La Madeleine
Timeline “My Relationship with John Mayer” (Below)
CONTINUED TIMELINE: BORN & RAISED
NEXT: PARADISE VALLEY
Opening my writing to John Mayer beginning in 2010, the books and the tapestries, even notes from unpublished manuscripts in what has happened in the last few years.
By looking into the deep, there are the miracles. The “sketches are living things caught in the open, with light and freedom and airspaces about them. They melt into the land and the life of the land . . . they are not stories at all, but life itself.” –Willa Cather
That’s what gives them their magic and that’s what opens the Pure Land.
“If a writer’s attitude towards [her] characters and [her] scene is as vulgar as a showman’s, as mercenary as an auctioneer’s, vulgar and meretricious will [her] product for ever remain.” –Willa Cather
0 A.D. La Madeleine Born in Magdala, Ancient Canaan
In the path that I have been writing of the art here is how it has come to fruition:
In the article “John Mayer and The Revenge of The Count of Monte Cristo” I wrote about how the scribes of the Hebrew New Testament didn’t know how the female story continues of Mary Magdalene, and so she naturally and by the currents of fate arrived by boat, even from an Odyssean mosaic of a boat just like that surfaced in her hometown of Magdala the year John was born, onto the shores of where she could live as legend and in Presence in the South of France, in contemplation on the top of the mountain in the Sainte-Baume in the Bouches-du-Rhône in this contemplative state of Peace, or natural BEingness.
7 A.D. Odyssean Mosaic Underneath La Madeleine’s Footsteps Unearthed in 1977, the Year of John Mayer’s Birth
La Madeleine would have walked across the mosaic with her own feet because of its prominence in a main villa near the water in Magdala, and if she did, most likely also with Jesus.
The mythology of the artwork they were walking on is also tied by the
boat to Penelope and Odysseus.
Taylor Swift still inserting herself into my writing posted on the day of the re-release of the hate and lies of Speak Now:
49 A.D. Boat from La Madeleine’s Home Life in Magdal Found on the Shore of the Sea of Galilee in 1986
On 24 January 1986 the remains of an archeological boat was found in the drought-receded shores of the Sea of Galilee, also known as Lake of Gennesaret, near Magdala (now Migdal, Israel since 1910) where Mary Magdalene was from and dated to “40 BC (plus or minus 80 years) based on radiocarbon dating, and 50 BC to 50 AD based on pottery (including a cooking pot and lamp) and nails found in the boat, as well as hull construction techniques.”
It is then from the time Mary and Jesus are written to have been there with the boats at that lake (according to Luke 5:1-11). As the site Magdalene Publishing points out, Matthew 15:36-38 talks of Jesus performing the miracle of the loaves and fishes on the coast of the Sea of Galilee and then sailing the short distance to Magdala.
It’s also tied to a Pluto Return of Bob Weir’s birth and Virgil’s passing.
710 A.D. La Madeleine’s Relics St.-Maximin-la-Sainte-Baume
According to the folk legends of La Madeleine’s remains, her body was exhumed and hidden in the tomb of Cedonius, the man whom Jesus showed how to be healed from blindness with the clay and the waters of Shiloah, moved in 710 A.D. to protect her from the Saracens who were destroying all religious iconography.
7.10 is my birth date, and the waters are my name, Shiloh.
1050 A.D. Exhumation of La Madeleine’s Relics and The Sprout on Her Tongue
As Jesus telling Cedonius, from whose crypt from which La Madeleine was exhumed, to go wash his eyes in the waters of Siloam in John 9:7, and that river being described in Psalm 46 as the inspired stronghold of Jerusalem, in the love song before it, Psalm 45, the poet writes:
“My heart is inditing [or overflowing with] a good matter: I speak of things which I have made touching the king: my tongue is the pen of a ready writer.”
It flows like the river.
Dante brings her to speak as Beatrice in writing the Divine Comedy from 1308-1320.
And so in the writing, the “sprout on her tongue” is speaking both our names, Shiloh Lynn (the sacred water and the waterfall) and John Clayton Mayer, the poetic verse and clay to heal the ‘blind’, or those who cannot ‘see’; it speaks my birth date (it is also contained in John’s birth date 10.77), and the year he started out in music in ’97.
The “sprout on her tongue” is pretty wonderful.
I have been put into the position to have to write and speak about John because of the false accusations, a false public shaming for self-gain, profit, and prestige using him and his name, but more beautifully, about these things, to bring these real stories to their fruition.
Public abuse does not “stop”; they repeat themselves over and over, never stopping the abusive pattern. I know, I’ve lived it. They can never stop and see, not even clear, pure, undeniable evidence. The inexcusable Taylor Swift wants the public to pour out hate and abuse because it is how she gets narcissistic supply. The more damage she does the more powerful she thinks she is. She desperately wants to inflict blame, pain, and damage because of her internal core pain she can never heal.
And so La Madeleine had been placed, literally and figuratively, into the crypt of the healed ‘blind’ from both of our names, and from which this naturally grows.
It’s been this way with John since I first came to know him, just wildly magical things coming to life. Well, it’s been that way all my life, but coming to know John, it became whole and real.
I do intend to speak beautiful things. That’s how I came to write to John.
Taylor Swift copying my dress I wrote about again in 2020:
1279 A.D. Exhumation of La Madeleine at St. Maximin-la-Sainte-Baume–without Her Jaw
On the very day of the exhumation of Mary Magdalene’s body at St. Maximin-la-Sainte-Baume in 1279, Pluto, the planet of death and rebirth, was moving at 17°32-33 Capricorn (the house where Pluto takes down authority structures, according to astrologers), at what would come to conjunct my 16°52 Capricorn Mid-Heaven as the tomb was opened, the Mid-Heaven or “middle of the sky” being the point for an individual “that represents the most public parts of life” (career, fame, reputation, the masculine). The New Moon Solar Eclipse in Aries (or the birth of spring) on 20 April 2023 aligned exactly to the degree and minute of my Ascendant and Descendant [which forms the horizons of that Mid-Heaven] at 29°49 Aries/Libra just before the Lunar Eclipse in the depths of Scorpio. It was exactly quincunx to 29°49 of my Anaretic Moon in Virgo, conjunct John’s Venus at 29°10.
Those minutes of his and mine together of 49 & 10 are the Genesis prophecy with my name and our birthdays.
Easter Sunday, 7 April 1146 Saint Bernard of Clairvaux at Vézelay, France Begins Second Crusade at La Madeleine’s Relics
6 April 1295 La Madeleine’s Jaw Bone is Returned from Rome and Reunited with Her Skull
“Mary Magdalen’s jaw bone had been sent to Rome after a previous excavation of her tomb and before the Saracen invasion of 710 AD, when all important relics in France were hidden. In Rome, Mary Magdalene’s jaw had been venerated for centuries. Because of “the 1279 discovery, Pope Boniface VIII returned the jaw bone to St. Maximin-la-Sainte-Baume and on April 6, 1295 it was reunited with the skull of Mary Magdalene.”
When the jaw was reunited with the skull, from which she could metaphorically speak, Dante was 30 years old. I came to know John Mayer when he was 32. Dante was 43 when he began writing the Divine Comedy in exile and Beatrice speaking to him beyond form. John is now 45.
10 July 1970
16 October 1977
The process of writing, the act of it, is to bring to fruition, a completeness, the accomplishment of what fruition means: the pleasure, euphoria, good feeling, contentment, the happiness, and sense of ease and peace, that cozy and warm feeling of at home within oneself, a consummation of known happiness brought forth by recognition within. It’s velvet and comfort, at ease in feeling it. That’s what birthing writing and oneself are: Home in that delight of creation that is not separate from Being, but its couch. That happiness and completeness is the point of writing. It is liberation, a free-spirit, elusive, and located quality and values with exactitude and finding their living gold within oneself. It is inward that creates its locale that then is radiated as the expressed, alive qualities and spirit of that locale, giving it its expression of soul. One can see it from Carrie Bradshaw, a writer in New York City, and Alicia Keys giving it her voice, to Audrey Hepburn, a Belgian girl in America, to Jane Birkin, an English girl in France. To tell these possibilities and realizations of the feminine is immense in restructuring not just culture, but also thought. This is the power of creation and it is the meaning of happiness and beauty. It is the experience and birthing of it. That’s how place is transformed. It’s how abusive and blind human structures are transformed from inward out.
