Spain to his great-great-grandmother bedding Tsar Alexandar I of Russia; in June, it will publish Albina and the Dog-Men, in which an albino giantess with a taste for human flesh, a bearded lady, and a dwarf travel across rural Chile battling foes while searching for a magical cactus. Having turned eighty-seven in February, he’s currently at work on the second of a (hopeful) set of autobiographical films, Endless Poetry (following the first, The Dance of Reality, which was released in 2013). I recently spoke with him via Skype while he was at work editing Endless Poetry, which he filmed in Chile last summer and fall.
How is the movie coming along?

Well, it’s almost finished. The persons who see it, they’ve say it’s better than The Dance of Reality. They’ve say that and I am happy.

(I don’t speak English very well. I speak French, I speak Spanish, but I do what I can.)

This movie concerns the segment after The Dance of Reality—your time in Santiago, right?

Yes, I came to a street very far out of the city. It was a workers’ street, with thieves, criminals, drunkards, prostitutes. It was terrible! I discovered poetry there. I tell how I became poet and artist: That is history. How I fought with my father because my father believed only in business and I wanted to be an artist. My first love, my second love, and also the search for the meaning of life. Why do we live, no? Why do we need to die? Things like that.

Myself, I think movies are an art. I am not an industrial filmmaker. I understand a person’s needs to relax a little, have movies, have shows, have Superman. All those idiocies. But I believe in human beings—I really believe in that, after all these years. I think humanity is in danger now. The planet is in danger. We need to start to change the world. Not to change the world—it is impossible—but we need to start to change the world. To change the world we need to change ourselves. What will you do? I will give this richness, I will give everything I find to others—and that is art. Art is to show to others what they have, what they really have. Not to show to others, “You have an emotion, you drink something.” No.

The [film industry] created the star system, with a song to the ego. Myself, I think we have one ego, with an artificial pair of eyes created by the family, the culture, and the society. Then we have a real essence with a consciousness that is truly what we are. We need to go there to be what we really are. I don’t want to obey a lot of things. I want to be myself, like an artist. When I find this treasure inside of me I will show it to others. Everything I have others will have, that is what I am saying. I am searching for sublime. How you say in English, “sublime”?

That is what I am saying, sublime, sublimity—not about idiot feelings, ridiculous love. Love is something very important—it is not that that they are showing us. The stars are awful! Because it is the big ego exalted. We need to finish with that! It is not possible—it is an enormous industry that has made an invasion of all the world, the American movie industry. They are working for money, no? If a picture costs a lot of money, “Good!” If it makes a lot of money, then “it’s an Oscar!” All this history of price, you have a price and I fight for a price—why don’t I fight for the truth, why don’t I fight to make others better?

The fight in order to make a real art movie is enormous because everything is against that. It is an awakening of consciousness and all of the industry is against the awakening of consciousness. Then we are going to the end of the planet. We are going to the end of the world.

You returned to Tocopilla for the first time making The Dance of Reality. Had you been back to Santiago more recently? How was your experience there filming?

Santiago has changed because there is no poetry—every person is fighting to be a little United States, donc? They’re in business, and there is a big difference between rich and poor. Like all the world now. Poetry’s not there anymore. Only in young persons. The problem is the industry of books doesn’t want poetry because they don’t sell books—they are not a big success. Poetry is not a bestseller so then they cannot publish. A big bestseller of poetry is six hundred no more. But in my time to be poet was like being a doctor or being an architect. You were a professional. You were a poet!

Even drunks were reciting Neruda and Parra in Chile back then?

Neruda was very intelligent; he was a big poet, but he realized he could find an enormous public and he became a communist. He became a communist, and he lost his poetry but he became famous in the country and in the world. He did what he needed to do. But I say to you, an eagle doesn’t fight flies. When enormously famous, the eagle starts to dance with the flies, and then he became a clown. He became a big businessman like Spielberg! The cineaste Spielberg, he has a lot of talent, really, but what he did with that? A big, big business. Now he’s an eagle who dances with flies!

