Monday, May 19, 2014

Rosemary's Singer Must Die (Heh Jude)


(MK Ultrasound)

Previously I have attempted to crystallize a point about the nature of culture as images that are sold to you; namely, what these images are, and how this forms a substrata of an Eternal Egypt that lurks beneath our present day, like so many layers of varnish over the Mona Lisa. Facets that form an underlying narrative enacted by the modern priesthood. This is contemptible foolishness, but the invisible things are clearly seen, being understood by the things that are made. 


To further vindicate Truth, it is necessary to turn again to 1963, when JFK was slaughtered by the British Invasion of Beatles and Rolling Stones as the Benben Stone rolled away from Zep Tepi at Her Satanic Majesty's Request. The City of London banking establishment implicitly reasserted its power and forced the camel of the rich man through Threadneedle Street; JFK's 30 pieces of silver certificates in EO 11110. The Underworld is entered, but never exited and our money turns to imaginary debt building Towers in Babylon (it already was, of course). All You Need is Cash. Profane sex, drugs and rock and roll are not the direct roads to Eleusis; this comes only from nailing the serpent to the cross (John 3.14), as Mark David Chapman knew in his own perverse way.

You never give me your money


As Philip K. Dick saw, we still live in apostolic times. The Beatles create a new petrified religion after the manner of Pauline Christianity and become false prophets, which is why they are all dead (i.e. the letter killeth); Ringo was only allowed to live because Zooey Deschanel thinks he's cute. The "phony" Gospel preached by the Fab Four Evangelists corresponds to the false Paul of the Gospels, who has been crudely redacted (i.e., a Fake Paul has taken his place) to make him adopt anti-Gnostic polemicist viewpoints (pastoral epistles, etc.) and thus enforce Roman hierarchical and patriarchal control systems.

For more on these subjects, I refer the reader to the monumental work at the Blog of Caverns.




Get Back

Heh = "window"

There was separation between the King and Matrona in respect of the outer world and so came about a separation in the Divine Name, for the final He was detached and came down on earth, the source of graces coming with her. Though it is forbidden to separate the Heavenly Bride and Bridegroom, even in thought, it is this which has come to pass . . . The symbolical position is summed up in the statement that the second He was obscured and fell, becoming a symbol of penitence. (Arthur Waite)

She'll drive a Beatle car



Rosemary's Baby presents, in microcosm, another simulacrum of the creation of the universe. At the beginning of things, the Dark-Haired Girl (the Runaway Daughter) kills herself by jumping from a building. This is the initial inclination of Sophia as she impulsively draws downwards towards Chaos and the Qliphoth, as elucidated in previous posts, where I have told of the creation of the world from the perspective of the lower half of the Tree (Malkuth--this is where the Satanists live, as it is connected to the Other Side). This film tells it from the perspective of the upper half, with Rosemary as the Higher Mother (i.e., Binah of Atziluth). Rosemary's apartment has been "partitioned" into two, a Split in the Tree; the mystery of the Black Dahlia that is chopped in half. Her Child will be the spawn of the Qliphoth, when Light meets Darkness.


Rosemary's husband is Guy Faux, the motorcycle Rider-Writer on the television (the telesterion that declares the mystery of existence). This is a persistent and recurring glyph of the Magician; Polanski is the pole in the sky as he who grinds down the universal substance into matter on his millwheel. Guy is a Hollywood man; he creates artifice.


"A new type of LSD known as 'Orange Sunshine' was being used by the Manson Family immediately prior to the Tate-LaBianca murders . . ."


Rosemary is the same (and dressed the same) as the woman in Clockwork Orange who gets raped by Alex, the Clockwork Adam. Life would of course imitate Art with Sharon Tate a year later. Here it is of importance to note the role of Charles Man-Son in the slaying. The human Christ and the Demiurge (the Sons of Man) are twins, diametrically opposed, yet distinguished only by the relative inclination of the Will which predominates.


Similarly, Minnie & Roman are Alex's parents (Emperor and Empress).



The Kabbalist Abraham Abulafia discusses how Jesus after the flesh was born from Mary's menstrual impurity (Sophia's ectroma), and is thus equated with Satan, being a corporeal shadow of a spiritual idea (Aeon). 

