…is in the stars.
The subtext of George Clooney is not in any particular work of art he has had a hand in creating – whether as actor, director, writer, producer or all together — but rather the evolution of an on-screen persona. Rare for an actor, his core character strength is a work in progress that leaves artifacts – films, public appearances, mischievous pranks – for us to decode.
In overcoming the Heisenberg uncertainty principle, Clooney becomes an extremely hospitable guide to the paradigm leap. That he manages to do so while challenging his audience’s expectations, yet without self-conscious irony, indicates he is hooking into something beyond the postmodern.
The precise and even calculating manner that this artist — who labored for so long in the shadows under the burden of a consciousness of the very pitfalls of fame – chooses his vehicles for public expression is fascinating against the backdrop of his natal astrology chart. This has been true ever since his starring role in Steven Soderbergh’s 2002 remaking of Solaris, which reinterpreted the Stanisław Lem science fiction novel about an oceanic consciousness in outer space into the Ouroboric passage into the sacred marriage, via the Heisenberg uncertainty principle. While many films are about the anima, it is rare for a film to work out the anima problem as Solaris does within a non-linear story with a self-contained aesthetic. In the film, the beloved Rheya (derived from Rhea, the patriarchal mother goddess who destroys her children at the command of her husband, Cronus) evolves from seductress to conscious collaborator. The message is that conscious action in regards to relationship (Saturn in Libra) is an evolution into the eternal union of the sacred marriage.
The shift from the patriarchal to a new partnership model is the door into Clooney’s chart. Notice the fixed cross (in red) as the dominate configuration in the chart; this pattern connotes a surrender of previous patterns upon a new set of conditions that are both personal and universal (his Sun in the fixed cross with transcendental planets Uranus and Neptune).
His first house is shared by Pisces and Aries, so the Jupiter/Uranus conjunction passing between these two signs, the first and last of the zodiac, indicate that the lasting power of George Clooney’s celebrity is a harbinger of what is to come.
When Clooney was born, Venus, suddenly in view, had just begun to move forward after retrograding in the independent minded sign of Aries. While making no planetary aspects, it formed an EXACT conjunction first house conjunction with Vesta, the keeper of the Kundalini flame. This reveals a containment of the Kundalini via the route of evolving (Vesta) the anima principle (Venus) publicly through the labor (North Node in Virgo in the Sixth House) of expressing (Mercury) his talent (conjunct the second house Sun).
ICON AS SUBTEXT
At the moment of this posting, the archetype of the hieros gamos is constellating. The signature is the conjunction of Venus/Mars in Scorpio as Venus moves into a retrograde station.
In Clooney’s chart, the configuration triggers his eighth house Neptune while Saturn/Sun conjuncted ( Sept. 30) the partnership sign of Libra. It is quite an amazing pattern, given that Jupiter (in conjunction with Uranus) in Pisces is EXACTLY on the ascendent! Also, the Moon is in Leo opposing Neptune in Aquarius, making the personal (Leo) anima complicit in the universal (Aquarius) quality of the sacred marriage!
See below, how the sacred marriage (Mars/Venus conjunction) hits Clooney’s chart: (1) Transiting Sun/Saturn (seventh house of partnership) opposing his Venus (first house) (2). Venus/Mars conjunct his Neptune in Scorpio (eighth house of marriage) opposing his Taurus Sun.
notably the innovation Frances McDormand character whose female proactive desire drives the action in the film, and the joke is that this desire stems from the urge to fit the societal female idea via plastic surgery, yet the Clooney character accepts her as she is.