Now Parra was my master. When Neruda was a poet, a romantic Communist, he was the anti-poet. He made real poetry, he was very funny. He was my master. I love him like a poet. When I was shooting Poésie Sans Fin, he had a hundred years. I went to see him. He is a hundred and one, cien. He is alive and very intelligent as always—only working a little bit with difficulty. But he is a human being, and I was speaking with him. In my picture, I play myself sometimes as an old man of a hundred years. I went to see him and I said, “What can a man of a hundred years say to me?”
To get old is not a humiliation. You lose your money, your sexual glory. Your search for money, your search for sex. You lose everything and you become a butterfly of light.
I put that in my picture, his message.

After this you still have Paris and Mexico to cover—your next films?

I make a series of pictures. There was The Dance of Reality and this is Endless Poetry. I will make Poésie Sans Fin in Paris—all my relations with panic and surrealism and mime and things like that. I will make number four in Mexico. And if I am alive, number five will be my love history with my wife. Because I met her when I was seventy-four and now eleven years we are together. She has forty-five years less than me, and then I will die. She will be a widow for forty-five years and we want to tell that history—how you can love when you know you will die before?

You draw upon a number of traditions in your books, in your films, and in your graphic novels, like puppetry, and circuses from your own familial history. Do you feel that some of these traditions are more alive than others or have others sort of reached a limit?

Our civilization in the twentieth century would make only one thing. A telephone was a telephone. And now it is this [holds up iPhone]. What is this? it is a telephone, a television, a radio, everything. Calculation, numbers, messages, writing. Vibration, BZZZZZZ. If I get excited, I will masturbate with the telephone! You can do anything. Later, you have mobile telephone like a phallus, like a penis. Masturbate the telephone while you are speaking! It is a lot of things. In the twenty-first century, it is a lot of things together and the brain is that. The brain is not a telephone, the brain is an iPad. This is the brain [holds up iPhone].

For me, a comic is big art like a picture. A picture is big art like a painting, like a dance. It’s different. I do everything myself. Now I am making Endless Poetry like a picture. I am “shooting” Son of El Topo now, but drawing it in a comic! Then I work like a director. This year will come Son of El Topo in July, the picture I always wanted to do—the continuation of El Topo, but I do it now as a comic, because I don’t have the big money.

In an interview, you once said, “Movies are movement, a comic is immobility.” That might have been a translation of your comment, but did that make sense?

Mobility of the eyes—the eyes look, but not the mind. In a picture, they give you all of the movement they need to give to you, then you receive the movement, and you do nothing. But the mind goes with the picture. In the comic—immobile images—no? But you move the image, in your mind you move the image.

I guess my question is, is writing a graphic novel different from writing a novel or a movie?

It is different. Every time is different because you know I work alone. When I make a comic, I work with the artist who makes the drawings and the colors, and the editor who will pay us to do that. We are three persons only. We can be more. I made The Incal with three persons: myself, the big genius who was Moebuis, and… comme-ce? Humanoids. When I am making Son of El Topo, it is me and Jose Ladronn, a Mexican artist, who is a genius. We two are doing that with an editor.

When I make a picture, it’s an army: hundreds and hundreds of people who are working in a picture. When I am shooting, I am making the picture, the music, the decor, the costumes, the editing. It’s enormous. It’s like you make a child—it’s almost nine months working every day. When you are writing, you are working alone. Only you. Poetry is only you. When you are painting also. When I was directing theatre, it was the most difficult art because you work with actors. You create the show. When the show opens, you lose the play and the actors take the play and you don’t exist any more. And when the show is over you don’t exist any more!

Every art has another place, another forum. It’s not the same, but it’s a marvelous adventure. Every art develops another sense in you. The brain is enormous, you can do everything. Not only one thing. Also I make therapy. Psychomagic. Psychomagic is a new kind of therapy. I also do tarot, which is a kind of spiritual search. I make a lot of things. I work with the public to liberate the consciousness because the consciousness is perfect in every brain. Consciousness is the same. It is a fantastic brain with limits. The country makes limits, society makes limits, family makes limits, history make limits. You need to [explosion gesture] to take out the limits in order to get the freedom of your consciousness. That you need to do, to be free in the mind.