The Sprout on La Madeleine’s Tongue
And so the quest for the feminine, but also the problem of the masculine role, begins to show. That anointing with oil in the Hebrew Bible is very much like Odysseus’s arrival home a millennium earlier and his identity not known until Eurycleia rubs his legs and his “woven scars” in oil (his skin woven like poetry—a term from Penelopean Poetics that I wrote about in Coyote Weaves a Song). Jesus’ divine Being is not known to those who argue that the oil is ‘too expensive to use on a beggar.’ Odysseus, the millennium before, is also shunned as worthless. It is still true that there is not recognition of Odysseus’s identity in the poetry in how he transforms the kingdoms. Peace is a cunning warrior. But Odysseus, or Homer, hasn’t broken through again into consciousness, and the song continues. Dante suffered this in exile. Michelangelo carved the grief of it (public crucifixion and death), and also the answer (where there is no death, but transcendence on earth). To overcome that mental cultural limitation, there must be conscious recognition, not more devastation as in the Iliad, the forerunner of the establishment of Rome and thus the prevailing history of Western culture. War is still heralded as god-like. Competition and power “taken” by force, but inner powers of eternity within the artist not seen. He is disguised as a beggar, worthless. The arrival to France in legend was the answer to actually showing what the mythology held, the breaking through the kingdom on earth to eternity. The artists–the actual creators–knew what they were doing.
FROM TEXAS TO NEW YORK CITY
My Relationship with John Mayer
2006
Taylor Swift’s Plagiarism of other artists from 2006 on, including the Video Before Speak Now‘s Release, “Mine,” in 2010 and the first video after releasing the Plagiarized “Dear John,” even after Falsely Publicly humiliating John, a Master Musician with a Hard-won Career Who Was Not Interested in Her
And all along the media has been her Benefiting Accomplice.
In October 2010 I listened to The View and Whoopi Goldberg, a lifelong favorite of mine, talk about how guilty John was. No one but those around John had any idea it was all a lie, a great marketing ploy for power and story. And Taylor didn’t even think it up. All she had to do was steal.
In 2010 I was a writer “writing completely on my own.” I lived on a ranch in Southwest Texas alone with my animals. I had made an independent film. I had been featured in an alumni magazine with the headline, “An Independent Mind.” That became Taylor’s marketing campaign for Speak Now, and now she’s repeating it. I was communicating with John Mayer on-line. Taylor Swift had been feeding the media–a treachery she continues against anyone and everyone–with stories linking herself to John Mayer as much as she could. John Mayer was giving the media that exact opposite as he’d had to do for several years. In search of material for a new album and marketing tidbits of “identity” to feed to the press, and with a personality disorder of total vindictiveness–I am not exaggerating–I immediately became Taylor Swift’s target. Speak Now and “Dear John” were lifted from me and my writing not only because of my writing and life, but because John Mayer was showing a very clear and loving, excited interest in me. I kept writing because it is who I am (in the form world) and what I was born to do. I know the beauty will show through. Taylor Swift does not have a romantic life. She does marketing to media and charm to audiences. It’s all fake. Nor is she a “writer.”
Taylor Swift has now stalked John Mayer since she was publicly given power to do so at the beginning of her fame.
Taylor Swift is not an “artist.” She is a red-handed shop-lifter and a liar. She learns her language from others around her, constantly picking up her next line, like “art” and “artist,” and repeats them in calculated ways to cover what she is actually doing.
There is no being named after James Taylor, no growing up on a Christmas tree farm, no opera singer grandmother, no keeping a diary for secrets, no mother with a brain tumor, no sexual harassment groping, no relationships with a line of boyfriends.
Taylor lifted it all from my writing.
It isn’t called relationships, it’s called marketing, and shopping for material she didn’t have in other people’s lives for material to sell, and from the beginning immediately going to the media and dropping the “tidbits” to lend to that “identity.” This is what she began doing with John before she met him.
In 2011 when she chose to appropriate the material (just an actual life fact) that I was writing from the Lincoln National Forest, suddenly she was in the media saying she grew up on a Christmas Tree Farm. Immediately when I published one page from a children’s book about a bunny going into the woods in 2019, she was making a video just like the illustration for her hastily written song about that fabricated marketing and identity.
And so there is not just a complete fakeness to what Taylor is doing, it is a grabbing for material–plagiarism and copyright infringement and doing it with an apparent and overlooked vindictiveness because she learned early on how to market, how to take the material she doesn’t have in her own life from others, how to manipulate with charm, and how to put it out to the media who eat it up because they are in the power, selling, and identity game, too. The real and the truth don’t matter. People don’t matter. John, after all he had achieved and the incredible music he brought, didn’t matter.
Link: The New Yorker, 3 October 2011: “You Belong with Me”
In 2011 after plagiarizing and harassing me and John for over a year for a story she was forcing to be hers taking every detail she could find, The New Yorker published a tentatively investigative piece called “You Belong with Me” showing how it was all marketing, calculation, and specifically-used charm from the beginning. In the article the actuality starts to peer through:
“Since 2007, the Swifts have been in litigation with Dan Dymtrow, a former manager of Britney Spears, who claimed that they had violated a 2004 contract with him before Taylor signed with Borchetta. In papers filed in a New York court, Dymtrow challenged Swift’s origins story: “How does an eighteen-year-old singer from a small town in Pennsylvania make it to the cover of Rolling Stone’s ‘Best of Rock 2008’? If you believe the version of the story being told to the world, Taylor Swift knocked on record-company doors when she was just thirteen years old.” Dymtrow argued that, instead, he had launched her career by bringing in branding consultants, setting up performances (one, he noted, was a venue known as Rudy Giuliani’s Camp), and securing marketing deals with companies like Abercrombie & Fitch. The case is being settled out of court; a judge threw out all of Dymtrow’s claims except one, for unjust enrichment. While the litigation didn’t derail Swift’s career, it did provide glimpses into the adult negotiations inevitably at work behind a teen-age success story. At one point, Dymtrow’s lawyers released an e-mail written by Swift’s father to Borchetta that was quoted in the press: “Enough with the Dymtrow. You asked me to break both his legs, wrap him in chains and throw him in the lake. I did.””
Taylor’s personality is not pleasant, it is sticky and cancerous. As a child, her parents had money to get her to marketing executives, to Nashville and to hire songwriters and musicians to build the picture of what it should look like at that moment, matching identically to what was hugely selling from Faith Hill, for example–the models of what this should look like and how to claim to be, in artists such as Faith Hill, Tim McGraw, Norah Jones, Alicia Keys, and Sheryl Crow. I realize this is a radical statement of what “art” is and against what has long been claimed to be her own songwriter. I am putting myself in the line of fire in an already pretty hateful world for stating what has been known in the industry for the length of Taylor’s “career.” No one else can say it openly. Artists showed kindness to her in order to give her encouragement to grow on her own, away from plagiarism, away from impersonation, away from attachment, as she became so instantly popular that there was no need for her to keep doing it. She had money to pay for help in developing original content. She could have figured out her own identity. But instead, she wanted exactly what others had for herself, and to have and use music as a voice of accusation and victimization to get what she wanted from others. Inspiration from another artist is one thing. For Taylor Swift, it was and still very much is “just choose what material you want from others, even in appearance and impersonation, clothing, personal details–to pretend to the public like she was legitimately privy to those details (they were available online)–life stories, life expression, and take it as one’s own property and forced personal invasion made public and fed to the press. If they give you trouble over it, shame them.” This is not feminism. It is not activism. It is not music. Taylor uses anyone and everyone for her self-adulation and to make herself “powerful”–powerful enough to abuse openly.