Lucifer, the Prodigal Son

Jagger scored Anger's film "Invocation of My Demon Brother" and Anita Pallenberg sponsored "Lucifer Rising", a movie that showed "the actual ceremonies to make Lucifer rise." Not coincidentally, the film starred rock singer Marianne Faithful, another ex-girlfriend of Mick Jagger. Stones, p.155) While in England, Anger worked on the film Lucifer Rising,dedicated to Aleister Crowley. The film brought together the Process Church, the Manson Family cult, and the Rolling Stones. The music for the film was composed by Mick Jagger. Mick Jagger who was labeled by Newsweek as the "Lucifer of Rock" and the "unholy roller," said: "There are black magicians who think we are acting as unknown agents of Lucifer." Process Church follower Marianne Faithfull went all the way to Egypt to participate in the film's depiction of a Black Mass. The part of Lucifer was played by a guitarist of a California rock group, Bobby Beausoleil. Beausoleil was a member of the Manson Family, and Anger's homosexual lover. A few months after filming under Anger's direction in England, Beausoleil returned to California to commit the first of the Manson family's series of gruesome murders. Beausoleil was later arrested and is now serving a life sentence in prison along with Manson. ("Sympathy for the Devil")



At Altamont in 1969 (Mount Sinai, where "the law was given through angels"), Meredith Hunter tried unsuccessfully to kill Mick Jagger, who had announced himself to the world as the living avatar of Lucifer.



Satanic hosts dividing the body of the Green Man

We are the Titans who tore the divine philosophical fire away from the central altar in the empyrean and scattered it like sparks amongst the race of mortals. And these Titans, or Satanic hosts, were those apostates who compounded the felony of stealing divine fire by further carrying its dispersion into remote depths of matter. . . . The divine intellectual power, the mind of the god, was divided amongst us, not, however, with the loss of the total unity of the godhead on his own plane. Only his lower fragments in body felt their reduction to poverty. (Alvin Boyd Kuhn, The Lost Light)
Sharon Tate was the fire of the serpent torn from the empyrean by rebellious Hells Angels, there to be driven down, down, into the nether parts of the dust of the Earth. Phallic Towers of London are built as life is lived as an ever-increasing accumulation of Karmic and monetary debt. The Paradise that is everywhere, or could be everywhere, is concretized. 





 My mother was of the sky
My father was of the earth
But I am of the universe
And you know what it's worth




Rosemary's son (whom she wishes to name "Andy") is conceived in a dream sequence that features Michelangelo's "Creation of Adam"--the symbolism is clear. The perennial philosophy holds that man is a mixture of heavenly and Titanic elements, precisely as is Rosemary’s child. Heavenly due to the supernal influences of his Mother, but demonic due to the intervention of the Dark Father.

Son of Rosemary


(What are little boys made of?)



“Andy” means “man.” He is born blind. 


Mia Farrow in The Last Unicorn goes through a similar process of involution, as her third eye disappears.


Look What's Happened to Rosemary's Baby is the boilerplate story of man (Andy) caught between good and evil, in which good prevails after a long struggle (though not before Lilith steals his seed). Valley of the Dolls' Patty Duke is Rosemary in absentia. Andy's friend, who attempts to keep him on the straight and narrow path, is Peter Simon; his doctrine is killed by the lightning-struck tower.


Bright Eyes

Some would have it that the Polanski Rosemary's baby is the Moonchild, and I say that this is wrong; her child is truly Satanic as the first, or Adamic man. The 2014 Rosemary's baby, on the other hand, is a proper Moonchild in the Crowleyan sense, as he is deemed to be perfect by his parents--and, as they say, even if Satan (the Great Beast 666) is his father, his sins are not transferred to him. 


Guy Faux immolates himself at the beginning of the miniseries, which signifies that this details Rosemary's Ascent from the lower world, rather than the Descent depicted in the original film. 


Zoe-Eve must swallow the cup of bitterness proffered by the Satanists and resides in a coma for three days, corresponding to Christ's three days in the tomb. Her child's ashes are (it is thought) scattered to the wind after the manner of those NEMO adepti who cross the Abyss. 1968 Rosemary is the Satanic dagger of Peter. 2014 Rosemary is the Satanic dagger of Judas.