Americans are unfamiliar with psychomagic or psychoshamanism, particularly as an influence on your own work. Could you speak about that a bit?

Listen, how old you are?

I’m thirty-two.

I had a son of twenty-four who died of an overdose, who died at a party. They gave him, I don’t know what drug, but he died. It was a very big crisis for me. For ten years, I stopped making art because I said, “Why am I making art?” I would give all of my art for only one year of the life of my child. The life of a human being, of a child or your son, or of your father, or of the person you love is greater than anything you have. If life is bigger than art, why am I making art? Then I said, “I am not making art to give fun to people—I am not a clown, I am not a businessman making money. I am a human being. I am making art to heal myself; that is what i am doing and when I will heal myself, then I will start to heal others.”

For me art is to heal, to take out all the illness that you have because it’s impossible to get through. Truth is to be. The universe is so incredibly enormous. In the universe, there is a sun who is, I don’t know, ten million times bigger than our sun. How can you know the truth of the universe? But we can know what thing: what is beautiful. Beauty. We can come to it with a beautiful life. That is happiness. We can live and die with happiness. That is the mission of art. To teach to you how you can love yourself. That is art, and that is to heal.

The big illness of the world is ugliness. War is ugly. Political campaigns are ugly. Horrible. Awful campaigns. I am ashamed to see the politicians who fight like that, that horrible way. Like big clowns, horrible, imbecilic clowns fighting to be president. What will they do when this clown is president? Ugliness. The Hollywood pictures are ugly because they are not helping to heal the ugliness. They are helping to make idiot consumers, which is ugly.

Did you know I didn’t make a picture for twenty-two, twenty-three years because no producer wanted to give me money to make a picture? I economized for twenty-two years; I have two million dollars. I will take one million and make a picture. I will find two persons to give me one million dollars each to lose the money. I don’t want to make a picture to earn money, I will make a picture to lose money. I will lose the money! La Dansa de Realidad? I lose money because the cinema is full of thieves. Every person takes the money for themselves. The distributors, the owners of theaters. Every person is cheating you of the money. And then you, the artist, you make the product but you have nothing. That is the story.

Then I take the second million dollars I have and put in Endless Poetry. I will lose that money. I am happy to lose it, because I want to be the happiness—to help the world, to show the young person they can do whatever they want. It is a loss to want money for art. If God gives you sugar, you open the mouth—if my picture makes money, I will agree, because I will make more pictures. But I do not make pictures to make money. This is a creative position. Pictures are an art.

What do you want to know now?

Lately your work has been exploring your past, like in Where the Bird Sings Best…

I write it. It’s history. Metagenealogy. All my family. I discovered all this enormous adventure. It’s an enormous adventure. Enormous.

Like Tsar Alexander?

Yes, my name is Alexander, but Jewish. Not the Tsar Alexander, but from Alexander Magno, who was the old conqueror, who was very good with the Jews. They say in order to make you immortal, you will take your name and will give it to your descendant. They will call you Alejandro, the descendant. Alexander is a different sort of human being. Alejandro is andro—humanity. Ale is health—health to humanity, that is the meaning of Alejandro in Greek. I help the humanity. For that, I have this idea. Because my name is Alejandro. What can I do? A name is an influence on you.

So you’ve been turning your own past into myth. You seem to give your father a redemptive story that wasn’t in The Dance of Reality, I guess these more fantastical elements. The past—you can change this story in your head, if you could speak to that?