Taylor was an uneducated high school student who had no concept of what plagiarism and copyright infringement are, and absolutely no concern for the protective boundaries of that, of artists’ own lives and their personal lives, exploration, deep dives, hard won moments, loves, and expressions as their own. Taylor’s early vindictiveness towards her classmates (NYPost) showed the pattern she continues to this day. Taylor wanted what she wanted, and with no respect for even the humanity of those artists, let alone their hard-earned lives and work, shopped from them, most particularly from John Mayer, without credit or paying, picking and choosing what she wanted from any and everyone, and most viciously into private lives to which she was not invited. It is a vast difference from the creative process of someone like John, who, inspired by other artists such as Jimi Hendrix, Stevie Ray Vaughn, and old blues players like Muddy Waters and Buddy Guy, took the hard path of learning the craft from that inspiration into a deep, internal love of the music itself and an expression of his own spirit and mastery into a gorgeous display of what is so essentially his own soul. He brought through the love and respect of that music and added to it, bringing to the world a gorgeous experience of music itself. When he plays with other artists, he becomes a reflective gold behind them to let their expression show. Behind the scenes I became the target of Taylor’s intense aggression towards personal invasion and plagiarism, and because I was not a public figure, the intensity of her abuse was unleashed, unseen to the public, to this day. When she first released Speak Now from my life and work, the first step she took in repeating everything in these fourteen years, I kept quiet while John dealt with his own personal devastation of her lies and inauthentic public smear. Knowing she wasn’t getting the relationship, she would continue to sell it. It wasn’t a personal warning to John or to other “boyfriends”–there was no relationship–but a warning to everyone to show how she operated and how she could market it, and everyone better be afraid and pay attention. She could take anything she wanted. That was the warning.
John didn’t ask me out in public because it was an extremely volatile public situation. That gave Taylor more power because the public didn’t see what was actually happening with John. He was determined to show the truth: that he was single, that he was not dating, and that there was no relationship going to happen with Taylor Swift.
The Repeat of the False and PUblicly Manipulative Speak Now
But now, as she re-releases Speak Now under further false pretenses with copyrights that were not hers to begin with, and as her forceful reiteration of the lies and a taunting against what I have been writing in expose of her beginning a long ten years of silence after she began the plagiarism and personal invasion with me in 2010, I now write with a solid and free voice to say and show the truth, and the difference that makes in the larger scheme of things. As first evidence, the very album cover of Speak Now is plagiarized from Faith Hill (having even used Faith’s relationship with her husband as Taylor did not have a relationship to sell–or one that she wanted), and the video “Back to December” from both Faith Hill and Sheryl Crow, in full view and evidence. Those very facts show that Taylor would have no qualms about taking my writing to John and making it about herself in 2010. (It shows up in the video “Mine” in August 2010 from things John and I had posted, our ‘posts’ swinging from the trees.) And that is just the beginning.
She is already putting out, with the media’s exuberant assistance, that she is now copying my latest writing about “The Madeleine” with her wearing “white” to the recording studio where John recorded Born & Raised in NYC after her lies. It is vicious and vindictive. That’s who she is. She’s never stopped for one moment.
What Taylor wants is war to make herself seem more important in others’ eyes. She is voracious for any deceitful headline that makes her the spotlight and which the press immediately publish without reflection because she feeds them with innocuous-seeming social media in a feigned “hey, you guys” voice and staged pretend paparazzi shots. Nothing is ever real.
I have an extraordinary culmination of art to show you that will shine through all the darkness after a lifetime of diligently following it all the way through. I also understand that the cosmos set it up this way, that the brilliance to break through in the masterful art requires a catalyst, as all tremendous things do. And as Zen Master Thich Nhat Hanh says, it also takes the conditions to arise for it to manifest into visible and knowable form that can make the most difference and be the most beautiful expression of it. I think those are here. It has also pushed me deeper into art and writing than I ever would have gone without the suffering, and deeper into coming to know and experiencing what love is and to know exactly who John is. This is what tremendous is.
To make it clear, there was no way in 2008-2010 on this beautiful earth and with his beautiful life and how much he cares that John Mayer would have been attracted to in any way or would date Taylor Swift. He remained kind. That’s why she forced the sale of it. The only people who would think so are the ones who can’t see the difference and don’t care about the difference. And that difference is everything.
Fame is just a veneer. There is something very real to be known in the actual music happening now that has come from somewhere inside that is important. If we only know surface appearances, we keep judging everyone, including skin color, on surface appearances. We are not aware of and don’t recognize Beingness. For the press to sacrifice John so easily and quickly in 2010 shows they don’t know the value of who he is and what he has done. I’ve been writing privately my own work to these musicians and artists for these fourteen years, from everyone from Beyoncé and Jay-Z to Keith Urban and the shamans from the Grateful Dead, whose earth before their feet I kiss. Bob Weir, Mickey Hart, and Bill Kreutzmann brought the Grateful Dead to this situation because they’ve always remained true to the light. They stepped in in 2015 while I was writing Coyote Weaves a Song. Wait until the Deadheads see what they’ve actually done in addition, as this final tour shows the profound music and spirit of other worlds broken open.
I didn’t get public credit or adulation or money. I didn’t promote myself on social media. I actually deleted my social media from 2010 on years ago. (There is a tiny bit left on my Instagram of my little dogs from then. I also kept records of it all, years and years of writing. The expose contains many of my posts to John, and the book My Love Affair with Moonbeam documents my writing to him.) I have given my life to writing and I have experienced the truth behind the scenes, and I am certain of what matters about the real breaking through.
2008-
In 2009 Katy Perry Intervened into Taylor Swift Trying to Force a Relationship with John Mayer, and Force it to the Press, by stepping into the press with him herself
She had to do it again in 2012 because of Taylor’s unending maliciousness.
John convinced Katy in early 2009 to release “Waking Up in Vegas” as a single which became her last single release from One of the Boys (2008) on 21 April 2009, their friendship from before “Half of My Heart” was recorded in a kind effort to appease Taylor Swift’s repeating of him. But she had already learned that copying as marketing paid off, big time. And a public relationship even more.
After her success in publicly pulling off the lie in 2010 about a “love” life, Taylor Swift stayed deliberately headstrong and snide publicly against John knowing that he was not going to cave to a romantic public coupling and, not able to make it a legitimate relationship, instead tried to force him into a relentless adversarial connection, and thus also obligate him to submit to something that would stick in the headlines, good or bad. It is the main reason he disappeared from being public fodder. She would not relent on the Speak Now Tour in 2011, performing “Dear John” as if it were true and she the victim, while making covert romantic videos as continued unwanted messages to John. She continued to plagiarize his ideas such as turning his “Slow Dancing in a Burning Room” (which she references again on the cover of Midnights and trying to turn his ideas into her own story and territory) into snow in a room for her “Back to December” video released on 1 February 2011, she referencing December 2009 when John had performed with her for “Half of My Heart” promotion and had been kind to her enough to be seen in public. But no kindness was enough to satiate or deter her to keep away.
Read more in “Katy Perry ‘The One Who is Sent’ Opens the Gate”
Taylor’s Continued Manipulation of the press in 2023: After the publication of my Articles this year, People Magazine Recently Removed Evidence that I cited That showed that Taylor Swift Did not Have a Romantic Relationship with John Mayer and that showed what actually was happening. So did Getty Images.
Deleted from People after my articles citing them: Permanent archive at Archive.org: “Taylor Swift on Her ‘Stalker’ Moment with John Mayer” (Met Gala 2008)
“Taylor Swift and John Mayer Collaborate Over Dinner” with 15 other people from 25 January 2010 (Deleted page); Permanent archive of People article on Archive.org: “Taylor Swift and John Mayer Collaborate Over Dinner”
Deleted by People Magazine: “Taylor Swift Sings Along with Keith Urban and John Mayer in the Audience” 27 January 2010 [and John purposely stating to the press right before that moment, the week before, 20 January 2010, that he was “not over Jennifer Aniston” and making it uncharacteristically blatantly obvious that he was not participating in sex with anyone (as in being explicit about sex alone) as Taylor went after a relationship with him in press coverage. “I’ve Never Really Gotten Over Jennifer Aniston” 20 January 2010; Permanent archive of People article on Archive.org: “Taylor Swift Sings Along with Keith Urban and John Mayer in the Audience”
Instead, in response to me sending them my articles with the evidence, on 9 May 2023 People Magazine published “Taylor Swift and John Mayer’s Relationship: A Look Back,” an article by biased Swiftie columnist Sophie Dodd, not interested in presenting the truth, writing in fairness, or in the interest of justice, and instead manipulating the press coverage calling it a “Timeline of the Relationship” ignoring the deleted evidence and ignoring the columnist’s own statements of dates and facts: “The following month, Mayer and Swift were spotted out to dinner in Nashville together, along with a small [actually there were at least 15 people with John–he was being kind but very careful] group of friends. Their outing came on the heels of Swift’s split from Taylor Lautner, whom she was linked to from October through December of 2009.”
