Tuesday, February 10, 2015

Gramma (Imma Ruin You)

Obama introducing Katy Perry in his strike against Ultraviolence is the same as Kim Jong Un being forced to admit his love for Katy in The Interview. In both cases, the King must acknowledge the goddess from whom he is granted his power and legitimacy to rule--by the Grace of God.

Katy's left-hand shark is of course Severity, and thus D-N administering the Law ...


The Bodyguard is man Called to heroically protect the life of the pop singer ("Rachel") who appears on stage as Reflektor in the national idol-cultus

Don't you dare walk away from me
I have nothing, nothing, nothing
If I don't have you, you,

Says Adam's blow-up fuckdoll as Maya-Shakti that is "nothing" ... Houston is Ground Control as "Can You Hear Me, Major Tom?" as someone once said -- Rachel and Leah in the Pepsi half-and-half

I wanna run to you (oooh)
Won't you hold me in your arms 
And keep me safe from harm
I wanna run to you (oooh)
But if I come to you (oooh)
Tell me, will you stay or will you run away

* * *

And if you call for me you know I'll run.
I'll run to you, I'll run to you, I'll run, run, run.
I'll come to you, I'll come to you, I'll come, come, come.

Cybele in her modern Roman cultus emerges drawn by lions. To 'make her your enemy' (Dark Horse) is to make ISIS into a scapegoat. The Teenage Dream of Subject-Object division (California Gurls as Objects in the West Coast Palm Tree Garden) is a night-mare one awakens from when remembering "there's a spark in you," as she hints.

"Perry has performed 108 shows so far in her worldwide Prismatic tour" -- everything keeps repeating itself endlessly from year to year ... a truly maddening dharma wheel loop when we all get LOST (the flight where everyone drowns in Pepsi Dark Water) on Katy's 108-date lion-drawn tour.

Those obsessing over "symbolism" in her Super Bowl performance would have an aneurism if they saw the Prismatic World Tour. Katy emerges singing "Roar" flanked by Roman guards, as if to signify her identification with Roman Cybele before she transitions into a Roman-Greco-Egyptian theme for "Dark Horse." The Hunger Games similarly maintains the theme of the Empire having Never Ended, with the Capitol's denizens being named after figures of Roman history. And here it must be understood who Cybele is, as both a figure seen in an exoteric cult and an esoteric doctrine for the initiates. Katniss is at once perceived on the screen displayed by the Empire, but also has the agency of a Heroine in her own right. The poles of Lesser and Greater Jihad reflekt each other.

Roman adulteration of the primordial Cybele cult was in making Attis into a god in his own right, rather than merely the Hierophant and slave of the Great Goddess -- the Vatican sits over the Taurobolium, waiting for the trapdoor to open.

Madonna with bare ass cheeks dressed as matador, the "song" drawing the oxen to the grate of the trapdoor...

Ogdoad + Hebdomad



Tilling the adamah in Jellystone park

Azealia Banks

Elastic Heart


Lady Gaga is well-rested from being the Flop Queen of 2014 with newly blonde-bleached locks, ready to continue her meta-narrative of the Decaying Blonde Pop Icon:
"I'm fascinated with the decay of the blonde pop icon and how culture loves to build and give birth to fantasies and then destroy them and what that means," Gaga told Access Hollywood in 2012. "It's something I want to explore on my next album.” (Rolling Stone)
The New Man Is man made woman through the theurgist's Art, rather than through the demiourgos' deception -- he who stood, stands, and will stand, as Simon Says. The Old Man Is Bennett and Gaga going "Cheek to Cheek" in elevator music karaoke, or ass-to-ass -- Leonard's "Last Year's Man."

Miley was a necessary instrument of distraction to keep anyone from caring about Lady Gaga's pretensions, but when the dust settled, Katy was the one who really benefited, like the shrewd Illuminati Queen that she is.

Gaga as explosive media phenomenon can only be defined by her eternal opposition to Katy's contractive containment, as ALP careening (as a Gypsy) towards her fulfillment in Tav. But this, too, remains veiled to lying Big eyes.