Listen, when you’re an artist, you do what you need to do and then you die. You go no farther. Maybe there is another life. Who knows? Maybe there is something. Who knows? When you are my age, because in three more years I will be ninety years old. When you are living for this space of time, you realize—the majority of my friends have died. Eighty, eighty-five, sixty. The person dies. And then you say, “Okay, what do you want? Why am I here? Why was I born with an artistic talent?” Because you can be a big footballer, you can be a genius businessman, be a big anything. All of us we have talent, but we are different. Myself, I have artistical talent. When I was four years old, I started with art. I am here in order to give to the world something, to help the world. To help to make the world spiritually more rich. That is my mission. I need to be here to help develop a spiritually liberative consciousness. If I have persons who follow that—good! But if nobody listens to me—good!

The triumph is not an Oscar—the goal is not a price. The goal is to do what you need to do and to die happy because you did what you needed to do. I am doing what I need to do. I am honest when I do an interview, because I say exactly what I think. I don’t say things in order to sell my books or to sell my pictures. Yes, I make promotions, but I make a good promotion because I am honest. I am not lying to you. I don’t know you. I don’t know where you will put that. How you will translate that, I don’t know. But I try to be honest. Not to be deceitful like the moviemakers. Not the artists, the producers—they are enemies of the art. They are terrible. We need the young persons to start to create their own way to make pictures, not to go to the theaters.

I was happy that they showed The Holy Mountain in the cemetery of Los Angeles at the grave of Rudolph Valentino. One thousand persons were there. That’s the thing. We need to escape the commercial ways in order to do something. Not for Oscars. Not for dollars. You need to do that in order to die happy. That idiocy.

That sounds great.

It’s true. I feel like that and I am doing that. With Endless Poetry, I will make another way to show the picture. I will not show the picture in the common way. If only ten persons see my picture, ten persons will see my picture. But if ten million see my picture, I will be happy also. It is the same. One person or ten million person is the same.

One more question. When is your next picture coming out?

Endless Poetry will go out in June. We will try to go out in the Cannes film festival. In Europe, in France, a picture can’t go into the world if they don’t show in Cannes. They show in Cannes! Then I have distribution with the best distributor, who loves my picture. And he’s very enthusiastic, he wants to show the picture. But I will open the picture the tenth of June in the Museo de Louvre.

I think that pictures are good for museums. That is the place I want to show my pictures. In the museum. Not because it’s serious, not because it’s famous, but because it’s art. And a good place for them is the museum. Why not! You show a painting, why not a picture? When you have a dream you need to dream something impossible—and then do it. You need to do what is impossible. I thought, “my next big picture I will show in the big museum of France,” and it happened. It was possible! You find where you want. And then you will open in a different way. We need to make things we never did. When you are depressed, change. Do something you never did, something new in another way. Yes?


I don’t know whether what I am saying is good. Maybe what I say when you write in your newspaper will make enemies.

Oh no I hope not.

I am happy you have my books and my comics. I am very happy because when I started to publish, I published in Spanish, but now they even publish me in Japanese, in a lot of languages. I had that dream when I was your age, and it took a long time. I needed to wait something like fifty years to make my dream, but I continue it. When I have a failure, I say, “Failure doesn’t exist.” You change the way, that is all. You cannot make a picture in the movies you make a comic. Then I started making comics, The Incal, all of that, what I cannot do in pictures.

Last question and we say goodbye.

Where you are? In New York?

I’m in New York. I… don’t have a last question.

Listen, what is your goal in life?

I haven’t quite figured that out yet.

But we are waiting!

I’m a writer right now? I think about this often, but I don’t quite know.

If you are a writer, what are you writing?

I write about culture some, I write about architecture often, I do a few different things. I’m …figuring out what I want to do most.

You know, in order to do something, you need to organize your time. It is very easy to do—you organize your time. You say, “One hour a day you will write. From this hour to this hour, I will write that. And even if I don’t have idea, one hour I write. Even a line. Even three words. But I write. Every day I write.” You organize your time and then you do whatever you want. You take your time like your friend and you don’t lose your friend. Because your time is your life and then you organize your life. I do that, everyday I do that.