This will be discussed further--but to return to the sixties . . .


Eye of the Devil with Sharon Tate, conversely, concerns the Killing of the King rite (necessary for evolution) and the Gnostic Round Dance of the Cross from the Acts of John [Lennon]. You'll shoot your (devil's) eye out.


The Valley of the Dolls is the world of eidolons (lit. "dolls"), in which delusive appearances replace reality. The elder redhead plants her own Kabbalistic Tree with its roots in Atziluth, while the younger redhead takes her fiery essence into the world of created things and perishes. Sharon Tate took too many Red Pills. The Dark-Haired Girl is the one who survives (though Judy Garland did not--another inglorious end to the 1960s).

What once was red is black instead

Binah is a redhead in Atziluth and brunette in the three lower worlds, as immortalized with Glinda/Gilda and Dorothy. Her Fire is stolen from her, Clockwork Orange-style. To make her way up to the top of the Tree, the brunette must conform herself to her archetype in Atziluth, the redhead, and reclaim the Ruby Slippers. But since we are brunettes and not redheads and fall short of the archetype, Glinda is a jerk

John Lennon: bigger than Jesus, the idol worshiped by the multitude that cries for Barabbas. Mark Chapman = Judas = Heh Jude = Judy Garland, killing yr eidols and destroying illusions. John as the "face on Mars" is Adamic man of Martian red dust; a phony golem.



Christ ridicules religious hypocrites, yet becomes the greatest source of religious hypocrisy himself. The Beatles parody religion, yet become indistinguishable from it. A paradox of paradoxes. Hey Judas (Hanged Man), remember to let her (who?) into your heart and break the illusion.


Loki: No, "Through the Looking Glass". That poem, "The Walrus and the Carpenter," that's an indictment of organized religion. The walrus, with his girth and his good nature, he obviously represents either Buddha, or, or with his tusks, the Hindu elephant god, Lord Ganesha. That takes care of your Eastern religions. Now the carpenter, which is an obvious reference to Jesus Christ, who was raised a carpenter's son, he represents the Western religions. Now in the poem, what do they do? What do they do? They, they dupe all these oysters into following them and then proceed to shuck and devour the helpless creatures en masse. I don't know what that says to you, but to me it says that following these faiths based on mythological figures ensures the destruction of one's inner being. Organized religion destroys who we are by inhibiting our actions, by inhibiting our decisions out of, out of fear of some, some intangible parent figure who, who shakes a finger at us from thousands of years ago and says, and says, "Do it... do it and I'll fuckin' spank you." 


The Walrus and Jesus the carpenter are Hierophants leading the masses on a mystery tour. The Beatles are "bigger than Jesus" when parody becomes indistinguishable from the real thing. The symbolism was fully explained by--of all things--Matt Daimon (Loki-Lucifer the fallen angel) in Dogma.

Gnostic Paul is a dead man, miss him

And they will cleave to the name of a dead man, thinking that they will become pure. But they will become greatly defiled and they will fall into a name of error, and into the hand of an evil, cunning man and a manifold dogma, and they will be ruled without law. (The Apocalypse of Peter)
The scarab Beatles are the Four Evangelists who take up the cause of the martyred Messiah JFK, but their doctrine becomes dead and petrefied--Scholars believe the Johannine Logos was originally Sophia of the Book of Proverbs; thus "words of wisdom." John's Jesus is in effect a usurper; the Aeon of Osiris eclipsing the Aeon of Isis.


In one rendition of John's gospel, instead of the 'only-begotten Son of God,' a variant reading gives the 'only-begotten God,' which has been declared an impossible rendering. But the 'only-begotten God' was an especial type in Egyptian mythology, and the phrase re-identifies the divinity whose emblem is the beetle. Horapollo says, 'To denote the only-begotten or a father, the Egyptians delineate a scarabaeus! . . . And not only was the beetle-god continued in the 'only-begotten God'; the beetle-type was also brought on as a symbol of the Christ. . . . The Litany of Ra, for example, is addressed to the sun-god in a variety of characters, many of which are assigned to the Christ of the gospels. Ra is the supreme power, the beetle that rests in the empyrean, who is born as his own son. This, as already said, is the god in John's gospel, who says: 'I and the Father are one . . . .' (Gerald Massey, The Lectures)

Maxwell's silver hammer made sure that She was dead

The Four Popes as Four Beatles were recently together, two were sainted, i.e. they are of pneumatic nature as Air and Fire while Francis and Benedict are Water and Earth. Succession of Popes in the 20th century: John XXIII, Paul VI, John Paul I, John Paul II. Lennon-McCartney. 