Gaga is entirely about artifice; entirely about representing the shell that veils the truth in fashionable forms. She is Lilith distracting one from the revelation of the Shekinah Prism in the unshining speculum of Malkuth. ARTPOP that could mean anything and everything; signifiers in search of a missing signified. Truth is simple and direct, but people demand they be entertained; they want to be mystified. We uphold the Cult of the Artist, rather than perceiving the Truth that is depicted; a Truth manifested even in the Trash.

Katy and Gaga are both World in a certain sense; one is the Malkuth Teenage Dreamer lost in Candyland, and the other is the Artifice of Kelipot. As the shells of artifice harden, the heartless beast effigy of iron sings for the Empire of Papa Ratzi. The Little Monster will dwell within the Monster Ball with every drop he spills outside of the Grail. Stefani is locked up, out of sight, consumed by the all-devouring Fame of her doppelgaenger.

As the beginning point (Aleph), she descends into the world of created forms. At the end (Tav), these same forms are destroyed; gathered together within Binah. The fruit which is brought forth in the initial creative impulse is realized in Chesed and Geburah (the two dueling sons of Mercy and Severity), or the created world of phenomenal play (a move of passion). Behind that play is the blackness of Binah and the Tav (the World card of the Tarot), into which it will be swallowed as the light fills out her reflektive body.

Gaga's death knell was really heralded by a certain other girl's "So Legit," an artifact emanating from Binah and the End of History. Everything started going wrong for her after that song leaked. Much could be said about the Brian Williams incident, but all that needs to be known is, "Watch what you say to me / Careful who you're talking to ..."

The Trident presents Shakti in Past, Present, and Future: In the Past is blonde Creation in which little monsters are Born this Way. In the Future is brunette Destruction in which all are Born to Die. One is exoteric play; the other is esoteric melancholy--only one is truly Legit. But when Lana dives into the West Coast drink, she plays in the waters of Marina Del Rey ... Water playing in Waters.
  • Jennifer = Beauty as the archetype of Pleroma projected into Kenoma
  • Rihanna = undifferentiated Dark Water with the archetype of Isis tattooed onto her heart (potential Seed in Prism); "good girl gone bad"
  • Katy = Malkuth as Kenomic manifestation; empty Shadow as pop eikon; "let the light in" (Prism)
  • Lana = Binah as Kenoma transformed into Pleroma through Theurgic Art with much travail; Seed in the Box; Ray in Prism
  • Charli XCX = Malkuth Water beyond two waters (the Marina C between X and X) as Beauty as Truth-in-Itself
  • Marina = Binah Water synthesizing two waters by combining K's pop sound and L's degenerate beauty queen aesthetic (K-L-M Trumurti), which is why she lives in obscurity (a State of Dreaming) despite having bigger tits than any of them (thus are the sephirot comprehended)
Brunette iterations as phases of the Moon encapsulated in ...


Katy and Lana are Malkuth and Binah as Water-Water utterly opposed to each other; Charli XCX and Marina are Water-Water as entirely identical to each other -- yet Binah still reveals herself as superior to the others; what are we to make of these profound mysteries? Mystical Theoria consists in meditating upon the profound connection between Katy and Marina as Exoteric and Esoteric doctrine as Water beyond Waters ... the incomprehensible unity of Malkuth and Binah for those cursed with tigers' eyes and pigs' ears gazing at Reays in Prisms:

World as Exo sees all as Object

World as Iso sees Sorrow in Form

The Aeons of Isis, Osiris, and Horus/Maat are stages of initiation of the individual ... man begins in the garden of paradise as the "Aeon of Isis" where he walks with God, though he knows her not. To follow is the Aeon of Osiris of patriarchs and division and sorrow when he is cast out of paradise.