When I finish with you now, I will start to write my new comic. It is a comic book about alchemy in the French Revolution. I will write that because I need to do that. Before I be with you, from 4PM to 8:30, I worked on the colors of my new picture. Post-production of the colors it is a big work, to pour the colors you want, like a painting. Then I run in a car, rented—very cheap because it is electrical—and I came to my house to make the interview with you. Then I will continue into the night to make comic. When I finish with my work, I will see a comic picture. You know what I will see?


You will not believe! Zoolander 2! I laugh a lot with these guys. It is so funny! I laugh and I contract myself. It is contrary to what I ever would do because it is big business! But is so fantastic!

Tomorrow morning, I wake at ten in the morning, not before, and I make fifteen tweets, because I have tweets, which is an art form for me. Every day I send fifteen tweets. I have a million and two hundred thousand followers now. Speaking about art, philosophy, therapy, only that. No personal issues. Only creation, poetical creation. It’s an art. I am giving an art. It’s a creation. Every day I do that. Why? Because I want to help humanity. Only for that. Nothing more. Organize your time and you are happy.
This interview has been edited and condensed for length and clarity.

Visions, apparitions, the prime symbol, Tarot by Tara Greene

There were fireworks last night. It is Victoria Day in Canada, Yes we still celebrate the Monarchy. We have a Queen. Prince Harry belongs to us Canucks too.I still get a thrill from the fireworks.

You need to pay attention to the things and elements that are calling to you. This can come as songs that get stuck in your head, synchronicity, conversations, a repeating phrase, a symbol, a dream that repeats.

Ultimately the Universe is talking back to you. The more you listen and pay attention the louder and clearer the communication. Each and every one of you is a receiving station. We are NEVER alone. There is so much to know, to learn, to explore and remember. 

There is the prime symbol, the main event, the lynchpin where most of us are stuck that we need to unravel. There are so many ways to unwrap the package. Why do we stay stuck, blind, limited, half- baked, martyrs, suffering?  In my work as a Tarot card counsellor and Astro-therapist I hear so many of people’s life stories.

YOU HAVE TO ALWAYS ASK QUESTIONS. Yes. Question everything that comes to you.  Learn to trust your own intuition.


I don’t think of myself as a channeler. I go into deep meditations and I do get multi-dimensional information. I have been receiving this information since my earliest memories of around three years old. It doesn’t seem strange or unusual. Has this happened to you?

We were at a little gathering of friends on Sunday. A woman asked me what I did. I know Oriah Mountain Dreamers’ famous book THE INVITATION which came from a poem, begins with “It doesn’t interest me what you do for a living..” from the David White poetry process. I told her I was professional psychic, Astrologer and Tarot card reader. I am always surprised that others find this unusual. I never think of myself as unusual. Well I know that I was never the same as everyone else but not unusual because what I do is usual for me. She was a deeply Catholic religious woman. I was very interested in her story. I asked her about her EPIPHANY. Epiphany is one of my favourite words. I taught it to my daughter when she was 8 years old. She definitely felt powerful knowing the meaning of that word and impressed her friends.I respect those that have deep devotion whether its Catholic, Jewish, pagan as long as it’s from their heart and not doctrine.

I was not raised Catholic. Christmas is a holiday that exist outside of my childhood experience. It is a learned behaviour for me. But lately MOTHER MARY is coming up in my consciousness. I don’t think of Her in the Catholic sense. She is a MOTHER GODDESS, Queen of Heaven, ancient mother figure which Catholicism appropriated.  But she is very beautiful, unconditionally loving, and as pure and as high a light as you can get.  I had a dream maybe over 20 years ago and in the dream a large ship appeared. The name of the ship was STELLA MARIS. Star of the Sea an ancient name for THE GREAT MOTHER. 

Yesterday I connected with an old girlfriend who lives in Norway. We met in Israel in 1976 when I came to a kibbutz near Gaza to stay and she was already working there. We shared a tiny living space for 5 months. Then travelled together to Greece for a month. We reminisced over  getting caught in a sandstorm while camping out in the  desert under a plastic makeshift tent near EILAT in the middle of nowhere for three days, unable to leave our tent. Singing under the stars, hiking down from Masada on a FULL MOON, where I had a transcendent experience, walking to GAZA to see the Meditterean sea. I did much time travelling while in Israel, I loved the energy of Jerusalem, the temple mount, the ancient sites, Bethlehem but hated the politics. It’s so wonderful to stay connected to those you had shared experiences with many years ago and to still feel the warmth and specialness of that connection. I have friends who I still connect with who I’ve known since I was 8 years old.

