A few nights ago Clyde Lewis kindly honored by request and did a show asking his audience if they felt that Google was reading their minds. I have been trying to explain to him and others how I feel that working on my latest project has had the effect of tapping my consciousness into the current zeitgeist to such a point that there is no difference between me thinking about the possibility of something, and it happening in the real world, or being revealed, almost at the same time that I think about it.
Not to long ago, somebody, a Satanist, contacted me and told me that they were talking to Baphomet on the Ouija board around Halloween. This person claimed to be unfamiliar with my work before this instance. Baphomet insisted that he contact me, and mentioned me by name. He went to bed that night and had a dream of someone kneeling before an unseen figure and praying for “mercy” over and over again. When he Googled my name the next day, he saw a picture of me and realized that I was the person in his dream.
Within an hour of receiving this message, I turned through bibliomancy to Genesis 18:16-23, where Abraham tries to convince the Lord not to destroy both the “righteous and the wicked” in the the valley of Siddim because of their sexual abominations, extracting from the Lord a promise that if at least ten righteous men could be found there, he would “spare all the place for their sakes.” As we all know, though, the cities were destroyed after all. This got me thinking that perhaps the prophetic dream was meant to indicate that I was meant to play a similar role, and that it was my job for some reason to beg God to show mercy on us all despite our corruption.
As it turns out, it has been the “Year of Mercy” in the Liturgical calendar of the Catholic Church since last year’s Feast of the Immaculate Conception on December 8. In Latin it’s the Iubilaeum Misericordiae. This term illuminates the etymological connections between mercy and misery via the concepts of empathy and pity.
At the beginning of that year, churches all over the world held ceremonies opening the “Porta Sancta” (“Holy Door”) with this dedication.
That year is now drawing to a close, signaled by a bizarre “Closing of the Doors of Mercy” ceremony at the Vatican yesterday. They also did a concert “for the poor” with Ennio Morricone. The ceremony is covered in this video:
I already came across the symbol for the Year of Mercy a few weeks ago and saved a copy. I didn’t know what it meant at the time. It is indeed a very peculiar image.
Several other people have complained publicly that they think the image promotes transgenderism, homosexuality, and Illuminism or Satanism. One man, William Tapley, claims that the “sacrificial Son” figure on the back of the “Father” is actually a “woman with a beard.” He says that the woman’s beard is made in the shape of a heart, signifying sexual love between the man and the woman on his back. He also says that if you count up the number of whiskers on the beards of both figures, you get three groups of six each.
Perhaps, then the image is meant to signify the recombining of Samael and Lilith, the two demons mentioned in The Zohar who used to be one being, and who will annihilate existence if they are ever allowed to unite again in sexual union. The union of these two beings is called, in The Zohar, “the Beast” and “the Other God.”
I ended up on RoundSaturnsEye’s channel after stumbling upon this video:
It discusses Miley Cyrus taking a backwards-bent position, and a scene of Linda Blair doing the same from the first Exorcist film. It reminds me very much of the Jeffrey Dahmer victim pose from Tony Podesta’s Arch of Hysteria sculpture that I have discussed recently in this article and this article about The Exorcist III. I theorized there that the Egyptian Nuit (Night) might be the same as Jewish Lilith (Night), and pointed out that Nuit was always shown as a naked woman bending over in the form of an arch, just as we see illustrated in the figure for the Year of Mercy.
In the same Round SaturnsEye video, we see a scene from a Marilyn Manson video that shows a girl being swallowed by a long black plastic coiled tube. We see her head and arms dangling out one side. Then a pair of legs and feet emerge from the other side and attempt to walk.
All of this is interesting to me, as it reminds me of a theme that is found in several of the images of alleged Knights Templar artifacts featured in the book Mysterium Baphometis Revelatum by Joseph von Hammer-Purgstall.