People also recently deleted from 20 May 2010, a date when it was apparent to Taylor that John and I were communicating on-line, of Taylor changing her reference from January’s Rolling Stone about wanting John’s Koi tattoos in her home to stingrays: “Taylor Swift Has a Fishy Wish for Her New Home” Archive of Article on Archive.org: “Taylor Swift Has a Fishy New Wish for Her New Home” From that very moment that was angering Taylor are archives of my posts from 6 May 2010 that Taylor would plagiarize for “Dear John” and Speak Now: “It Seems So Real” Tumblr
People published on 3 June 2010 “Taylor Swift Admits Being ‘Obnoxiously’ Driven to Succeed” two days after John’s release of “Half of My Heart” in which he walks away at the sound of her voice and gets in a taxi. (People article permanently archived on 29 July 2010.) It included the threat of her marketing and that she wasn’t letting John walk away stating, “”Everyone in my life knows,” Swift says, “whenever something happens, the only way it’s going to be over and finished and put to bed is if it’s written about.”
Six days later she would be trying to get photographed with him at the CMT Awards next to Keith Urban and Nicole Kidman, for which the images have disappeared from Getty Images except the pristine ones, and John would even present her on 17 June 2010 with a song-writing award, while she wore “a flower in her hair” from his song lyrics, and letting her hug him in public after the threats and marketing to the press. The “lavender haze” she wants to resell to the public again, trying to reinforce the lie of a romantic relationship to keep the marketing and manipulation in place.
By August Taylor was doing a wedding with herself as the bride to details I had written, including about Earnest Hemingway’s The Sun Also Rises (and the quote ““Yes,” I said. “Isn’t it pretty to think so?” that she would later plagiarize for Folklore in 2020 in her vindictive “Invisible String” ten years later after I published the expose on her), with going to the press with “How Taylor Swift Found Her Video Groom” from 22 July 2022 (while I was in New York City for my birthday, having seen John the night before at Jones Beach, and with a lead named Hemingway, marrying herself to my writing, and the 13 replicated from John’s 77 tattoo, our Tumblr posts hanging from the trees (this was the tip of what she was taking, and was about to sell as Speak Now), and making herself the mother of children that John and I were flirting about and for which he produced a funny picture:
23 June 2023 DeuxMoi Releases and propagates a fabricated story from Taylor Swift about Joe Alwyn using elements of where I live to make her look powerful, put herself up for an oscar, and to call Joe “a prick”
John, already aware his blogs were showing up in her social media and as her own actions and words replicating what he was doing, writing, and saying, although he remained kind, he did not find the situation attractive. Taylor was immediately to the media with it, as she would be every step of the way. The public takes it that she’s just really famous, not knowing that her paparazzi is staged for an exact storyline, nothing real or true about it, and every scheme is pushed to the press in exact detail of a motive.
After People Magazine deleted the articles showing the evidence that there was no romantic relationship, People columnist Sophie Dodd offered up an obscured timeline, changing “a group of about 15 friends” to a “small group” to make it more intimate, unlike the original article:
Making sure People Magazine was notified, Taylor forced a public appearance near John and then referenced it again in Rolling Stone.
Days after it was apparent to Taylor that John was communicating with me on-line in May 2010, Taylor again went to People magazine changing her sexual innuendo from January’s Rolling Stone of wanting John’s koi tattoos in the pressuring timing of her new apartment, and now into the threat of “stingrays” and the “new rooms” she was crossing walls into, uninvited (or “the portal into his living room”):
Two days after John’s release of his “Half of My Heart” video (written while with Jennifer Aniston) Taylor went to People magazine to threaten him. Six days later she was trying to get photographed with him at the CMT Awards, with John stepping out of the picture:
Taylor going to the press while I was in NYC in July 2010 to see John to show that she was copying and taunting me from a quote I had posted of Ernest Hemingway’s “It would be pretty to think so”:
The early posts of my blog at the end of April and beginning of May 2010 that Taylor plagiarized for “Dear John” and Speak Now:
The way Taylor’s CMT 2010 Getty page appears now without the evidence, in “pristine perfection”:
The pictures there before the 2020 expose before Getty Images removed them showing John getting out of the pictures and replaced by a seat-filler and Taylor’s ‘getting angry’ response to it:
In these 14 years I have never seen the press do the research or the homework to get the facts straight and reveal something more true. It’s much easier for them and far more lucrative to get fed an easy, false story from a manipulator and go with it. It is gaslighting fans, but that doesn’t matter to them, not to the “investigative journalism” of Rolling Stone or people sitting directly in the room interviewing Taylor and noticing that something is way off. If she says she’s “the Heartbreak Kid,” they say, “Okay, there’s our headline.” It’s all completely false.
What is also surprising is that they look at clear hate, bullying, and buy the manipulated notion that that is self-empowerment. It isn’t. Who are all these irresponsible journalists and irresponsible humans?
2007
Where the Light Is & a Lonesome River in Texas
In 2007 John and my paths were already crossing. When I was premiering my small independent western, John and Jessica Simpson had gone to Rome together, to the Sistine Chapel–where I would come to find Jessica and my shared birth dates , 7.10 (and our matching white dogs, Daisy and Moonbeam), and at that time I briefly dated someone who was about to work with her on a movie. In August I got my Bichon Frise Moonbeam whom I would later find in the Sistine Frescoes that led me to look up at the coded patterns on the ceiling about the feminine and about my name which starts at the entrance, but of course I started at the back because I noticed “God’s hand” pointing to the Moon, and worked my way forward to it. In mid-October I was taking pictures by a very lonely river in Texas, working as a photographer, wondering where it all goes, but knowing it was huge. In December 2007 John was filming Where the Light Is in Los Angeles on his Continuum tour. It would get released for my birthday in 2008 in a year when our paths were beginning to come together in auspicious ways.
John and I both are HSP, Highly Sensitive Persons, experiencing and exhibiting all the traits which have characteristics that are both sensitive to conflict, such as media attention (John had suffered it immensely with Jessica and Jennifer and was not in the least about to do it again, let alone be forced into it by someone whom he was not dating and who was unfoundedly aggressively pushing it), and negative situations because we feel them too strongly, but also (in the past) that sensitivity being susceptible to others trying to take advantage due to the trait that, “HSPs possess a keen ability to sense others’ feelings, needs, insecurities, etc. Science proves it: HSPs are shown to have more active mirror neurons, which are responsible for understanding others’ emotions. Your emotional intelligence and empathy make you a master at communication, conflict resolution, and inspiring others to action” (Psychology Today). That empathy and kindness, even gentleness, can be mistaken (for weakness and) for not already having a huge, deep internal world of one’s own with deep values, bonds, and unshakable commitment to that deep, larger picture. It is also from which I have always had the very intense, silent trait of collecting “data” or bits of knowledge that relate to that which spoke to me, even since I was a child, and then putting those patterns together into a huge, overall picture that comes from deep, internal, long-term reflection. The movie Sensitive discusses that HSPs collect things that they experience as important over a lifetime: “[HSPs] pick up on nuances and are skilled at making connections and integrating complex information” and work by means of deep reflection. This is part of what was shown beginning in early 2010 in my writing to John online as I, living on a ranch alone with just dogs and horses, began sharing these wonderful fortuitous “codes” and what I saw in them, starting with my name and birthdate being in the Hebrew Bible and that verse being in my name, and my birthdate being in my name. This site is a putting together, making visible, of the whole weave after all this time. That’s how I could see the magic. It is how I find what I do in the art, literature, and music leading here.
Thus, here is what is actually happening in all that I was writing about the grand scheme of things where I could see hope in changing the structures. But now I know how there is the actual breaking through to the wonder in it, where I just saw pieces of the wonder before. It’s a stepping through into the Pure Land.
As with everything, this became a marketing ploy with Taylor. This is what Taylor Swift began taking in 2010 to replicate as “coding” to her fans. It also comes from John’s albums as in Room for Squares’ coded tables.
Taylor has said publicly many times that she just “grabs” ideas, a kind of taunting in getting away with the plagiarism, how she learned “marketing” early on, as in recently paraphrasing me into: “who live for that rare, pure moment when a magical cloud floats down right in front of you in the form of an idea for a song, and all you have to do is grab it. Then shape it like clay [John’s middle name]. Prune it like a garden [Lyrics from John’s “A Face to Call Home” . . . ] I’d still be doing it if I had never been recognized for it.” She is eaten alive by a rabid energy driven to stalk and taunt.