I happened upon this excerpt from Bill Tiierney’s Dynamics of Aspect Analysis which sums up the solitary position of Clooney’s Venus:
Usually our estimations of how any planet might act out its impulses are prompted by the presence of aspects to that planet. But with no aspects to consider, what is an astrologer to expect in terms of that planet’s expression? There are probably other unknown factors in existence that regulate the manifestation of life principle beyond what is presently realized through the structure of astrology as it has now evolved. Astrology is as subject to the evolutionary process as is everything else (which should be evident every time a new planets is discovered and added to the structure). We should not assume that all that is is exclusively contained within solar system based astrological archetypes (as we do when describing life processes indicated by the Zodiac). What if earth-based astrology is simply the necessary springboard for human beings to eventually tap into completely alien concepts of being? What if even more powerful galactic archetypes unknown to us nevertheless direct the mechanism of earth-based astrological phenomena? Frankly, we just do not know if the astrological formulae we apply to our human condition are unconditional. Thus, if an unaspected planet tends to show a periodic lack of control in its actions or moments of oscillating expression that are hard to account for, it could be prompted to activate this way due to the processes that we are not ready to know about yet. These planets have been shown to undergo periods of spurtlike activity for no apparent reason (i.e. not
because of transits or progressions). With our limited knowledge, it is hard to explain how these planets are generated into expression without any aspect stimuli. (p. 173)
Because the art world is both stymied by its commercial sellout during the boom years and comatose as a result of the economic downturn, there is an urgency for the celebrity/movie star to fill the void. After all, what does the term movie star mean but an archetypal constellation patterned in a human being?
If the August 20th Mars/Venus/Saturn gathering in the sign of Libra could bring the Palenstinians and Israelis together for peace talks, then couldn’t we expect to see some bold strokes from the arts of the paradigm leap catalyzed by the cardinal T-square of the last month?
Could it be that the popular culture is too corporate controlled to allow for self-examination?
Which makes George Clooney all the more valuable, and explains his universal appeal. A movie star who reminds us of our own humanity through his very public humanitarian persona.
Fortunately, along with his grey hairs revealing the maturity separating him from other leading men, Clooney has developed his innate gift of timing.
Just three days after his acceptance speech for winning the Bob Hope Humanitarian Award, The American hit the theaters. Why was a film based on a book titled An Extremely Private Gentleman re-titled as The American? Good question that the score of reviews of The American undoubtedly failed to probe. But for an astrologer it was a crucial clue to the super consciousness that appears to be guiding George Clooney. The comparison of Clooney’s chart with the USA Sibly chart reveals a karmic connection related to his widespread appeal: Clooney’s Jupiter is EXACTLY conjunct the USA South Node.
Modernism dictated genius as a singular work, a masterpiece. Under the paradigm shift that artists, like everyone else, must acknowledge today, the requirement for art is the sacred marriage of opposites: the shedding of the personal subconscious and then accessing the collective unconscious and finding the vehicle of containment (Saturn) for that dose of super-consciousness (Uranus).
We can’t forget that two planets, Saturn and Uranus, rule Aquarius, the sign of genius, which is placed in Clooney’s chart by way of the ruler of his mid-heaven, Jupiter. This dictates that his very calling demands that he hold the tension of the opposites — the Leo-Aquarius polarity — during this crucial time of transition between the breakdown of patriarchal archetypes and rise of the Aquarian Age icon, the sacred marriage. In fact, the very ability to maintain a center is how the sacred marriage icon takes hold!
With this insight regarding is position in the collective consciousness (Jupiter in his 11th house), the title of his most recent film is a form of coding. That the character of Jack is an American in a foreign country is obvious. But what about “the American” as the archetype our forefathers coded into the American nation?
Let’s look at the charts in comparison.
Here we discover that George Clooney’s Jupiter is EXACTLY on the USA South Node while his Mars in Leo opposition conjuncts the USA North Node. Here is the opposition of Aquarius/Leo, the human and the movie star.
What is more significant is his Moon in Capricorn EXACTLY on the USA Pluto, with his Saturn only two degrees away. What this signifies is an uncanny instinct (the Moon) to uncover deep state (Capricorn) secrets (Pluto). We will see how he has been going about this in his recent films.
Moreover, Jupiter makes this highly karmic position a stellum, so this archetype of heaven/earth, human/celestial is imbedded into Clooney’s persona (Moon) as a sense of personal duty. The position in the 11th (Aquarius) house only adds to a personal narrative that is reflected in the collective: a commitment (Saturn) to truth (Aquarius) seeking (Jupiter ruling the Midheaven, the calling).