Prudence is the World Tarot card, encircled by the Four Evangelists. Aquarius is #17 in the Tarot, the Star: "She was just seventeen . . ." 




People seem to have hit on the idea that Sgt. Pepper is a response to the 'Is God Dead?' issue of Time magazine (seen above). If the grave is not for Paul McCartney, then it is submitted that it is for God. Lakshmi the consort of Vishnu (i.e., God) is seen standing over his grave. Their answer? He's Only Sleeping.






Can you smell the aroma of Roma Amor, the fruit of the message seeded in the "obediently disobedient" servant Peter, wafting ha eretz en toto? The two adversaries of John 13 .. the petrified Peter, external dagger, and the fluid Judas, internal dagger. The shell always sees two or more, the fluid only sees one. She will overthrow the petrified and grind it back to fertilizer, ever feeding her purpose. She will ever lift up the fluid to Her bed to share the joy of Her open nature. (Eugene)


At the autumn equinox, the devil of darkness began to dominate; this was the Egyptian Judas, who betrayed Osiris to his death at the last supper. On the day of the Great Battle at the vernal equinox, Osiris conquered as the ascending god, the Lord of the growing light. Both these struggles are portrayed in the gospels. In the one Jesus is betrayed to his death by Judas; in the other he rises superior to Satan. . . .

The two doctrines are those of the gnostic, or spiritual Christ, and the historic Jesus. Both cannot be true to Paul; and my contention is that both voices did not proceed from him personally.

We know that Paul and the other apostles did not preach the same gospel; and it is my present purpose to show that they did not set forth or celebrate the same Christ. My thesis is, that Paul was not a supporter of the system known as historical Christianity, which was founded on a belief in the Christ carnalized; an assumption that the Christ had been made flesh; but that he was its unceasing and deadly opponent during his lifetime; and that after his death his writings were tampered with, interpolated, and re-indoctrinated by his old enemies, the forgers and falsifiers, who first began to weave the web of the papacy in Rome. In this way there was added a fourth pillar or cornerstone to the original three in Jerusalem, which was turned into the chief support of the whole structure; the firmest foundation of the fallacious faith.


The supreme feat, performed in secret by the managers of the Mysteries in Rome, was this conversion of the Epistles of Paul into the main support of historic Christianity! It was the very pivot on which the total imposture turned! In his lifetime he had fought tooth and nail, with tongue and pen, against the men who founded the faith of the Christ made flesh, and damned eternally all disbelievers; and after his death they reared the church of the Sarkolatrae above his tomb, and for eighteen centuries have, with a forged warrant, claimed him as being the first and foremost among the founders. They cleverly dammed the course of the natural river that flowed forth from its own independent source in the Epistles of Paul, and turned its waters into their own artificial canal, so that Paul's living force should be made to float the bark of Peter. . . .

His Christ within was not the corpus of Christian belief, but the Christ of the gnosis. He heard no voice external to himself, which could be converted into the audible voice of an historic Jesus; and nothing can be more instructive to begin with, than a comparative study of these two versions, for showing how the matter has been manipulated, and the facts perverted, for the purpose of establishing or supporting an orthodox history. . . . Christ is non-historical, he is the kronian Christ, the aeonian manifestor of the mythical, that is astronomical prophecy; he is after the order of Melchizedek, who was 'without father, without mother, without genealogy, having neither beginning of days, nor end of life.' This was the ever-coming one who could not become a human personage; and for that reason, I take it, Paul repudiates the genealogies of Christ. . . .