As well, the queer way of contorting the body reminds me of this image of an idol, also from Mysterium:
Just like we see illustrated in the Manson video, I think it is symbolic of entering the Abyss, being “baptized by Wisdom,” immersed in the “Cup of Mind” from the Corpus Hermeticum, and dissolved into atoms, then reemerging–backwards–from the other side. (To understand what I am talking about, watch this video:
Now if it hadn’t been for Pizzagate, I would have never recognized the pedophile symbol on Marylin Manson’s wrist, the spiral heart:
On the website Nacht Kabarett maintained by Nick Kushner (which seems to be all about exploring the symbolism used by Marilyn Manson), there is an entry about what he calls the “Eat Me Drink Me Heart”:
In 2007 Eat Me, Drink Me brought with it, for the first time in nearly over ten years, a symbol Manson adopted to represent himself with that did not have an immediate and apparent deeper connotation to the occult, mock-fascism or an artistic movement. This logo, later dubbed the ‘heart shaped spiral’ in official online store item descriptions, was minimalistically a roughly drawn heart which spiraled at its center. Manson revealed that it was an homage to Evan Rachel Wood for inspiring him with love and creative drive which was the impetus needed to create the album. He elaborated that as it was tattooed on his left inner wrist, if he ever was driven again to the depths of suicide, he was nearly in the throes of prior to this, it would be an omnipresent reminder that he would have to “break a heart” in order to fatally sever an artery.
Aside from the raw nature and purpose it symbolically serves, several similar visual representations exist which range from the logo of an ice cream company to the symbol of a paedophilic organization in support of relationships between a man and young girl (which can, in part, be seen as a joke even if coincidental given Manson’s half-facetious Lolita references toward he and Evan’s obvious age difference). Probably the most likely and closest connotation which fits the heart logo as used by Manson is that which illustrates the cover of the 1935 film, Mad Love.
As is seen via the cover art (which is the only appearance of the heart, not in the film itself) a very similar representation of the heart logo, and not only the heart itself but also the placement atop the eye a la the artwork to Eat Me, Drink Me of Manson with heart shaped pupils and of course the song ‘Heart Shaped Glasses’. The leading role in the film is that of Peter Lorre, who plays a mad scientist who can create life itself but cannot create love without the woman he so desires. This of course can be seen as a microcosm for Manson, as the artist, who also brings to life his creations but cannot create love without another complimental half to hold.
The full name of that song just mentioned, by the way, is “Heart-Shaped Glasses: When the Heart Guides the Hand,” containing a clear allusion, in this context, to child molestation.
Next, the author quotes the girlfriend, 19-year-old Evan Rachel Wood, who in 2007 commented on her own version of the tattoo:
It’s a lightning bolt, for David Bowie, who inspired me to act and sing, and a black heart. That was my present (from Manson). Somebody came to the house. We both got black hearts. It represents mad love.
The author also mentions that the logo was used on the stage set of Manson’s “Rape of the World” tour.
In the film Mad Love, Peter Lorre plays Dr. Gogol, a Frankenstein-type character who secretly transplants a pair of hands from the body of an executed murderer to the husband of the woman he loves, in hopes of winning her favor. The husband is a famous pianist, Stephen Orlac, whose hands were crushed in a train accident. He finds that he cannot play piano with these new hands (which he doesn’t even know are not his), but is compelled to commit murder. Eventually the woman ends up at Dr. Gogol’s house, and when she still refuses his affections he tries to kill her, declaring: “Each man kills the thing he loves.”
Strangely, Peter Lorre acted in another movie with related themes called The Beast with Five Fingers. In it, a crazy butler imagines that the disembodied hand of his dead master, a famous pianist, has come to life to perform several murders, and to play the piano again. Also noteworthy is that while he was alive, the pianist kept a young female as an assistant so that he could “draw energy” from her “life,” and even declared that he didn’t need food because of this.
The meaning behind the mystical hand symbolism is obscure. In The Beast with Five Fingers, the crazy butler is pursuing the mysteries of the universe in old astrology books, but they never develop this idea much. However,t he numerology of the human hand is mentioned, without occult connotations, in a scene in which the dead pianists nephew recalls how he had been taught as a child to remember the combination of his uncle’s safe. It’s 8-5-14-27, based on “the number of bones in the hand”:
“Eight bones has the carpus. Five the metacarpus. Fourteen the phalanges. All in all, 27.”