2008
An Auspicious Street in Santa Fe & Willa Cather’s Breakfast at Tiffany’s on the night of the 2008 Grammys with John & Alicia Keys singing “No One”
In early 2008 I took a trip to Santa Fe for the first time and went walking by myself around the historic Plaza there with the purple mountains filling the skyline. This year in 2023, I discovered how propitious that trip was, and the phenomenal elements I walked into. From the article “Something Like Olivia”:
“I am writing from the sacred groves of Willa Cather’s enchanted New Mexico where Magdalena in the Garden in Santa Fe was by the flowing water and surrounded by birds alighting to her . . .
That Cathedral and Garden are on the street where in 2008 at the beginning of all of this, I walked into Willa’s 1925 photograph taken on the balcony of La Fonda Hotel.
That hotel had just opened in 1922–the year my grandfather was born, (then my dad ‘44, brother ‘66, and John ‘77–and why Taylor fixated on ‘22 from John’s lyrics, “It’s been a long time since 22.”). It was the year Willa said that the world split apart [between world wars], the year Eris moved into Aries . . . I would go stay at the hotel 100 years later in December 2022 right after discovering that Willa’s work in New York City is the source of Breakfast at Tiffany’s before my trip to New York, just as her journey by my mountain in 1912 before she published the beginning story [that would become the movie], “The Bohemian Girl.”
The day of me first walking into her photograph, where she has in fact placed herself as the door of the cathedral, the very meaning of the Sistine with my name, was the weekend of 10 February 2008, the day John was performing “No One” on the Grammys with Alicia Keys. I had just that day been photographing the oldest church in the US (from the time of Queen Elizabeth I’s passing). When I visited in December 2022, it was upon the passing and funeral of Queen Elizabeth II. (Audrey Hepburn’s first leading role of Roman Holiday, came out upon her inauguration.)
And when I got to New York City [in March 2023] visiting where Willa wrote it all near Washington Square, I realized by looking at the inspiration of her neighborhood and her writing there, that that street in Santa Fe, San Francisco St. between the hotel and the camera shop and the cathedral at the end, which was the inspiration of her Magdalena in the Garden, was also then her realization of her “Coming, Aphrodite!” (1920), a main source of Truman’s plagiarism for Breakfast at Tiffany’s but brought stunningly back to the beauty of spirit by Audrey Hepburn.
Her realization of La Madeleine in Death Comes for the Archbishop (1927) was what she was writing towards in “Coming, Aphrodite!” seven years earlier.
And so as I stood there in the West Village, where all the miracles happened in coming to know and fall in love with John in 2010, I realized that Willa’s photograph of herself in front of the cathedral in Santa Fe led to me walking into her photograph, precisely into a camera shop, and the furthering of the iconic photograph of Audrey Hepburn on Fifth Avenue in front of Tiffany’s, and the realization going further, as she intended, as signified in the novel Death Comes for the Archbishop.”
The miracle of John singing “A Face to Call Home” there at the Village Underground, Willa’s neighborhood, coincided with the fountain of birds in flight that day for me had come to this fruition, miracles in Greenwich Village.
That is why Taylor recently rushed to be photographed there in New York City with Matty Healy and to go to the recording studio there every day dressed in white where John sang to me, and the place where he recorded Born & Raised. It isn’t romantic in the least, it is insidious.
2008
John meets Jennifer Aniston and they actually Date (and have “sleep-overs”) through John Writing and Recording Battle Studies (Including “Half of My Heart”) 2008-2009
Taylor Swift Approached John at the 2008 Met Gala and Admitted to repeating Items from his prolific blogging and Social Media as if it was okay; she takes it as an opening to keep doing it
IIn May 2008, after meeting John Mayer at the Met Gala, Taylor Swift immediately took the encounter to the press within three days. John was in a relationship with Jennifer Aniston, whom he had been dating since February. John and Jennifer attended the 2009 Oscars on 22 February while John was working on Battle Studies and during the time he was in Los Angeles with Aniston, working on “Half of My Heart,” then politely offering it in a tweet as a duet to Swift. It was not offered as a romantic opening.
John went on the Ellen Degeneres Show on 15 December 2009 at the time of the public appearances with Taylor Swift for “Half of My Heart” to state that he was not dating, that he was single, needed to stay that way for awhile, and was going to take the year ahead away from dating, stating that 2010 was going to be a “peaceful” year for him.
[Taylor Lautner thought he was in a relationship with her.]
In her Open Book, Jessica Simpson wrote about the summer of 2009 into February 2010 with John and also about his continued involvement with Jennifer Aniston (unnamed by her, but referenced by John in Rolling Stone).
On 20 January 2010 People Magazine reported John stating “I’ve never gotten over Jen Aniston,” which appeared in Rolling Stone.
But even after John’s statements in December 2009 and January 2010 that he was not interested in a relationship, Taylor Swift pushed ahead anyway, with People Magazine notified of a dinner she attended in Nashville on Sunday, 24 January with John and fifteen of his friends, but with on-lookers saying it was merely a dinner with friends. John was there to rehearse and perform with Keith Urban on CMT’s Crossroads on Tuesday, 26 January 2010. Taylor then showed up in the audience of the taping of that performance, fully aware that it would make the news—and which she would also then reference in the same issue of Rolling Stone.
Taylor Swift told Rolling Stone for that 4 February 2010 issue, for which John appeared on the cover, that she had moved into her own place in Nashville and referenced a romantic agenda: she had installed a moat that “may possibly have koi fish in it”–a reference to John’s tattoo’s, within the same issue that John states that he was still in love (and was obsessed with) his two former girlfriends, Jennifer Aniston and Jessica Simpson, perhaps even over-stating it for a reason.
But Taylor spoke of a “human-sized bird cage” that was not of her imagination as she told RS, but was taken from John’s Twitter from March 2009 about Stevie Nicks, Taylor then having lifted the bird reference from Stevie’s “Rhiannon,” which she then also performed at the 2010 Grammys on 31 January 2010, the same week as the Crossroads taping and the Rolling Stone articles, clearly trying to make the John Mayer references and her designs on him public at the same time John was making it very public that he wasn’t involved. Taylor also told the magazine that she had a Keith Urban song, “If Ever I Could Love” “that’s totally on repeat for me.” John had just performed that with Keith Urban on Crossroads.
2008-2009
Katy Perry’s One of the Boys and Friendship with John, Looking out for each other as the trouble Intensified with a partially opened door for kindness in 2008-2009
So why did Katy Perry and John Mayer appear in public together upon the release of his Born & Raised in May 2012? The album went to number one. It wasn’t about that. But you might even recognize in 2020 Taylor’s shift to “folk” and calling herself “Americana” and using my cover artwork from my books (as John styled his like my independent film):
“Born and Raised is the fifth studio album by American singer-songwriter John Mayer, released on May 22, 2012, by Columbia Records. It marked yet another change in Mayer’s musical style, incorporating elements of folk and Americana, as well as influences from Bob Dylan, Neil Young, David Crosby, Stephen Stills, and Graham Nash. Its cover, as well as that of the single “Queen of California“, was designed by David Adrian Smith.”
All. available. online.
Lift the stories also written online and hire some musicians and you’ve got yourself a “profound new shift in music” rushed out during the pandemic–and during an expose.
So why was “The Queen of California stepping down?” Because I was waiting on him and he didn’t want me in the line of Taylor’s publicity manipulation. There was a warrior at heart born to the job.
From “Katy Perry’s Keys Beyond the Hate Gate”: “Katy Perry (and her discography) has been providing these keys all along, opening the gates where they get closed, shining the light on the moments when things went wrong, protecting the Poet, and making sure the trip through Hell gets opened and completed in order to transform Hell by showing what it is and how it happened, and how to make it Paradise (Valley). She has replaced a false story of a poison narrative with an eternally true one where Poets love and guide each other in order to make it through.”
Read More: “Katy Perry’s Keys Beyond the Hate Gate: The Feminine Poetic Landslide and the Whole View of Taylor Swift’s Hell”
2010
8 March
I saw John perform for the first time at the Frank Erwin Center in Austin, Texas on Red River St. We had crossed paths by only a short time in the same room on that very street ten years before, up the road at Stubb’s Barbecue, right at the turn of the millennium. John played an ASCAP Showcase there on 11 March 2000. I would go there shortly thereafter. It would be another ASCAP event ten years later where John would ask people to write to him honestly on Tumblr, on 22 April 2010, when I would first write to him five days later.
Texas
I lived alone on a 606 acre ranch in Southwest Texas with just my dogs and horses. I had taught college literature and writing, made an independent western called Road to El Paso, and was working as a photographer and writing screenplays when I first came to know John.