I was feeling the ascending energy of MARS getting ready to shoot himself out of a cannon on the 19th at 6:31 pm PDT. We were quite antsy, grumpy, frustrated for the last day or so.

My daughter was conceived 17 years ago last night. A voice THE VOICE that guides me- said NOW! I knew we had conceived her right away. The interesting thing was I was thinking about dates and star alignments. May 17 is when the SUN CONJUNCTS the PLEIADES every year, its at 28 degrees of TAURUS in Tropical astrology.  My husband and I were very interested in the Pleiades and were reading Barbara Hand Clow’s book when we got together 18 years ago. We got to meet her right as our relationship began in fact. We have always driven SUBARU’s because of the Pleiades. I realized that we had gotten married on AUGUST 17 which is 3 months or 90  degrees in an Astrology chart. The famous “L.” aspect. Our daughter’s astrology chart features 28 degrees of TAURUS on the top of her chart- the M.C. or Medium Coelli/High Noon position.  I just realised this and it blew me away. My son also has CHIRON in his natal chart at 29 degrees Taurus. YEs the UNiverse is always sending us pieces of the puzzle.

Mother Mary and Qwan Yin and her dragon came up in a healing I experienced last month in Sedona while attending Drunvalo Melchizedek’s Awakening the Illuminated Heart Workshop- his last one. Dru- as he is known did a group healing. There were 103 people in the room and thousands on line virtually. It was very powerful. 

PAY Attention to what is calling you. A friend of mine called to tell me she was feeling exhausted, she is launching a big project, and she’s been inspired and putting out megawatts of energy. She was wondering if she should cancel her upcoming appearances because she was feeling so exhausted as she felt she had already birthed her baby- the project.. I tuned in that she was still in labour and exhausted from that, her baby was not yet born. If you feel exhausted and stuck,  ask yourself which stage of labour you are at? It is really like giving birth. 

Ponder on this rambling heart-felt offering and tell me what comes up for you.

I pulled a Card from my newly acquired Universal TAROT OF MARSEILLES restored by Alejandro Jodorowsky found at the GOODWILL in Sedona for $3.99 = 21 the UNIVERSE.

Inspirational card of  the day


King of Pentacles/Disks Tarot tara Greene

MASTER of MONEY, the physical world, he is the CEO of the land

He rules the physical body, hard work. He is the keeper of resources, the physical facts baby,

YOU need him to manifest your dreams. He is head honcho of fortunes.

the FIRE OF EARTH- he is Mature Masculine active energy in the feminine earth, He is the progenitor, the sperm, the passion for earth, love of the Great mother in his positive aspect. 

In the ZODIAC – He rules the last decan of LEO and the first two decans of VIRGO from August 11- September 11.

Isn’t that the time  during which I got married? Hmmm….


I am strong and ready to manifest my heart’s desire. I am co-creator of the Divine physical realms. 

I want to connect with all of my readers more closely and intimately.

Sun leaves TAURUS MAY 20 @ 7:59 pm PDT/10:59 pm EDT

WELCOME GEMINI TIME- its two two two SUN’s in one. GEMINI is ruled by the KING OF SWORDS in the Tarot.

AIRY DUAL sign  is always more upbeat, mercurial, magical, childish, easy, LITE, curiouser and curiouser, talkative, dilettantism, quixotic another of my favourite words, immature, indecisive, angel/devilish. 

COME to a 5 day workshop on manifesting your dreams Aug.  3-7 at the beautiful GRAIL SPRINGS SPA in Bancroft Ontario




All writing is copyright of Tara Greene 

get a reading with Tara Greene http://www.taratarot.com