The same hand numerology, and the mystical ideas connected to it, have been explained recently in this popular video from Marty Leeds about the numbers written on John Podesta’s hands in a strange photograph he emailed to a colleague.
And as I explained in my own video on this subject, this mystical number set, connected to the myth of Osiris, also relates to the subject of cannibalism:
Both Mad Love and The Beast with Five Fingers were variations on the story from an earlier silent film, The Hands of Orlac:
Similar concepts were used in the occult horror film Mephisto Waltz from 1971, in which a warlock pianist and his witch daughter, who is also his lover, use black magic to live forever by jumping into other people’s bodies when the previous host’s body has been worn out. However, the pianist must always seek a replacement body that has appropriate hands for playing the piano. Interestingly, this film stars Alan Alda, son of Robert Alda, who starred in The Beast with Five Fingers.
There are many layers to this hand symbolism, some of which will have to be explored in future writings. Part of it, though, is the idea of letting one’s hands be used as the “Devil’s plaything,” and that through possession of the body (or even merely the hand itself), one might not be able to control, and therefore might not be culpable for, whatever the hand does, be it to create depraved art, or to commit a sex crime, or a murder. Truly the left hand does not know what the right hand is doing, because the conscious mind does not even know. I can confirm this is what happens when one uses a Ouija board effectively. The surrealists allowed their hands to be possessed for automatic writing, painting and drawing.
On another page of the same Marilyn Manson fan site mentioned above, it talks about how another Manson symbol, the Stigmata M, is derived from the film poster for yet another movie starring Peter Lorre: Fritz Lang’s M, about a serial child rapist and killer. It shows a hand marked with the letter “M” for “murderer.”
Read the article about the Stigmata M. The author believes that Manson has referenced the film in his videos many times, including the balloons that the killer used in the film to lure his victims.
A number of other symbols used by Manson are described on the same website. (Indeed, he has used quite a lot of the symbols that I have written about in my own books, including the Cross of Lorraine and the crucified serpent, which, as I have explained in my books and which the Manson website points out, is connected to the dollar sign.) Employed simultaneously as the “Eat Me Drink Me heart” were the heart-shaped glasses, referencing the movie poster for Stanley Kubrick’s Lolita. Again, pedophilia is the “joke.” Also, surely, there is some connection with the idea that love creates blindness, and causes one to see the world through “rose-colored glasses.”
Hearts within the eyes were also used in the art for the “Eat Me Drink Me” project:
The words “Eat Me Drink Me” come from Alice’s Adventures in Wonderland, and this brings up a number of relevant connotations. The first is pedophilia. The character of Alice is based on a little girl, Alice Liddell, who was friends with the author Lewis Carroll, and whom many people think be had a sexual relationship with. Therefore, Alice has become a symbol for girl-lovers everywhere, and the pedophile holiday “Alice Day” is named after her. Considering this, it is interesting to note that the little girl in the film Mephisto Waltz had characters from the Alice books all over her walls. Also consider that the White House held a secret Alice-themed Halloween party in 2009, attended solely by military and White House staff families, along with celebrities like Johnny Depp, and decorated by Tim Burton himself, whose new Alice movie wouldn’t be released for several more months. This was the same year in which Obama purportedly spent “$65,000 of the tax-payers money flying in pizza/dogs [child sex slaves] from Chicago for a private party,” as Wikileaks reveals.
The second connotation always connected to Alice is that of “going down the rabbit-hole.” In modern parlance this is used to mean initiation into a secret set of knowledge, and quite often, learning the twisted details of a criminal conspiracy. In the actual books, it is more specifically about traversing a portal into the underworld. It is the same idea as getting lost in a labyrinth, being led into a trap through a “mystery.”
Now consider the most quintessential labyrinth of Western culture: the temple of the Minotaur in ancient Crete. 14 virgin youths would be sent into the labyrinth every nine years to be ritually hunted, killed and eaten by the half-human, half-bull monster within, who is himself a result of interspecies sexual depravities.
The third association one always makes with Carroll’s Alice is the one implied by the words “eat me” and “drink me”: cannibalism and vampirism. I wrote about this in 2011 in connection to the myth of Saturn eating children to maintain youth and negate time in my article Regnum in Potentia, Part 2: Fishing for Men.