Thursday, Easter Weekend, 1 April, Vancouver
In what would become the first wing of a pair of wings spreading across the continent to NYC, I went from the heart of Texas to see John again on his Battle Studies Tour in Vancouver, B.C. on Easter weekend. I had bid on a front row ticket for his charity and ended up standing right in front of him, front row center. It was the first time we looked at each other. He kept looking so deeply at me and not looking away I was melting, astonished at the intensity and the effect it had on me to look back at him. My world was already turned upside down from seeing him the first time. This was all internally life-shifting. He spoke to everything that moved me.
27 April, New Mexico
This was the day I first left a comment on John’s Tumblr post. John was still on his Battle Studies Tour. I lived on the ranch in Texas, but at that moment I was at my retreat in the mountains of New Mexico when I first wrote to him and where I would move permanently the following year. I could tell almost immediately that he was reading what I was writing by little things he would post in response. He wanted me to keep writing, so I did. And soon after, because I didn’t have pictures posted, he wanted me to post selfies. It became a constant back and forth, communication throughout the days and nights.
Taylor tracking John very closely on-line, she thought the story of my writing and with John should be about her. I wrote to him about speaking out, going public, even about writing the screenplay, which is why Taylor jumped at going public with a false story and making it instead about her. Narcissists also like to punish people for not giving them what they want. They put their pain off as blame on other people.
From My Love Affair with Moonbeam:
“On March 8, 2010, I saw John Mayer in concert for the first time, on his Battle Studies World Tour in
Austin, Texas. It was a deeply transformative event. I was shaken to the core. It was “the realest thing”–
the images and music and his existence and passion and ability—even things that had spoken to me in my
childhood, hopes and secrets I had known forever, and suddenly, it was all real and encompassed in the
existence and creations of this human being. His presence filled the room. It was a recognition beyond
explanation. I was left stunned. It was a moment that spoke to such deep inner recognitions that I was
left astonished.
For the first time, I knew it throughout my Being. I had been waiting for that moment my whole
life, having been frustrated and confused why nothing on the outside matched. Because of connecting
intensely and as irreversibly altered as I was in this recognition, and with what John was experiencing at
the time in the media and on-line, I wrote to him when I heard him suggest communicating through a
Tumblr blog in an ASCAP interview on April 22, 2010. Just a couple of weeks earlier, before I had heard
him say that, out of no where it seems, I said at dinner with my parents while at a Chinese restaurant, “I
think I’m going to write a blog.” At that moment it seemed a very strange thing to say, and it had come
out of my mouth unplanned, but with a certainty, a knowing without thought.
Instead of just writing privately as I had my whole life, at that time, at my own desk, alone on my ranch
an hour outside of the civilization of San Antonio, and on the mountain top in New Mexico in a small
half-deserted place (at the time), I had an overwhelming internal compulsion to reach out to him, to show him I understood and that what he was doing was stunningly beautiful. I also was experiencing incredibly powerful instincts to protect him. I even wrote him that Spring of 2010 to see if I should write an article about him so that people would understand the power of what he was doing with the music. Did he want me to speak out? It was all something deeper, far beyond the operation of reason. This was internal navigation. I felt its necessity throughout my entire being, more than I had ever been certain about anything, to say something. That music and his presence had been transformative. I had covered up my true self my whole life, trying to meet the norms. I would start physically shaking now if I didn’t do something about it. It hit to the very heart of me. I had no choice.”
Read More My Love Affair With Moonbeam
Week of 19-25 July, New York City, Greenwich Village
I took a trip to New York City to see John at Jones Beach on Wednesday, the 21st, and spent the week there. It was the first time he spoke to me. During the concert he kept making references to things I had written. It started raining and he played “Covered in Rain.” He made a reference on stage to where I was sitting, near where he had been when attending his first concert there. Then on Friday morning I went to see him perform in Times Square.
From “Something Like Olivia” I show the true magic was already happening:
“When I was first coming to know John, and when he first spoke to me, I visited the Olive Tree Cafe on MacDougal St. in NYC in July 2010. When I walked in it was the same atmosphere, even the very same movies showing in black and white, of a place called Crystal’s in Texas from my childhood where I had fallen in love with old movies.”
July 2010
My Birthday and First Trip to see John in New York City and Greenwich Village that Taylor has been trying to make a story about her for 14 Years, Including the details she used in “All Too Well” that Did Not Happen to Her
Here is an audio archive of John talking to me from the stage at Jones Beach about the movie Say Anything: John Mayer Live at Jones Beach Amphitheatre on 2010-07-21
I was celebrating my birthday. I had made a cake at home before the trip and had taken a picture of it for John with the cake in front of a painting of the Manhattan skyline called “Meet Me At . . . ” I rented an apartment in New York City for the week of his Jones Beach show because I wanted to experience the feeling of living there instead of a hotel on this trip. The apartment turned out to be across the hall from Barack Obama’s old apartment there. I went walking in the West Village. I had written to John about my love of Bob Dylan and I wanted to see the literary and historical musical places. Up a few doors from the Comedy Cellar/Olive Tree Cafe I bought a pink wrap at a shop called Fabulous Boutique at 121 Macdougal St. The sales person’s name was Kanta. I wrote about that wrap to John again in July 2012 when I was making Apocalypse of the Heart:
The pink wrap turned out to look like what Audrey Hepburn wears in one of the final scenes of Funny Face which also started out there in Greenwich Village. It was one of those little miracles happening. When I would return there in March 2023 it was on the discovery of the true origins of the writing of Breakfast at Tiffany’s.
Here are more of my posts at the time to John:
From the Forward of Coyote Weaves a Song, Volume I:
My Trip to NYC to See John
Fall 2010
4 September
I went to see John in Dallas before his tour was over at an amphitheater where I had been to concerts many times in high school and college. In those early years I would go to all the rock clubs in Texas (my brother is a musician) that John would in a few years come to play. If I known then that heart was on its way . . . John would come from playing “Eddie’s Attic” in Atlanta. I had spent so many Friday nights at “Joe’s Garage” in Ft. Worth. John had said when he was learning guitar he felt like he had to get to Texas where SRV had played, even if he had to sleep on pool tables. I had won a piano competition in a town where SRV lived.
October
John and I had been in constant communication from April, but when Taylor Swift was interjecting herself, making even our communication about herself, already showing that she was reading what I was writing and copying me in the things she was saying publicly and wearing and clearly closely following John’s every move on-line, John stopped all social media to take that “portal into his living room” away that she was using to have public access to him, even after he publicly presented her with an award. I kept writing to him for awhile, but at the end of October Taylor released Speak Now with “Dear John” and other songs completely plagiarized from what I had written to him. She wanted to say it was her communication of “writing to him” because she had been plagiarizing his blogs and social media from 2008.
Because Taylor was making it very clear she was copying me, John did not want anything else in the media about his personal life. I asked him if I could speak out for him, write an article or something,but the lie was so blatant, he wanted nothing added to it. He was protecting me from it as well, and he was going to stick to the music. That was his right and choice, and I also knew we had found something very special together,
During john’s Public Silence
John had decided to stick close to his friends in New York City and to go deep into the music in making Born and Raised while the press and public ate up the public shaming with no idea of what had actually happened.
John had gone silent when the false accusation and public abuse took place. He wasn’t going to be forced into a public relationship that Taylor had been trying to force since meeting him. Crossing personal boundaries is nothing to her, not even someone so talented and accomplished as John. If she couldn’t have him, she would at least publicly take him down so she could claim to have a relationship that way. Her extreme jealousy of our communication was intense, from the very first moment she saw our communication on-line. With narcissism, any relationship, good or horrible, is still a relationship and she’ll take it. It is shocking to discover that narcissism knows no bounds. It cares nothing for conscientiousness, consideration, decency, or kindness. John had certainly tried kindness and patience and Taylor took that as a “yes” to her forcefulness.
There is no argument to be had about what has happened. The evidence is open for clear public view and has been from the beginning in 2006. There were no secret rendezvous or secret conversations with Taylor. John stated openly that there was no conversation. The rest is in available evidence.