In the Book of Wisdom it is Sophia herself who is the pre-Christian saviour of mankind. It was Wisdom that men are taught, and she is the saviour through knowledge and good works. Whereas the Christ was turned into a saviour through faith. The same Tree of Knowledge that supplied the fruit which damned the primal pair in Genesis, is the Tree of Wisdom in the Apocrypha, where Wisdom, personified as the Tree, exclaims, 'I am the mother of fair love, and fear, and knowledge, and holy hope. Come unto me all ye that be desirous of me, and fill yourselves with my fruits. For my memorial is sweeter than honey, and mine inheritance than the honey-comb. He that obeyeth me shall never be confounded.' This complete reversal of the Christian belief is to be found in the Hidden Wisdom! Such was the interpretation, by the men who knew, of that fable on which the Fall of Man was based by those who have imposed on us with their ignorance, and made us blind with their belief. Wisdom is the renewer and renovator of all things, and it is she who confers immortality on man; she who is the Christ as bringer to rebirth. . . .

Wisdom, the woman, was first; she was the mother of God. Christ, the son, was second; then he superseded the female in one representation; in another he was blended with her, and consequently portrayed in the image of both sexes, as a spiritual type. . . .


But a falling away is to come first, and the Man of Sin must be revealed or exposed; the son of perdition, 'he that opposeth and exalteth himself against all that is called God, or that is worshipped; so that he sitteth in the Temple of God setting himself forth as God.' That, I say, is St. Paul's opposer, Peter, who was set up in the Church of Rome. 'Remember ye not that when I was with you I told you these things. And now ye know that which restraineth to the end that he may be revealed in his own season. For the mystery of lawlessness doth already work only until he that restraineth now shall be taken out of the way. And then shall be revealed the Lawless one whom the Lord Jesus shall slay with the breath of his mouth, and bring to nought by the manifestation of his coming, (him) whose "coming" is according to the working of Satan, with all power and signs and lying wonders, and with all deceit of unrighteousness for them that are perishing, because they received not the love of truth that they might be saved; and for this cause God sendeth them a working of error that they should believe a lie.' In both quotations the subject-matter identifies Peter as palpably as if Paul had named him. . . .


Now, if we turn to the gospels of Luke and Matthew we shall find that they have quoted these words of Wisdom: but we now see that Wisdom is not credited with her own sayings concerning the Father God! On the contrary, they are given to an historic Christ, as a personal teacher and a prophet. That which was said of the house of Israel by Wisdom in Esdras is now applied to the city of Jerusalem by the Christ . . . Here we see the current coinage of Wisdom has been defaced by the gospel compilers—not by Paul—and then re-issued under the sign and superscription of another name, that of Jesus the Christ . . . .

The mother was primordial, and the earliest soul or spirit was attributed to her; she was the mouth, utterer, or sayer, long before the sayings were assigned to the male logos or Christ. Thus in the Apocrypha, as in other gnostic books, the sayings of Wisdom are found which have been made counterfeit in the mouth of the Christ made historic. . . . Thus, on the ground of natural phenomena, the logia were first uttered by the Lady, and not by the Lord. This is the woman who has been so badly abused by those who desired to dethrone her; the primitive protestants who set up the male image in her place and on her pedestal. . . . 


One very striking note of the want of human personality and historic verity in the Christ of the canonical gospels is the absence of all recognition of Rome. There is no shadow of Rome to be seen on the face of the Christ; no word of rebuke for her inhuman and non-natural crimes; no sign of anything contemporary: except the counselling of submission to Caesar. The slave would look in vain to the sayings of Jesus for any denunciation of slavery. There is not one word of condemnation for the oppressors, nor of comfort for the oppressed. No vision of the better day on earth for them. Nothing but the mythical Day of the Lord.

Yet the existence of slavery was endorsed by the Roman law, was practised with all its evils, and enforced by all her legions. Jesus, however, makes no attack on the institution; and the fact was quoted and emphatically emphasised by the ministers of the gospel of Christ against the persecuted abolitionists of America. Nor is there a single word uttered on behalf of subjugated, downtrodden womankind. Not a saying that will aid in lifting woman to an equality with man—not a rebuke to the bigoted Jew who thanked his God each morning that he was not a woman. . . . Neither the mother, the wife, nor the sister, owes any gratitude to his alleged teaching, who exclaimed, 'Woman, what have I to do with thee?' (Gerald Massey, The Lectures)


Suares has shown us Jesus identifying Peter as Satan: Get thee behind me Satan: thou art an offence unto me: for thou savourest not the things that be of God, but those that be of men (Matt xvi, 23) This follows Peter's flash of inspiration in recognizing Jesus as Ben-YHWH, not the Khristos which Jesus warned against (Matt xvi, 15,20).