The connection here with the heart shapes in the eyes made by Marilyn Manson (heart-shaped glasses, heart-shaped pupils in the eyes, etc.) indicates a method of hypnotism using extended eye contact that seduces the victim into willingly offering themselves, for sexual purposes, and to let the predator “eat” and “drink” their energy, until they are sucked dry. However, most are “psychic vampires,” gaining their energy from their victims just by sucking their soul directly from the eyes through this hypnotic method.
Now consider this performance art piece, A Minute of Silence, from Marina Abramovic, in which she stares at her former lover, whom she had not seen in 30 years. I wonder what he thought about the fact that he looked 30 years older when they saw each other again, but she didn’t. Don’t you think she is sucking his soul out through his eyeballs here? A few years after this, he sued her for breech of contract.
Returning to the subject of cannibalism, note this image from the video for Marilyn Manson’s “Disposable Teens” from the Eat Me Drink Me album (and also note the connotation of that song title):
Now Check out this image from the Instagram account of James Alefantis, owner of Comet Pizza, at the center of Pizzagate:
Finally, note the similarity with this page from the bizarre children’s book “The Secret Pizza Party,” with its Eyes Wide Shut theme.
Now have a look at the art collection of Tony Podesta, John’s brother, also implicated in Pizzagate. There is a fucking pervasive (and perverted) cannibalism theme, is there not?
This is a piece from one of Tony Podesta’s favorite artist Biljana Djurdjevic:
And these are from Marina Abramovic, another favorite of Tony’s. Cannibalism is one of her main motifs:
Finally, this is hanging on the wall of his brother John’s office:
I say this as a person who has tons of weird stuff in her collection of stuff: this is a lot of money to spend on paintings of cannibalism. This is weird, for sure. It would be nothing if it weren’t for him being suspected of being part of a group that rapes, murders, and eats children, which is what seems to be hinted at when all of the content from the Wikileaks Podesta emails and the Instagram accounts of the affiliated pizza companies are taken as a whole.
I’ll give you an idea of what I mean when I say I have some weird stuff of my own in my collection of “art” and “literature.” While researching the movie Mad Love, I kept getting the song “Love’s Secret Domain” by Coil stuck in my head, as they use those words in the lyrics. I decided to look it up on Youtube to hear it again. I discovered, for the first time, the official music video. Whoa, did I hit the pedo motherlode! Check it out, if you dare. It’s NSFW/L, although it was published by WaxTrax Records and even played on MTV during its day.
I used to listen to this song a lot. I first heard it at a place called the City Nightclub in Portland when I was 14. It was an all-ages club heavily utilized for drug trafficking and male prostitution (which is why it was featured in Gus van Sant’s film My Own Private Idaho). My friends and I knew the song was demonic, and after we heard it one time while we were on acid, we got too freaked out to listen to it anymore. One time that I played it, the house “settled” all of the sudden and a crack about 4 feet long formed in the wall right next to the ceiling.
I really didn’t know much about the band, save that they had created a soundtrack for the film Hellraiser that had been rejected. Only years later did I learn that they were all gay “Thelemic magick” practitioners, and connected to several other bands that I liked. It was only yesterday that I saw the video for Love’s Secret Domain for the first time and saw the pedophile content: a harem of young Asian boys in loincloths dancing lewdly with the performer and each other, pouring candle wax on their own chests while he fondles them and gnashes his teeth. I now realize that some of the lines overtly refer to violent sodomic child rape. I quote:
In little children’s heavy heads
My dreams erupt while in my bed
Innocence is dripping red
They also speak of sadistic torture for the “mystery” of evil:
Sweet tortures fly on mystery wings
Pure evil is when flowers sing
My heart is a rose
Finally, there are references to bondage (the “leash”) and giving in to madness:
Give sanity a longer leash, but
Some of us have sharper teeth
In love’s secret domain
In the video, as he sings about “days devoured by hungry nights,” he bares his teeth and pretends to eat his own fist. Then when he sings the line about “sharper teeth,” he bites in the direction of one of the4 dancing slave boys. This perhaps hints at at sadistic “love bites,” or worse, the cannibalism that sometimes occurs after children have been raped and murdered.