SYMBOLS, CYCLES & ARCHETYPES
What is uncanny about The American is the use of the symbol and archetypal characters drawn from the Spaghetti western (the priest and prostitute both offering redemption from opposite ends of the chakra spectrum: spirit vs. the body). The physical labyrinth, representing the journey of self-discovery with its unknown twists and turns — is embedded in the streets of the Italian village where the assassin is hiding out. Along with its geographical isolation, this elevated landscape conveys the mood of the yearning for transcendence of a new archetype. This is personal for the character but also pertains to the American nation, with its two primary exports revealed in the film: munitions and culture (the spaghetti western on the restaurant TV). The primary symbol of the film is the butterfly, which connects the physical body image (the tattoo on the assassin’s back) with the ethereal concept of the sacred marriage. This newly emerging archetype was to be located in arcadia by early American spiritualists (the Theosophists) translated into the film as a paradise where Jack would bring the female anima figures of death (the female assassin) and rebirth (the prostitute); both women gave him the nickname farfalla (butterfly).
On one level, the butterfly, along with the film’s premise, is a cliché about the quest for transcendence. In this case, however, the butterfly is a live presence in arcadia where the trained assassin is confronted with two females. The first will be his killer. And the other? The Beloved.
On a more mundane level, the butterfly is the quest for the freedom to be human, an emotional being. But in a hidden coding that illuminates the ambiguity of plot, butterfly references Project Monarch in which CIA operatives are subject to mind control, which makes them slaves to an external authority.
When a person is undergoing trauma induced by electroshock, a feeling of light-headedness is evidenced; as if one is floating or fluttering like a butterfly. There is also a symbolic representation pertaining to the transformation or metamorphosis of this beautiful insect: from a caterpillar to a cocoon (dormancy, inactivity), to a butterfly (new creation) which will return to its point of origin. Such is the migratory pattern that makes this species unique.
Occult symbolism may give additional insight into the true meaning Psyche is the word for both “soul” and “butterfly” coming from the belief that human souls become butterflies while searching for a new reincarnation. (source: Project Monarch: Nazi Mind Control by Ron Patton)
Was this association intentional or the unconscious at work? The American, rather than butterfly, was the assassin’s nickname in the book. Could this film character be symbolic of the illuminati mind control of the American masses by the collusion of government intelligence and the corporate entertainment media?
In fact, the cyclical manner that violence is treated in the film – the very gun that the hitman so meticulously crafts is the instrument of his own death – is a mirror in which America’s exportation of violence has turned back on ourselves, creating technological slaves immune to emotion via America’s two largest exports: our entertainment culture and munitions industry.
Could this be a higher intelligence working through the Clooney subtext that the star himself isn’t even aware of? A message informing Americans to connect with our humanity so we may together evolve into a liberating new archetype — or otherwise making us unwitting victims of illuminati mind control?
It seems that the true guerilla approach to creating a revolution in a media driven society is to use the mechanisms of the globalization of culture to mirror the very process by which the unquestioning adherence to the American dream is undermining the very freedom guaranteed by our constitution. How does this bear out with Clooney and the emergence of a new icon out of the postmodern decay of the patriarchal archetypes?
SUBTEXT IN TRAJECTORY
An early Clooney film was a 1996 formulaic romantic comedy with Michelle Pfeiffer about a social dilemma — the frazzled life of the single parent. One Fine Day cast Clooney in the light of the archetypal puer aeternus. He returned to this archetype with his indelible 2009 characters in Burn After Reading and Up in the Air, where the insecurities of age transform puer into senex. These portraits reveal the puer/senex polarity as crucial to the American myth, the innocence coupled with cynicism stemming from an inability to evolve –whereas consumerism has filled the void left by the non-emotionalism of the American male.
In Men Who Stare at Goats he takes the shadow by the horns, so to speak (the goat is the symbol for Capricorn, the mythological Cronus or patriarchal shadow). We are served in this film an antidote, the surrender to the feminine in a common goal of caring for the Earth. Such a whooping message is delivered, as it only could be in the entertainment culture, with characteristic Clooney humor. But even his humor is a vehicle for revealing the overblown violence in media, which, as Michael Parenti states in his Make-Believe Media: The Politics of Entertainment“… violence cultivates exaggerated notions about danger in the real world. The exaggerated sense of risk may lead to increased demand for protection and increasing pressure for force by established authorities.”