The Time Off-Line October-December 2010
Until I Was Seven
When John went off-line in October I wrote a poem called “Until I Was Seven” and started producing it into a short film for him about the trip to New York City to see him at Jones Beach and the uncanny, magical things that had happened like the similarities in his “Do You Know Me?” and my movie, the Olive Tree Cafe being like stepping into a place I had loved as a child and where I had fallen in love with black and white movies with the same exact movies playing, a whole list of wonderful, uncanny things that were happening, and John speaking to me at Jones Beach from the stage about falling in love in Say Anything, and upon returning being so moved but lonely and sad that the trip was over. I tweeted that it felt like unplugging a life support system leaving him and NYC and going back to my ranch alone. I posted on Tumblr a photo that there was a rainbow over my ranch gate as I was arriving home and as I was lying on the couch thinking it all over, John tweeted about pointing out those rainbows of sweet hope.
“A Face to Call Home” in Greenwich Village
December 3 & 4
In December 2010, after John’s public humiliation from Taylor Swift’s lie that he ever dated or had a relationship with her, John appeared at the Village Underground in New York City, right where I had been by the Olive Tree Cafe and tweeting him the summer of 2010. He played “A Face to Call Home” for the first time. He played in on Friday, 3 December 2010, and I heard it the next day, the very day I was photographing a fountain made of birds in flight on the San Antonio River at a historic former convent school, just as happens with Magdalena in Willa Cather’s Death Comes for Archbishop, and what is the revelation of her identity in the Archbishop’s “grove,” but which I did not yet see that miracle at the time.
I just knew that day that he loved me.
Virgil, Dante, & the Current Cosmic
I wrote before how the members of the Grateful Dead are Pluto (transformation from the depths) Returns (which happens about every 248 years) of exactly Virgil’s life, Dante’s guide through the Inferno. Virgil’s passing was in 19 BC, directly before the birth of Jesus, and the Pluto Return is exact, especially Bob Weir whose birth is the planet return within two weeks, to the minute of the alignment of Virgil’s passing. Virgil was born in 70 BC; I was born in 1970, on the other side of the 2000 years.
And the alignments get even more surreal when you realize there’s more beyond that we have the ancient Poet Virgil, probably even Homer in the Rhythm Devils, walking amongst us. Renowned world mythologist Joseph Campbell himself felt like he had solved a lifetime of mythology in seeing the Grateful Dead.
Astronomy research shows that what was bright enough to be regarded as the Star of Bethlehem right after Virgil’s passing was a Saturn Jupiter conjunction in Pisces on the nights of 3 & 4 December that occurred in 7 BC, just eight years after his passing. Just in April 2022 we had another propitious alignment right there: a Jupiter Neptune conjunction in Pisces.
This Jupiter Neptune conjunction on 12 April 2022 was at 23°58 Pisces, within 1° of this 7 BC Star of Bethlehem that conjuncted on Kanye’s birthday in 7 BC, and on John’s birthday in 7 BC with the planets just a degree apart.
Of those same nights in December and back to NYC, John first debuted his song “A Face to Call Home” on the night of 3 December 2010 at the Village Underground in NYC (a place where I had visited that summer of 2010), and I heard it for the first time the next day on the 4th, matching the days of that Star of Bethlehem alignment in 7 BC, of course without being aware of that at the time. But it was propitious. That day, the 4th, the day I heard it, I happened to be photographing a fountain of sculpted birds in flight on the river in San Antonio, Texas, at the Ursuline Academy (est. 1851), that would later lead me to taking a closer look at the phenomenal writer Willa Cather’s work which contains an incarnation of la Madeleine in a garden and surrounded by birds. After noticing that, in these years, the further I looked into Cather’s writing the more astonishing things came to life. On the very day before John played this heartbreaking and small unpublicized gig in NYC, on 2 December 2010 author and researcher Roy Doliner held a press conference in Rome that he had found Michelangelo’s original model for his St. Peter’s Pieta. The path of sorrow was set, but also the path to understanding and seeing for ourselves.
Read more “John Mayer and the Feminine Labyrinth”
2010-2012
Apocalypse of the Heart
For the first two years of writing to John I was working on a screenplay entitled Apocalypse of the Heart about a girl born with wings who grows up hiding in Mexico in the quiet rows of a book shop. One day a poet (inspired by seeing John in concert) comes to do a reading from his latest book in her book shop, but she cannot let him see her wings which she keeps bound underneath her clothing. He does a passionate reading of his work and sees her on a stairwell listening intently to him. He comes back the next morning before he leaves town and when she is not in (she’s hiding because of her wings) he tours a room of her photography and writing (like my Tumblr account) and leaves a message asking her to write to him. They come to know each other through their writing letters in the old-fashioned typewriters and mail, and she finally, being in love with him and making herself vulnerable, sends him a picture of her wings, unsure of what his reaction will be. The story is about what was bound up inside that she kept bound up with her wings. She ends up at the Tribeca Film Festival with her movie about her unbound wings, a spirit that now knows no bounds, and it takes everything within her to show it to the public.
John released Born and Raised in May 2012 and Taylor did not let up on the tracking him and making it public, although no one in the press noticed what she was doing.
For the time that I was writing about it to John while I wrote, I was planning on making it into an independent film, as I had done before. producing the movie myself. Instead, with the plagiarism and abuse, I made it into a music video/short film in December 2012 to show the public what was happening. John did not bring attention to the video because the press was voraciously presenting Taylor as the victim of a presumed sexual and emotional crime against her. Katy Perry stepped in to protect John from Taylor’s continued stalking and abuse and her willfulness to continue to force a relationship that did not happen, to the public.
Apocalypse of the Heart/"Something Like Olivia" Short Film/Music Video" made for John in December 2012The screenplay, which Taylor plagiarized for “All Too Well” short film is published in My Love Affair with Moonbeam: Ten + Years of Wonder, Bursting Love and Creativity coming here on this site next week.
2013
New Mexico & Coyote Weaves a Song: A Mythological Song From the Beginning of Time
Because I still had the literary journal Books of the Southwest that I had worked on since 1997 (begun in 1957 at UCLA), I began intensely writing literary articles delving into the art and literature that I loved, and inspired by place, being in New Mexico. I had taught Southwestern Literature and Folklore at Sul Ross State University: Rio Grande College for five years as a lecturer. I was writing privately for John and his friends to read so that it could be read but not plagiarized. Me and my two little dogs, my Bichon Frise Moonbeam, who was born in 2007, and Vanilla Custard Pudding, my little Yorkie born in 2009, began taking daily hikes in the wilds of our mountains and forests.
John released Paradise Valley with Katy Perry’s help. They both were in contact with me every day and night.
The On-Line Sources Taylor Swift Copied for the Untrue Lyrics of “Dear John”
The song is lifted from my Twitter and Tumblr blog in 2010 from my communication with John Mayer that began in April 2010 and about the trip that I took to see him in New York City in July. The lyrics, “You paint me blue sky then go back and turn it to rain” are about that it rained at the show at Jones Beach and John played “Covered in Rain” during the rain, and when I returned home and was feeling all the emotions of this incredible trip. John wrote on social media about pointing out rainbows to cheer me up right when I got back to my ranch in Texas after I had posted to him a picture of a rainbow at my gate when I had arrived home. I had told him how hard it was to leave NYC (he left for the rest of his Battle Studies Tour), and when I got home the emotions got me and I laid on the coach and cried, which were taken for the lyrics “The girl in the dress cried the whole way home I should’ve known.” They are also from that I had posted pictures about sewing a dress before the trip and he responded about the girl of his dreams in a dress. “And I lived in your chess game but you changed the rules every day” are from me writing to him about a book called Psyche as Hero and the author, Lee Edwards, talking about the queen of the chessboard and needing to change the rules for women in culture and on my blog I posted a photo of my mom’s tiny Yorkie on a chessboard and entitled it “On the Battlefield.” I did tell my mother about communicating with John and of course there was an uproar and bit of disbelief, forming Taylor’s lyrics: “My mother accused me of losing my mind.” John was very clear in the press all during 2008-2010 that he was NOT involved with Taylor Swift. The lyric, “Don’t you think nineteen’s too young to be played by your dark, twisted games?” are taken from both John’s lyrics, plagiarizing from John’s song “Another Side of Green” and his lyrics “I don’t hit on 19,” that was also referenced on his website in March 2009 when he was making it clear early on (while recording “Half of My Heart”) that a relationship wasn’t going to happen even if he was being kind, archived here: Archive of “It’s Another Kind of Green Day” posted on 18 March 2009: https://web.archive.org/web/201106231… and Kanye West’s My Beautiful Dark Twisted Fantasy. Neither men were playing into her manipulation for press and were trying to make it publicly clear the falsity behind the scenes. Also taken for Speak Now was from a quote I posted, “to snare the spirits of humankind in nets of magic” [ . . . ] “into the congruence of blazing and enchanted images” and that I was writing to John from “The Land of Enchantment,” New Mexico.