The cover for the single release show a variation on the mutilated “Mano Pantea” that I mentioned in my previous article, Jeffrey Dahmer, Aleister Crowley, Exorcist III, 9/11 and Pizzagate. In this version, the three fingers of blessing remain (thumb, index, and middle finger), and it is the other two that have been sacrificed.
It’s probably because I have been writing so much about Cybele castration rituals lately that I’m thinking this way, but the use of the term “blood sickle” makes me think of the sickle that was used by Chronos to castrated his father Uranus.
But of course it also connects, via the flower known as honey-suckle, with the song’s other theme of sucking “honey,” which is explored further on in this article. Also, clearly, it is a confession that the singer’s “heart,” containing his capacity for erotic love, is “sick,” poisoned by an “invisible worm” of “pure evil,” quite literally true, and this video obviously demonstrates.
The main inspiration for this song is a poem from William Blake called The Sick Rose:
O Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm:
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.
Other references in the lyrics are to The Vision of the Void–gay literature by Yukio Mishima–and The Vision and the Voice, a text by Aleister Crowley about his homosexual rituals with Victor Neuberg in Algeria.
The line “Heads on fire and drunken lights” may refer to the alleged sparks of light that some people who claim to have been raped in pedophile sodomy rituals report experiencing, after the Kundalini is released from their rectal area and into the brain, as I mentioned here. Also note this video made by P.R. Koenig of the Fraternitas Saturni (The Brotherhood of Saturn), which seems to be a German OTO lodge. The video is called “Secrets of the Rosicrucians, Templars, and the Illuminati.” It just shows a nearly-naked man, blindfolded with his hands bound behind his head, and with Christmas lights wrapped around his head, sticking his tongue out lewdly as if trying to lick the lights.
We also see him bound with his arms over his head in a manner very similar to one of the pieces of art made by Podesta favorite Biljana-Djurdjevic, called “Paradise Lost”:
Amazingly, there is another image from an occult-themed film that this image reminds me of. It is the final shot from Andy Warhol’s Flesh for Frankenstein, starring Udo Kier.
This is a hideous film about a mad scientist trying to create the perfect artificial man and woman by stitching together the body parts of living people who are murdered for their perfect features. He wants his golems to mate to create the perfect super-race, based on the ancestral qualities of the Serbs, the race to which he belongs. This is interesting because the artist Djurdjevic is also Serbian. Serbia is a place known for being the location of hardcore child rape and snuff pornography, as featured in the movie A Serbian Film.
In Flesh for Frankenstein, the scientist develops a lust towards his female golem’s gall bladder. He actually opens up her side and rapes it. He tells his assistant, “To understand death, you have to fuck life in the gall bladder.” This then inspires his assistant to murder an old woman so that he can open up her stomach and rape her internal organs also. Alchemist and murderer Gilles de Rais also famously raped the organs of his child victims. The idea of creating a “magical child” by depositing your seed into an “alternative womb” of some sort is a treasured secret of sex magick.
Now look at the dirty tiled walls in the background of the image below from Flesh for Frankenstein, and compare it to the tiles in this Djurdjevic painting. Don’t they look similar? Go to Djurdjevic’s website, and you will see that actually the majority of her paintings, which mostly feature children that look abuse and semi-naked, have these tiles in the background.
This brings us back to the video produced by P.R. Koenig of the Brotherhood of Saturn. Note the part in which the star of this video licks his tongue towards a man standing next to him with a box over his head, onto which has been pasted Crowley’s drawing of “LAM,” an entity he channeled at one point in his career. LAM may very well have been the consciousness of one of Crowley’s own “magical children,” conceived during a sex magick ritual. In the video description, Koenig has quoted Aleister Crowley’s comment on the superiority of doing anal, rather than vaginal, sex magick, with the anus metaphorically referred to as the “Eye of Horus”:
Oh, how superior is the Eye of Horus to the Mouth of Isis!… The ‘Child’ of such a love [XI° Ordo Templi Orientis] is a third person, a Holy Spirit, so to speak, partaking of both natures, yet boundless and impersonal because it is a bodiless creation of a wholly divine nature.