But The American was a departure from the humorous vehicle for shattering a consensus reality so ingrained in the American psyche that no film critic could even detect it, despite the freedom of thought supposedly allowed by the Internet. It was deadly (excuse the pun) serious examination of the American character that has become completely desensitized. America’s penchant for violence, manufactured and exported in our military industrial complex and entertainment industry, will — like the carefully hand crafted weapon of George Clooney’s assassin — be turned on ourselves one day.
Perhaps it already has
How will the pop stars of today authentically liberate their fans?
The image I get is the Ouroboros choking on its tail.
FAME AS OUROBOROS
Gaga spelled backwards: A Gag. Is this latest global pop phenomenon an illuminati puppet? Or is she a collective filter for exposing the rampant use of occult symbolism in the music industry which has rendered the art world impotent in comparison? How doe we discover the truth behind the veil?
The pop star formerly known as Stefani Joanne Angelina Germanotta claims the saturation of her video/music/fashion into the collective consciousness is her own unique art, yet in a cover story for Vanity Fair, she dismisses the notion of Lady Gaga as being an alter ego, insisting she has always been Gaga.
In fact, it is widely accepted that the Fame Monster’s passage to fame was a foregone conclusion from the start. And this is a New Paradigm idea of transcending linear time to enter the cycle of the Ouroboros, which this culture experiences as the life/death/rebirth cycle of the famous.
“There’s a real art to fame.” she tells Telegraph music critic Neil McCormick, claiming to have done a “crazy thesis, like 80 pages on Spencer Tunick [who creates nude installations] and Damien Hirst, great pop artists” during her precocious period at the Tisch School of the Arts. She explained her method of mainlining her message: “For me, the work doesn’t end with the song, it’s the fashion, the performance and then the trajectory of the energy as it bounces off all of the irises of the fans in the audience and comes back to me.”
FAME AS HOLOGRAM
The truth emerges as Mercury goes direct (5 degrees Virgo) to form a crucial yod = passageway to the emergence of a new archetype (Jupiter/Uranus on the ascendent forming the apex) that I have been tracking through the art world for a decade.
In Gagaland, the timing is marked by the news of Gaga settling the lawsuit which revealed her sacred marriage gone bad. It seems they created a love child together…
According to the lawsuit, Lady Gaga and Fusari’s relationship turned romantic and then became a business partnership in May 2006, when they created a joint venture called Team Love Child LLC to promote her career. Fusari’s share was 20 percent, it said.
…that took on a life of its own. This is about timing and the necessity of the collective to confront the perversities of the extreme feminine, so we may find our center in the archetype of the hieros gamos.
While the 20th century superstars were tasked with holding up a mirror to the patriarchal archetyoes, those bursting into flame in the 21st century are expected to deliver the new liberating icon of a gender free culture. So, let’s proceed to
First some background which frames my inquiry as I cross this border from the underground to the pop culture. I’ve been thinking about Lady Gaga since her catastrophic rise that attempts to break down the boundaries between music and fine art in a grand bid to define the 21st century superstar. I first took notice when I was in Dublin for the AICA Congress and read in a newspaper article a claim that Lady Gaga was actually a man. I found this intriguing because I had shown images of the hermaphrodite in the delivery of my paper on “The Heisenberg Principle in 21st Century Art.” Synchronistically, I then discovered myself in a Temple Bar cafe sitting beside a transvestite, wondering if he/she was indeed a hermaphrodite and ditto for Lady Gaga.
As I began, against my own erotic impulses, to explore more of Lady Gaga, I wondered if she could be a new phenomenon revealing the overcoming of the Heisenberg Principle in 21st Century Art, meaning that — as a self-aware student of the very fame which now engulfs her– she delivers a consciousness in regards to fame, the very shadow of the Aquarian quest for equality. The present moment is the testing point, with Saturn in Libra opposing her Aries Sun.