In contrast to Peter, Judas accepts Jesus' mission to the darkness and receives Satan from Jesus.

Verily, verily I say unto you: He that receiveth whomsoever I send receiveth me, and he that receiveth me receiveth him that sent me.

I shall give a sop, when I have dipped it. And when he had dipped the sop, he gave it to Judas Iscariot, the son of Simon. And after the sop Satan entered into him. Then said Jesus unto him, That thou doest, do quickly. (John xiii, 20-27)

Two Satans: A Satan who resists Jesus and a Satan who accepts Jesus and delivers him to darkness. Suares reveals Judas as Jesus' partner and the only disciple Jesus trusted to fulfill his mission. (Psyche.com)





Any form of hierarchy indicates authority.  In this sense the concept of The State, from which proceeds all social hierarchy, is naturally monotheistic.  Mysticism and State-ism are one in the same force.  This idea is made clear in Orwell and Marx.

In Orwell's 1984, the State of Oceania is a mono-theism, a mystical state, which is to say that its citizens are completely mystified. The only un-brainwashed citizen is Big Brother, and he is a phantom--he may not even still be alive (Is God Dead?).   Nevertheless, the social order he designs continues to tick onward like a clockwork orange. (The Wrong Way Wizard)

Somewhere over the rainbow (Dear John, forgive us our sins)

As a denizen of Malkuth, an exiled Daughter downing in the delusive pool of potential, you gaze upon the crucified man of Tiphareth as your savior, fantasizing about the Fab Four Evangelists that endlessly sing of this man and his girl (it could be you), not knowing that his way is self-sacrifice. Dorothy is off to see the Wizard.


(Two of us on our way home)















30 pieces of Dorothy


Mark did a strange thing: he set up, on a bureau in his room, a display of his most treasured possessions . . . They were designed to show the police the 'real' Mark when, as he anticipated, they later entered the room after he had accomplished the murder . . . there was a movie still from The Wizard of Oz showing the young Judy Garland as Dorothy wiping away the Cowardly Lion's tears with 'To Dorothy' written on it in Mark's own handwriting. (Whale.to)







John's gospel is the most destructive and the most influential--Synoptic says seek and find; John says you will seek and not find, and believe without having seen; Synoptic Jesus says take this cup from me; John Jesus says "shall I not drink it?" The Gnostic Judas destroys the scattered psychic understanding of these things through direct pneumatic insight.

(Aleister Crowley)


 how can i give love when i
don't
know what it is i'm giving?
how can i give love when i
just don't know how to give?
how can i give love when love
is something
i ain't never had? oh no, oh no.

John Lennon spoke of love, but never knew real love; he and Charles Manson were doppelgaengers of Lucifer, both with their own Maenads of exiled Daughters (bewitched Magdalenes) hanging on every beastly word that fell from the mouth of the Wizard-Messiah and never knowing themselves. Orpheus sings of a girl, always the same girl, and Eurydice swoons. As Leonard Cohen (who did know of real love) says . . . "A Singer Must Die," literally if he cannot die spiritually to himself.
The name of the actor who plays John Lennon, Mark Lindsay Chapman, is similar to that of Lennon's killer, Mark David Chapman. In 1985, Mark Lindsay Chapman was supposed to play John Lennon in the TV movie John and Yoko: A Love Story. But Lennon's widow, Yoko Ono, who was involved in the production, asked that Chapman be replaced in the role. She considered it "bad karma," because Chapman's name was so similar to her husband's killer's name. (IMDB)











They who assert this likewise defend the traitor Judas, telling us that he is admirable and great, because of the advantages he is vaunted to have conferred on mankind; for some of them think that thanksgiving is to be rendered to Judas on this account: viz., Judas, they say, observing that Christ wished to subvert the truth, betrayed Him, in order that there might be no possibility of truth's being subverted. (Pseudo-Tertullian)