Koenig then links to his own article about the 11th degree of the O.T.O.: Rocket to Uranus: Anal Intercourse and the O.T.O., where the following image and caption is shown, explained as LAM being birthed from an anus:
This explains why towards the end of Koenig’s video, the image of LAM is shown upside-down.
The star of the video is also wearing a ski mask with a David Bowie-style lightning bolt over the eye. I wrote in my recent article how I felt that David Bowie may been the product of such a sex magick ritual, and Marilyn Manson’s girlfriend Evan Rachel Wood got tattooed with her own version of the Eat Me Drink Me Heart that included the lightning bolt as an homage to David Bowie. Note that Harry Potter, a fictional “magical child,” sports the lightning bolt as a symbol of his unusual conception.
Now let’s return to the Coil song mentioned above. The comparison in “Love’s Secret Domain” of the heart to a rose is not an uncommon one. But considering that we are dealing with a song apparently written to celebrate gay pedophilic sex magick rituals, perhaps we should look deeper. An acquaintance on Facebook recently pointed out a correlation between the symbol of the rose and an overly-abused, prolapsed anus. He wrote:
When a Prolapse occurs it’s known as “a Rosebud.” … Then [there is the] sexual fetish known as “Prolapse Party'[which involves] Women pushing their own ‘rosebuds’ then getting them licked for orgasmic pleasure.
He brought it up to point out what he thought was the meaning of the cover art for the Red Hot Chili Peppers’ album Blood Sugar Sex Magik:
Indeed this subject is covered in the Wikipedia article on Rectal Prolapse:
“Rosebudding” is so called as the appearance of the exposed rectum is said to resemble rosebud flowers. Rosebud pornography, rosebudding or rectal prolapse pornography refers to an anal sex practice which occurs in some extreme anal pornography whereby a pornograhic actor or actress performs a rectal prolapse whereby the walls of the rectum slip out of the anus. A rectal prolapse is a serious medical condition that requires the attention of a medical professional. However, in rosebud pornography it is performed deliberately. Michelle Lhooq, writing for VICE, argues that rosebudding is an example of producers making ‘extreme’ content due to the easy availability of free pornography on the internet. She also argues that rosebudding is a way for pornographic actors and actresses to distinguish themselves. Repeated rectal prolapses can cause bowel problems and anal leakage and therefore risk the health of pornographic actors or actresses who participate in them. Lhooq also argues that some who participate in this form of pornography are unaware of the consequences.
For an extreme example of what can happen, read “9/11 terror suspect returns to Guantanamo Bay after being allowed out for surgery to treat rectal injury ‘from when he was sodomized by the CIA during interrogation'” from The Daily Mail, October 17, 2016.
So we have it now established that this Hermetic symbol of the rose can, in a certain context, indicate the anus. We also know that Crowley-affiliated groups like the OTO, which were influenced by Rosicrucianism, believe that artificial people can be magically engendered and born from a person’s anus. The video from P.R. Koenig even claims that this is THE secret of the Rosicrucians, and of the Templars too. Now let’s have another look at the image that went along with William Blake’s poem “The Sick Rose”:
Yes, there is a person emerging from the rosebud. I wonder what that means! It certainly brings a new interpretation to that mysterious final scene from Citizen Kane! Definitely a similar comparison is made by the band Coil between the anus and the symbol of the Black Sun on the cover for their album Scatology
On a related note, the reviewer here at Heathen Harvest makes some interesting observations about the song “Ostia (The Death of Pasolini)” from the Coil album Horse Rotovator:
“Ostia (The Death of Pasolini)” tells the story of the 1975 murder of noted Italian filmmaker and antifascist agitator Pier Paolo Pasolini at the hands of a young male prostitute in the Italian coastal city of Ostia. The seventeen-year-old boy had run over Pasolini’s body with his own car after crushing his testicles with a bar and setting his body on fire.