In seeming to impersonate female sexuality via her male aggression for fame, Lady Gaga is mirroring back the soulless overt sexuality of the pop culture, where these young woman think nothing of flinging off their clothes for the camera. The exposure of the flesh revealing the loss of the collective soul as American reverses itself from bing a global superpower to global debtor. Having removed herself from the art world institution, she has made a bold leap into embracing the personal and collective Shadow in the transparency of the 24/7 media. With Lady Gaga, fame isn’t just a by-product of her art; it is the great Unknown at the core.
FAME AS A COLLECTIVE RESPONSIBILITY
The current necessity of re-examining the mythology surrounding the American dream can only be achieved at present by the self-aware who are inside the bubble offame, yet can see their way out of it. This entails the marriage of Saturn and Uranus, the signs ruling Aquarius, which rules the South Node of the U.S. chart. Lady Gaga is an instinctual Aries, a “puppet” if not of the illuminati, then the collective unconscious by way of her Sun square to Neptune (which also makes her highly susceptible to addiction and sensationalism). Her responsibility of timing (transiting Saturn opposed her Sun) is becoming the first global superstar with Pluto in Scorpio. Having Pluto conjunct her Moon makes the message of her generation all the more powerful. Her stage act crystalizes the dark feminine, complete with tales of poisoning lovers, to the point of extreme. Her Mars at zero degrees Capricorn, the point of the Winter Solstice ruled by the 13th constellation of Ophiuchus riding the serpent is key to her ascendant. Her inability to control this powerl (foretold by her rampant drug use) is to be revealed in her fall. Pluto entering Scorpio in 1984 manifested in the collective as the fear of sex surrounding the mysterious plague of AIDS. It marked an end to the sexual revolution and a beginning to a deep internal passage through the void…
FAME AS BELLWETHER
Astrologically, the timing of this accusation of “soul stealing” is very intriguing as it captures the sinister nature of Gaga’s expression, which reveals how tapped in she is to the lower astral levels of the mind controlled characteristic of dissociation. She doesn’t seem at all emotionally connected to her image making, which is why she can dispose of them so quickly; this would seem to be the expression of a puppet. And the suicide of a collaborator certainly makes these waters even murkier.
On the morning of Lina’s suicide (left), Venus was approaching a conjunction to Mars in Scorpio, triggering the Moon/Pluto conjunction in Stefani’s natal chart. And in fact, the story appeared on the front page of the NY Post, Venus was made the Scorpio ingress, as it did on the day Lina committed suicide.
So, there is something going on here indeed. Something very dark and mysterious…and yes, sinister.
There is discussion among astrologers about Lady Gaga’s birth time. The time of birth determines what sign and planets are ascending on the horizon at the time of birth, thereby coloring the persona. Which makes my rectification an obvious choice, given the universal description of Lady Gaga, with her shifting veils, as noticeable even in her times of obscurity: Sagittarius with Urnaus on the ascendent and Mars/Neptune rising in the first house. We haven’t yet had a superstar with Neptune in Capricorn/Pulto in Scorpio. And Lady Gaga has these two transcendental planets conjunct the Moon and Mars, which determine gender characteristics!
The fequent comparisons is to Madonna. They were born 28 years apart, which means Stefani was born on Madonna’s Saturn Return, which makes her something of an astral daughter of her pop idol.
Sagittarius which is about an experiential journey yes, needlessly truthful, but while Madonna’s Jupiter was in Libra conjunct her North Node in the second house of talent, my rectified chart for Stefani places Saturn in the 12th house, thereby reinforcing the message of the hidden agenda. Again, is it the agenda of the collective America with Neptune on its Moon forcing a reexamining of the collective (Moon) mythologizing (Neptune) or the control of the illuminati which shepherds theses young woman into pop stardom? Jupiter, ruler of Sagittarius, is in Pisces, making an exact square to Saturn. So this emphasizes and expands the task of stripping the veil over the universal pursuit of fame in the transparency of the 24/7 media environment. Her personal ambition for immortality through fame reflects a collective ambition, and this is what makes her a bellwether of fame in our time of social networking, reality TV and 24/7 media.