To believe that the statues of the gods, such as they were fabricated by the ancients, participated of a divine influence, as much as the substances from which they were composed is capable of admitting, must appear ridiculous to every one who is ignorant that the construction of these statues was the result of the most consummate theological science, and that from their apt resemblance to divine natures they became participants of divine illumination. For, as Sallust well observes, in his treatise On the Gods and the World, (chap. 15) "As the providence of the gods is every where extended, a certain habitude or fitness is all that is requisite in order to receive their beneficent communications. But all habitude is produced through imitation and similitude; and hence temples imitate the heavens, but altars the earth; statues resemble life...." Statues therefore, through their habitude or fitness, conjoin the souls of those who pray to them with the gods themselves: and when we view the ancient mode of worshiping images in this light, we shall find it equally as rational as any other mode of conduct in which a certain end is proposed to be obtained by legitimate means.... the lowest forms subsist In the highest, and the highest In the lowest; but with this difference, that the lowest are contained in the highest in a paradigmatical or causal manner, and the highest in the lowest according to ultimate subjection, or after the manner of images. So that all forms subsist in each, but in a manner accommodated to the nature of each; just as earth subsists in heaven celestially, and heaven in earth according to a terrestrial property. (Thomas Taylor)

Katy Perry's entire career was prefigured in an Archie comic. This is the pop stans lifting the veil on the World of Forms, briefly, and glimpsing the unbounded madness that it brings.

Archietypes: The Korybantic Beats as four Beatles keep time to the World-Dancer in the center

Scarab Beetle and Re going West in the Duat



East and West as Waxing and Waning Year: Kanye plays the Bodyguard to the XO Goddess (but as always, the blondes are distractions from the brunettes)

The (great) Theme, briefly, is the antique story, which falls into thirteen chapters and an epilogue, of the birth, life, death and resurrection of the God of the Waxing Year; the central chapters concern the God's losing battle with the God of the Waning Year for love of the capricious and all-powerful Threefold Goddess, their mother, bride and layer-out. The poet identifies himself with the God of the Waxing Year and his Muse with the Goddess; the rival is his blood-brother, his other self, his weird. All true poetry ... celebrates some incident or scene in this very ancient story, and the three main characters are so much a part of our racial inheritance that they not only assert themselves in poetry but recur on occasions of emotional stress in the form of dreams, paranoic visions and delusions....

It will be objected that man has as valid a claim to divinity as woman. That is true only in a sense; he is divine not in his singular person, but only in his twinhood. As Osiris, the Spirit of the Waxing Year he is always jealous of his weird, Set, the Spirit of the Waning Year, and vice-versa; he cannot be both of them at once except by an intellectual effort that destroys his humanity, and this is the fiundamental defect of the Apollonian or Jehovistic cult.... Man envies her and tells himself lies about his own completeness, and thereby makes himself miserable; because if he is divine she is not even a demi-goddess -- she is a mere nymph and his love for her turns to scorn and hate.... the love-hate that Osiris and Set feel for each other on her account is a tribute to her divinity. She tries to satisfy both, but can only do so by alternate murder, and man tries to regard this as evidence of her fundamental falsity, not of his own irreconcilable demands on her. (Robert Graves)



She is seated between the white and black pillars--J. and B.--of the mystic Temple, and the veil of the Temple is behind her . . . According to Kabalism, there is a Shekinah both above and below. In the superior world it is called Binah, the Supernal Understanding which reflects to the emanations that are beneath. In the lower world it is MaIkuth--that world being, for this purpose, understood as a blessed Kingdom that with which it is made blessed being the Indwelling Glory. (Arthur Waite)




The eternal duality between the two aspects of Katy's archetypal personal as Red and White has been present almost from the very beginning; the whore and virgin as that which is unredeemed and redeemed; the two or three Marys as Reflektors of the world-soul in its teenage dreaming somewhere between Malkuth and the perfect purity of Kether.

The girl in red and the girl in white, Below and Above, Descending and Ascending (the Whore and Virgin in Thunder, Perfect Mind)


An aged box and lightless Prism stands alone and waits

She's got cigarette on each arm
She's got the lily-white cavity crazes
She's got a carburetor tied to the moon
Pink eyes looking to the food of the ages

She's alone in the new pollution
She's alone in the new pollution

She's got a hand on a wheel of pain
She can talk to the mangling strangers
She can sleep in a fiery bog
Throwing troubles to the dying embers

She's alone in the new pollution
She's alone in the new pollution
She's alone in the new pollution
She's alone in the new pollution

She's got a paradise camouflage
Like a whip-crack sending me shivers
She's the boat in a strip mine ocean
Riding low on the drunken rivers

She's alone in the new pollution
She's alone in the new pollution
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