The lyrics of “Ostia” suggest an interesting perspective on the implications of Pasolini’s murder. The song seems to suggest an almost esoteric metaphysical inevitability in his doom. It is almost as if the filmmaker might be considered a sacrifice, as suggested by lines such as “Killed to keep the world turning” and:
“Leon like a lion
Sleeping in the Sunshine.
Lion lies down
Out of the strong came forth sweetness”
The imagery of honey, sweetness, and death is common in Coil’s early work. It manifests visually in the “Tainted Love” video as Balance traps and suffocates flies in honey. Sweetness which carries death is not a challenging symbol to untangle in light of how sexual pleasure could quite easily equal death for gays and bisexuals in the era. Here, the line of “out of the strong came forth sweetness” is a reference to the biblical scripture Judges 14:14, which is known as “Samson’s Riddle.” In the story, Samson kills a lion and, after some time, returns to the decaying corpse to find it has been colonized by bees who have built a thriving hive. The dead lion is literally seeping with honey–a grotesque and powerful image.
This image of the lion corpse with the evocative slogan “Out of the strong, came forth sweetness” would be quite well-known to any young English boy. It is the image on the tin of Lyle’s Golden Syrup. The image is even carved in marble on the exterior of the factory in Tate & Lyle’s Plaistow Wharf location. It may also merit mentioning that honey syrup has been cited as a lubricant for fisting and anal play, especially in the days before silicone-based lubricants were common and knowledge of spermicide as an HIV antagonist was known. As a result, honey carries yet another implication true to form with Coil’s tendency to play on multiple levels.
This is also a reference to the ancient sacrificial practice of “Bugonia,” which purportedly was done to entice bees to form their nests inside of the carcass of the sacrificed animal so that they could be released dramatically in yet another ritual. We can read about it in the 10th-century Geoponica compiled in Constantinople:
Build a house, ten cubits high, with all the sides of equal dimensions, with one door, and four windows, one on each side; put an ox into it, thirty months old, very fat and fleshy; let a number of young men kill him by beating him violently with clubs, so as to mangle both flesh and bones, but taking care not to shed any blood; let all the orifices, mouth, eyes, nose etc. be stopped up with clean and fine linen, impregnated with pitch; let a quantity of thyme be strewed under the reclining animal, and then let windows and doors be closed and covered with a thick coating of clay, to prevent the access of air or wind. After three weeks have passed, let the house be opened, and let light and fresh air get access to it, except from the side from which the wind blows strongest. Eleven days afterwards, you will find the house full of bees, hanging together in clusters, and nothing left of the ox but horns, bones and hair.
The Wikipedia article also suggests that the Egyptian version of this ritual, involving a bull’s head, may be the link between the name of their bull-deity, Apis, and the identical word being used in Latin to denote bees.
Now recall also the presence of a plastic honey bear filled with honey oozing all over the thighs of the man having sex with pizza on the Alefantis-related Instagram post shown above. Finally, note the use of bees and honey in a variety of esoteric symbol sets, such as the frontispiece to Joachim Frizius’s Summum Bonum. The Latin means “The Rose Gives Honey to the Bees.”
So what is the honey? Semen, blood, or something more obscure? Let us return once again to William Blake, and a book about his work called Blake and Tradition by Kathleen Raine. Analyzing his story of Lyca in The Marriage of Heaven and Hell, she writes:
Blake would have been familiar, from Taylor’s Porphyry, with the view that it is pleasure which draws souls downward to generation. The goddess Night advises Jupiter to make use of honey as an artifice to ensnare the god Saturn.
When stretch’d beneath the lofty oaks you view
Saturn, with honey by the bees produced,
sunk in ebriety, fast bind the God.
…The theologists obscurely signifying by this that divine natures become through pleasure bound and drawn down into the realms of generation. This pleasure, symbolized as honey, is ‘the pleasure arising from copulation.’ … the irresistible desire of sexual pleasure through which the ‘moist’ soul comes to drink the honeyed cup of generation.