Since Jesus is, after all, a liar if we take him at his literal word, and perhaps the most notorious one in the history of the world, it is requisite for us to nail him to the cross and split him open like a Christmas piñata, so that the gifts therein might be revealed. In The Gospel of Judas, Jesus reveals to Judas some telling information, namely, that the God worshiped by the other Apostles, being simple-minded Hebrews, is merely the Demiurge, and not the transcendent God. Only Judas has correctly apprehended the Mystery, namely, that the true Christ is from the transcendent realm of Barbelo; this is a name of uncertain derivation, but always essentially feminine in nature. Jesus orders Judas to sacrifice "the man who clothes me," or the Outer Jesus worshiped by the profane, so that the true Christ may be revealed.

Judas, seeing through Christ's lies (Caesar's Messiah), gives him up to be crucified on the cross. Mark Chapman, seeing that John Lennon is a "phony," goes Lone Gunman and and shoots down the petrefied Gospel of John (love me or else)--paradidomi. Christ's mortal part, created by the Archons, is sacrificed.

It would seem that nailing the Law to the tree would be the only way to resurrect the spiritual Christ from the dead letter of the text. John and Jesus are two aspects of the same man; John is beheaded to please the whims of the King's Daughter.















Judas may be seen, in the light of the Pistis Sophia, as the spitting image of Sophia. (Sophia, or wisdom, is referred to once in the extant pages of the Gospel of Judas, at 44,4, in a fragmentary section, as “corruptible wisdom” or “corruptible Sophia.”) It turns out that just this sort of link between Judas and Sophia was made by Gnostics already in the second century, as Irenaeus of Lyon informs us . . . According to Irenaeus in his Adversus haereses (Against Heresies), certain Valentinian Gnostics, who must have been enunciating their beliefs around the same time in the second century when the Gospel of Judas was being composed and read, established a close connection between the suffering of Sophia and the passion of Judas—both being linked, says Irenaeus, to the number twelve, with Judas numbered as the twelfth and final disciple in the circle of the twelve and Sophia numbered as the twelfth aeon. (Marvin Meyer)
























In Girl, Interrupted, Mark Chapman (Jared Leto) is Winona Ryder's boy. Yet Judas is, after all, of a Satanic nature, and he cannot follow where Sophia goes. Judas goes and hangs himself, unseen by the world.
In another place, the 2006 National Geographic translation said Judas has been "set apart for the holy generation," but DeConick said the Coptic really means Judas was "separated from the holy generation." Again, the 2006 National Geographic translation said Jesus reveals the mysteries of the kingdom to Judas because "it is possible for him to go there," but DeConick wrote that in fact "(h)e receives them because Jesus tells him that he can't go there, and Jesus doesn't want Judas to betray him out of ignorance. Jesus wants him informed, so that the demonic Judas can suffer all that he deserves." . . . Far from presenting Judas Iscariot as the only apostle worthy to receive salvific gnosis, the Gospel of Judas Iscariot was written by a Gnostic heretic as a vicious attack on and mockery of Christianity, presenting all of the apostles as fools and wicked men, with Judas the worst of them all. ("The Gospel of Judas Revisited")




(Dave tells Johnny not to beat his wife back in '79)

 Well Johnny is a man
And he's bigger than her
I guess the bruises won't show
If she wears long sleeves
But the space in her eyes shows through


Snow White and the Green Hunter

(Norman Ball)

There was a theory that one creates a doppelgänger and then imbues that with all your faults and guilts and fears and then eventually you destroy him, hopefully destroying all your guilt, fear and paranoia. And I often feel that I was doing that unwittingly, creating an alternative ego that would take on everything that I was insecure about. (David Bowie, Arena, 1993)



(Stanton Marlan, The Black Sun: The Alchemy and Art of Darkness)

David Bowie and Elvis Presley share a birthday; Bowie released Low (in the water) in the same year as the deaths of Presley, Bolan, and Crosby ('77). '93 was the year he crossed the black hole of the Abyss--but Bowie had to wait until he was in his 40s to make that leap, like a proper Kabbalist.