John and I both deleted our social media from that time but I published my backup copies in My Love Affair with Moonbeam and some archives remain on-line: My Tumblr blog was called “It Seems So Real” that was captured on the permanent archive on 6 May 2010 (and by 20 May 2010 Taylor reported that she now wanted stingrays in her home pond instead of John’s koi fish tattoos, showing that is when she was getting mad about not getting what she wanted) and at Jones Beach John played “In Your Atmosphere” into Jeff Buckley’s “So Real” and the post on John’s social media “Oh That Was So Real (Updated)” was posted 23 July 2010 while I was in NYC: https://web.archive.org/web/201104150… Because they were referencing me, then Taylor took the other blog posts to try to make it about her, “Covered in Snow” for the video for “Back to December” and from the blog post “It’s Another Kind of Green Day.” John’s Tumblr blog was archived 22 July 2010, the day after Jones Beach.
Archive of “Covered in Snow” 25 February 2010: https://web.archive.org/web/201106230… that would appear in Taylor’s “Back to December” video taken from Sheryl Crow’s video “Now That You’re Gone” with other elements lifted directly from Faith Hill’s “Cry” video. The archive of my blog included the first comment I wrote to John on his post “Twitter Isn’t Over. I’m Over It.” It also includes a quote I changed from Janis Joplin to “Freedom’s just another word for nothing left to kill” crediting her by writing “Just another take on Janis” [I was referring to enlightenment and killing off the ego as in the Bhagavad Gita]. Taylor then used in her lyrics for “Back to December”: “It turns out freedom ain’t nothin’ but missin’ you.” Archive of that first comment I wrote to John: https://web.archive.org/web/201005011… My comment is the 90th one down “itseemssoreal” Archive of the comment: https://web.archive.org/web/201005071…
Plagiarism that Taylor kept doing of my work after “Dear John”: My very red movie website and poster from 2007 archived on 9 January 2011 that became Taylor’s artwork for Red: https://web.archive.org/web/201101092… I had posted pictures of the interior of my home with red walls, and wrote a post to John about my favorite colors, red with French blue, writing about red, “When I was little the dark red velvet intimate spaces of an Italian restaurant called Crystal’s in Fort Worth captured by imagination. I think it is where I fell in love with moving images.” When I got to the Olive Tree Cafe (above the Comedy Cellar) in New York City, the same black and white Three Stooges were playing on the screen. This plagiarism was her pattern of inserting herself into the relationship and what I was writing in a very violating, personal way.
“I’m shining like fireworks over your sad, empty town” is a reference to me telling John my name upside down is the numbers 407145, when taken as a date in the European format 4.07 is July 4th and that I lived alone on a ranch, and taunting me that she took my writing. Then Taylor took to throwing fourth of July parties trying to identify herself with the holiday. She released Red on 22 October 2012 for John’s birthday 16 October and Katy Perry’s birthday 25 October, which is also why she made it to identify herself with the romantic fall season to make the story about herself. “But I took your matches before fire could catch me” is a reference to taking the material, and to the early poem post I made called “Refiner’s Fire” from Jed McKenna archived above on It Seems So Real. Her cover artwork comes from the screenplay I was writing at the time about a girl born with wings, the character written in 2008, registered with the WGA January 2009, and what I was writing to John about in 2010. Taylor continued to take elements of the screenplay, most especially for her “music video/short film” (the description taken from my music video/short film made in December 2012) for the rerelease of “All Too Well” about my trip to New York City in 2010.
An archive of John’s Twitter feed from Jones Beach archived the next day, 22 July 2010.
Taking Other Artists’ Intellectual Property and then fighting for copyrights to the Plagiarized works while Lying to the public about the reasons, publicly shaming men like Scooter braun and lying in court about DJ David Mueller–Just as Taylor lied about John
The Plagiarism in Taylor’s Following Video, “Back to December” Referring to the Month she was in a Relationship with Taylor Lautner But actually Tracking John Publicly in Rolling Stone and pushing publicity to People Magazine
How Willa Cather’s Work Became Breakfast at Tiffany’s and How Much Further the Magic Goes
TIMELINE OF WILLA CATHER’S BREAKFAST AT TIFFANY’S
1902
WILLA CATHER TAKES HER FIRST TRIP TO FRANCE AND GAINS INSPIRATION THAT WOULD OPEN UP HER FEMALE CHARACTERS
All the wonderful workings coming soon!
1912
WILLA TAKES HER FIRST TRIP TO THE AMERICAN SOUTHWEST
In a letter dated 20 April Willa writes of New Mexico: “But Albuquerque is another story. There is a strong pull about the place, and something Spanish in the air that teases you. Such color! The Lord set the stage so splendidly there. It can’t have been all for nothing, for motors and phonographs and our damned good plumming! [sic] There really must be a new hope yet to come—a new tragedy or a new religion, some crusades or something. It is too utterly splendid, from Trinidad to Albuquerque, to go to pot. The valley of the Rhone is nothing to it. From Trinidad to Las Veges [sic] there is a continuous purple mountain that does tune one up.”
1912
WILLA PUBLISHES “THE BOHEMIAN GIRL” IN MCCLURE’S MAGAZINE IN AUGUST
More Coming in September 2023
BREAKING THE HISTORICAL REALM OPEN TO THE PURE LAND
Jerusalem
See How the Ancient History Ties into Now
These realizations culminate again the the South of france
The Sublime Music that comes from the line of David and his Kingship
WHY THE MEMBERS OF THE GRATEFUL DEAD JOINED FORCES WITH JOHN MAYER FOR DEAD & COMPANY
Dead & Company
Billy & The Kids & the Street Where I love in Lincoln County, NM
How Dead & Company culminates a Prehistoric line of Cave Art
WHAT IS DIFFERENT AND IMPORTANT ABOUT JOHN’S SOLO TOUR in 2023–AND WHY IT IS IMPORTANTLY “SOLO”
John Mayer Solo
Billy & The Kids
Having been disparaged with a false story since 2010, he’s going this one without Looking at the abuse
This Lineage of Music has Come to Us
MANUSCRIPTS
My Love Affair with Moonbeam: Ten + Years of Wonder, Bursting Love and Creativity
My Love Affair with Moonbeam contains my former blog which was the writing to John and all the posts of the early years, a look back at producing and directing my independent film, and the making of the short film/music video Apocalypse of the Heart, and all of the beginning years of writing.
“While this writing on-line made me completely vulnerable, it also forced me to write my soul when it
found its unexpected truths and realness and a reception in a brilliant and immensely talented other human being who was creatively, in his own ways, responding. He spiritually and with his presence
stayed close to me and I knew it. Here was a person who under many situations of complete duress
had continued to follow his expression and destiny and stay true to it. I could see it happening. I had never seen anyone do that. The writing spread to including his close friends, then further, making
connections in the most creative and brilliant people across the planet. Under the circumstances of what
was happening to me, I had to express the wonder one would usually keep to oneself in fear of judgment.
I understood that others could see whom I did not want to see it, for a time, what I was writing on-line,
but I was trying to open up past insecurities and vulnerabilities and share and connect with another
human being (while bursting at the seams with creation and coming to life). While this was happening
it became apparent that privacy was a serious issue even from the very beginning, not only because it was
deeply personal in an immediate close bond that I was communicating, but also because I was creating
the visuals, poetry, scenes and drafts openly–showing the ideas, inspirations, philosophies, and hopes,
and this made not only my existence and my feelings open to view, but also my creation process that
was intricately tied to my Being. I would set the accounts to private and change them over and over,
but where he could find and access them, only to find that the security would be breached. Instead of
writing for the screen, it turns out, what I wanted to do, and what I expressed and what was happening,
is that I was writing for my own existence. I had found the person who understood. The symbols were deeply metaphoric, far beyond being simply fictional. The magic was realness. I was writing it,
recording it on a daily basis. I have continued the on-line letters and writing since Spring 2010.”
09 / 14
2018
Coyote Weaves a Song: A Mythological Song From the Beginning of Time
For the first time, I will be making the texts available here to read and adding the Concordance/Compendium Notes of all that has happened to now.