Throughout this entire essay I have revealed a number of symbols, some of them treasured as concealing great spiritual mysteries in the Hermetic traditions of Western occultism, which all seem to be related to the ideas of raping children, consuming human flesh, and using the bodies of victims both dead and alive to breed supernatural entities: golems, homunculi, and many other things. As I mentioned in my article Killing God to Become God, the souls that are incarnated in these rites are ensnared by the magicians performing them, seduced into coming into our world and then trapped inside of a carnal container of some sort. Symbols for this ensnarement have included butterfly nets and spider webs, with the soul symbolized as a butterfly that gets caught.
The paragraph above quoted from Kathleen Raine indicates that the pleasure of copulation is what attracts the souls that incarnate in human and animal bodies. This goes along with what you find in The Tibetan Book of the Dead, written to instruct a deceased soul trying to find release from the cycle of incarnation. It warns that the soul will feel the need to “find a body,” and will come across couples having sex, but must resist the natural attraction to join with them, because this will lead to another incarnation.
It stands to reason then that if one is trying to ensnare the soul of a divine intelligence, one needs to use extraordinary enticements. The quote above from Thomas Taylor’s Porphyry refers to the Roman myth, based upon the Greek, that Saturn/Chronos was usurped by his son Zeus/Jupiter when the latter, posing as his “cupbearer,” gave him poison to drink. Taylor calls it “honey,” and implies that by offering it, Jupiter seduced Saturn down from his lofty throne as king of the gods, made him drunk with it, and then bound him.
[As an interesting aside, note that the slogan for the Canadian town of Tisdale was, until recently, “The Land of Rape and Honey” (referring to rapeseed), and this is what inspired an album of the same name by the industrial music group Ministry.]
In other versions of the myth, there is a lengthy war between their two factions before Saturn is subdued and imprisoned. But the “poisoned cup” incident is the beginning of the war. When he consumed the poison, Saturn vomited out the children he had eaten, all of Jupiter’s siblings, who then joined him on the battlefield against his cannibal father. But as I have pointed out in previous articles, the term “cupbearer” was a term for a royal child sex slave. Jupiter had a penchant for boys, and it is likely his father did as well. This is a story of using the offer of sodomy with a young boy to entice the Most High God down from his throne, so that he can be imprisoned, and his position taken over.
I think that the use of the symbols I have mentioned, in the contexts which I have described, indicates that there is still an occult tradition in certain circles regarding this. There are people who think that this is the way to dethrone God. They think that the gods above are as sick as they are, and therefore they will be attracted most not by mere heterosexual encounters, but by the abnormal and perverse. As the Templar artifacts of Hammer-Purgstall’s Mysterium Baphometis Revelatum illustrate, this is why the Templars ritualized the sodomy and sacrifice of young boys. On several of the artifacts, he found a phrase encoded on them: “The Distinguished Charity of Mete Uproots the Enemy.”
The one called “Mete” is the Templars’ secret wisdom god, Baphomet. The “Distinguished Charity” could also be phrased “Peculiar–or Strange–Love.” This “Strange Love” or “Mad Love” is signified by many other things in Western occultism, roses, honey, and now, via Marilyn Manson’s use of pedophile symbolism, a spiral heart can be added to the list. The “Enemy” that it uproots is none other than the Demiurge of the Ophite Gnostics: the god and creator of this world. The idea is that ultimately you must not only fuck, but also kill and eat, the things you love in order to become one with them, as even God (they believe) does this to his own children.
As I explained in previous articles, such as this, this, this, and this, I believe these things are all part of a process of trying to upset the balance of the “pillars” that uphold our current state of existence, allowing them to collapse so that the universe we live in might be destroyed. When the innocent body of a human child, the image of God, is defiled in rites such as this, it creates a reflexive reaction that affects the magnetic polarity of the Earth and upsets the tectonic plates beneath us.
It is hard for even the good people of this Earth to stop this process when we are all, to a greater or lesser degree, being seduced by the same type of perversions. Even if we have never done the worst of these things, we have participated gleefully in a culture that celebrates it. Perhaps this was the year that the Pope asked us to pray for God’s mercy because this was the year in which the fullness of our sins was revealed to us. I wonder if there are enough righteous people among us to earn God’s mercy, or if we shall all inevitably perish in the wages of our own sins.