Bowie's Theurgic work of artistic self-sacrifice means he is able to "die daily" on an eso level, while his fellow exo pop stars slaughter themselves in their excesses; Kurt Cobain covers "The Man Who Sold the World" (a song explicitly about the encounter with the doppelgaenger) and ends up dead in Nirvana.

(Peter-R. Koenig)

Somewhere back in Zep Tepi

Sgt. Pepper the Great Beast taught the band to play back in 1947, the birth year of David Bowie and the death year of Elizabeth Short. Kubrick is the Wizard of Oz and has veiled the brunette with his satanic sorcery; Major Tom the Fool on a Space Oddity is Dorothy in disguise, though he knows it not ("we're not gonna talk about Judy," anyways). In 1999 Kubrick died and Bowie released his 22nd studio album and thus completed the Tarot sequence, making him the new King of the Wood (the Great Beast)(I presume that Kate Bush held the office of Babalon during the 1980s.)

John Lennon died in 1980 with the release of Bowie's 13th album Scary Monsters, the Death card of the Tarot. Bowie was second on Chapman's hit list. Iscariot Monsters? The workers have struck for "Fame," 'cause Lennon's on sale again. The cover is the Fool and his Shadow. Note the following: 


  •  "It's No Game (Part 1)": "Put a bullet in my brain and it makes all the papers" with the mysterious Japanese woman (1980) 
  • "Ashes to Ashes": "Want an axe to break the ice
  • "Walking on Thin Ice": "When our hearts return to ashes, it will be just a story . . ."


(Benben Stone) Running Up That Hill (Backwards) -> Hounds of Love -> Under Ice

I knew a girl who tried to walk across the lake,
'Course it was winter when all this was ice.
That's a hell of a thing to do, you know.
They say the lake is as big as the ocean.
I wonder if she knew about it?


Take my shoes off,
And throw them in the lake,
And I'll be
Two steps on the water.


(To Dear John, 1978:)

I've pulled down my lace and the chintz.
Oh, do you know you have the face of a genius?
I'll send your love to Zeus.
Oh, by the time you read this,
I'll be well in touch.

I'm giving it all in a moment or two.
I'm giving it all in a moment, for you.
I'm giving it all, giving it, giving it.
This kicking here inside
Makes me leave you behind.
No more under the quilt
To keep you warm.
Your sister I was born.
You must lose me like an arrow,
Shot into the killer storm.


My father ran the prison

I can only love you by hating him more
That's not the truth, it's too big a word

He believed that love is theft
Love and war, the theft of love

And I tell myself, I don't know who I am
And I tell myself, I don't know who I am

My father ran the prison
My father ran the prison

But I am a seer, I am a liar

Religion becomes dead and petrified when we place those poets and artists who have seen and recorded the play of the light in the darkness on an unapproachable pedestal, rather than seeing this light for ourselves. Orpheus and Eurydice. The Gnostic Christ spoke of Sophia, but those who never knew her expunged her and made him into a sovereign god. The High Priest stands as mediator, and the Shekinah of the Holy of Holies is unseen. The Seer is a liar.


The Beach Boys


And from the creation of the world until now, Rosemary's child gazes upon Woman in hatred and anger and seeks to possess and destroy her. He knows not why, but will tell himself that he does, and she becomes a scapegoat for his own sins, sent away into the wilderness of his consciousness. But those who can without flinching kiss the posterior of the goat will find "the young and gracious countenance of a priestess of Isis."


So, continue marching to the beat of beastly boys. I'll keep hearing this.

2 comments:

  1. Replies
    1. "And as far as Nirvana, the first time I heard Kurt Cobain I was 11, and I thought he was the most beautiful man I had ever seen. Even at a young age, I did related to his sadness. As the philosopher Josiah Royce once said: 'Without the roots, you can’t have any fruits'... and for me Kurt was the one who planted the seed in my heart"."

      (Said Nuit-Isis . . .)

      "Come! all ye, and learn the secret that hath not yet been revealed. I, Hadit, am the complement of Nu, my bride. I am not extended, and Khabs is the name of my House. . . . I am the flame that burns in every heart of man, and in the core of every star. I am Life, and the giver of Life, yet therefore is the knowledge of me the knowledge of death."

      (Said Hadit . . .)

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