What I am getting at is this: getting to the core of the feminine has been the struggle for art as it means working through the layers of the patriarchal archetypes to get to the core of the authentic feminine. With these revelations about her rise coming with the backlash of fame, the veil is being stripped away to reveal what is truly hidden is the inner journey of the artist! Where are the dreams, the creative linkages, the personal language that make an artist’s journey pertinent at this time? One gets the feeling here of a little girl trying on all the clothes in her mother’s closet in a hurry before she gets hom, which is, in effect what is taking place: to put out so many images so that at least a few will stick. Her struggle is to have her cake and eat it too and if she succeeds, only for a moment, then she will reveal a passage out of this 21st century nightmare in which personal success is defined by externals crushing the soul.
Having her cake and eating it too comes in the form of a constant repackaging of the American dream for her Little Fame Monsters that they too can be famous by mere association with the mirror she provides. They must expend energy on following her expression, purchase concert ticket, shop at her on line store. This is the merchandizing dream of the pop icon that Madonna was selling at Gaga’s birth! What has changed?
What has changed is the transparency of the Internet which 24/7 challenges the “official line” of the corporate media and allows fans to become stars of their own lives via the smart phone and social networking. It makes fashion so common through imagery that takes away the impetus of owning!
FAME AS VEIL
Oh wait a minute. Here is the face (left) behind the veil! The face of Lina Morgana, the beautiful young artist whose mother claims her soul was stolen by Lady Gaga. Even her name, Morgana, refers to Fata Morgana, the powerful sorceress associated with the Arthurian myth/Grail legend. With one video, Wonderland, she documents an authentic search for the sacred marriage. This is a vision of the collective desire: to penetrate the power of the authentic feminine at the source of female suffering.
This chart reveals recognition via collaboration (or writing songs for others) as a starting point (South Node at zero Scorpio conjunct
Moon/Pluto). While Stefani has a definite talent for writing in an archetypal, symbolic language open to interpretations (Mercury in Pisces square Uranus in Sagittarius), she has no planets in air signs, which accounts for a triumph of instinct over intellect. Lady Gaga’s multimedia success may indeed be revealing why an art world so bound by conceptualism is presently comatose. Without the innate ability to intellectually detach her essence (if she has one) from her creation, she is indeed vulnerable to puppetry of the first order. subject to her instinctual grasp of symbols and with her Aries impatience can’t be bothered by the time it takes to interpret them and reconfigure them for her own journey. This danger of becoming a victim of symbols (the claim of being an illuminati puppet) is one that artists have avoided since Clement Greenberg outlawed the use of symbols in the search for a pure art.
This accusation of soul stealing by Lina’s devastated mother (who is tring to get the rights to the songs her daughter wrote with Lady Gaga), coming at the precise timing of Mercury stationing direct to form the very yod, that with Saturn opposing in Virgo, gave Lady Gaga a form. Was it being controlled externally by the black magicians? Interesting how this lawsuit was dropped just after the revelation from Morgana. It points to conspiratorial forces that continuing to represss the birth of the liberated face of the feminine.
This certainly has been my experience of the past summer in my struggle to restore the face of the feminine in the canon via Margaret Fuller. There is definitely a resistance the power of this archetype in a corporate dominated celebrity obsessed culture.
The unintended irony of Lady Gaga’s is that — while she may have originally been instinctually motivated by artistic concerns of bringing a universal message about the quest for fame into a slick multimedia pop package — she now entirely beholden to the fans that made her fame possible. This is the life/death/rebirth cycle of the Ouroboros that her fans claim to discover in her videos. Lady Gaga sincerely seems to want to free her fans, even though it isn’t clear what this liberation might be from: sexual repression? obscurity? corporate oppression? materialism? Sex?
In this transparent media of the 21st century, no star can offer truth if they themselves are living a lie. Yet, despite all her occult imagery, the failed alchemical marriage of opposites is the abyss at Gaga’s ambitious core. It is what makes her allegations of being a self-made impresario stink like a carcass of the inner dragon that her whirlwind ride as Fame Monster has failed to slay: the Ouroboros choking on its own tail.