Da Black Whole

Wednesday, October 05, 2005

Ragna Rok and Man Son Role

Speaking of bon apetit and Boss Predators, a la Da Black Whole's intro...

Python Bursts After Trying to Eat Gator


Associated Press Writer

Wed Oct 5, 4:04 PM ET

MIAMI - The alligator has some foreign competition at the top of the Everglades food chain, and the results of the struggle are horror-movie messy.

A 13-foot Burmese python recently burst after it apparently tried to swallow a live, six-foot alligator whole, authorities said.

The incident has heightened biologists' fears that the nonnative snakes could threaten a host of other animal species in the Everglades.

"It means nothing in the Everglades is safe from pythons, a top-down predator," said Frank Mazzotti, a University of Florida wildlife professor.
Over the years, many pythons have been abandoned in the Everglades by pet owners.

The gory evidence of the latest gator-python encounter — the fourth documented in the past three years — was discovered and photographed last week by a helicopter pilot and wildlife researcher.

The snake was found with the gator's hindquarters protruding from its midsection. Mazzotti said the alligator may have clawed at the python's stomach as the snake tried to digest it.

In previous incidents, the alligator won or the battle was an apparent draw.

"There had been some hope that alligators can control Burmese pythons," Mazzotti said. "This indicates to me it's going to be an even draw. Sometimes alligators are going to win and sometimes the python will win."

It is unknown how many pythons are competing with the thousands of alligators in the Everglades, but at least 150 have been captured in the past two years, said Joe Wasilewski, a wildlife biologist and crocodile tracker.

Pythons could threaten many smaller species that conservationists are trying to protect, including other reptiles, otters, squirrels, woodstorks and sparrows, Mazzotti said.


Hmm ... my "pet name" for autistic folks is "otties," and in Qim Tunes, the word "otter" is used likewise ... a nonverbal autistic man, "Adrian," opens Qim Tunes by writing:

"Dear Joy, I’m excited about coming home. Since our last meeting It has occurred to me that home is where the heart is. Joy is the sweetest otter in the world."

Wasilewski said a 10- or 20-foot python also could pose a risk to an unwary human, especially a child. He added, however, "I don't think this is an imminent threat. This is not a `Be afraid, be very afraid' situation.'"

I don't share Biologist Joe's "risk assessment."

The python, particularly given its size, is reminiscent of Jörmungandr, the sea-snake of Norse mythology, aka the World Serpent or Midgard Serpent, who rises from the bottom of the ocean at Ragnarok, the Norse Armageddon, and is slain by (and in turn slays) Thor in the last battle of "the gods."

The ouroboric Jörmungandr, whose principal weapon is venom (poison, pollution, drugs) completely encircles the Earth -- thus, is equivalent to J.R.R. Tolkien's "One Ring of Power" wielded by Sauron, the "enemy of the Free Peoples of Middle-Earth." Tolkien drew significantly from Norse mythology, and included a dwarf named "Dis" in his works.

Alfta Svanni Lothursdotir has an excellent article on the Norse disir here, noting:

"The word dís (plural dísir) can mean sister, female guardian angel or maid in Old Norse. Grimm links the Old Norse dís with the Old High German 'itis', and the Old Saxon 'ides'. The dísablót or 'sacrifice to the dísir would normally take place during the beginning of winter, perhaps during the Winter Nights blót. Other sources give the time of year as in Autumn ... [P]erhaps one of the best descriptions of the dísablót comes from the Rafn Version of Hevrarar Saga the dísir sacrifice was done out of doors at night and consisted of a ceremony in which a hörgr was reddened with blood by the kings daughter."

The disir were supernatural, ancestral entities which "attached" to living humans, a variant of the succubi/incubi. A hörgr is an "altar" constructed of loose stones or, alternately, a type of "temple" or "sanctuary." Thus, the context is ritual blood-sacrifice, carried out by the feminine (king's daughter) upon the masculine, typically under cover of warfare.

In the modern world, ideo-politics usually substitutes for literal warfare, and is often more effective at accomplishing mass-sacrificial aims, cutting a "wider swath" -- progressive bloodletting!

In the Old English epic Beowulf (composed between 700-1000 C.E.), the Geatish king Beowulf -- a kenning for "Bear" -- fights three "supernatural" battles against the primal trinity of Grendel, Grendles Modor (Grendel's Mother), and an ouroboric Great Serpent/Dragon.

(Another Tolkien synchro -- Sauron's Shadowland is named "Mordor," very close to Modor, and although Sauron was "male," as was Grendel, "Mordor" suggests what depth-psychologist Erich Neumann called the "Devouring Mother," or negative/shadow of the feminine.)

The battle-theme of hero vs. dragon/monster is ubiquitous in world mythology. In Beowulf the lair of Grendel's Mother, as with the Midgard Serpent, is the bottom of a body of water, a cave in a mere (lake) -- and Beowulf must make a "shamanic descent" back through the primordial Chaos/Unconscious/Underworld in order to confront and overcome her.

Grendel's Mother, the Hag, is killed by "Goth King" Beowulf's sword-stroke between the "vertebra" of her neck. In consistent translations, her "backbone" is composed of a series of "bone-rings."

On Christmas Day of the year 2000, probably as a sort of millennial "inauguration," Charles Manson created a piece of "art" related to these themes. [To see a larger version, click on the link above or the graphic below.]

The area in yellow corresponds, roughly, to the North American continent, with the "southern portion" of Mexico excised or ignored (probably because Mexico isn't part of North America "proper" in shared-culture, and Manson's "race war" armageddon is specific to the U.S.)

The green area is surrounding sea. Thus, the large indentation in the upper-right area of yellow approximates Hudson's Bay.

The red, purple, and brown areas depict aspects, or segments, of the Midgard Serpent, Primal Dragon, Leviathan, Jormungandr, etc., encircling on three sides -- but not quite fully enclosing, at least not YET -- the continent. In some regions, the Serpent is "attached" to the land (e.g., along the "southern border"), while off the Eastern Seaboard, the Serpent's "body" remains slightly offshore.

The large pink/red area off the West Coast and upwards in latitude is perhaps an extrusion, extension, or discharge of the "main body" of the Serpent. At any rate, it's color clearly identifies it as part of Leviathan. More on this section later.

Exactly as described in Beowulf, the main or central portion of the Serpent's "body" is composed of interlocking "bone-rings," consisting of circles-within-circles, interspersed with triangular "scales" or thorns. Like the scales, the inner-circles are reddish, and each contains a "cross" symbol very similar to the signature-mark of the Zodiac killer -- with the cross often extending beyond the margins of the circle. See here for more information about possible Manson-Zodiac connections.

Blossoming up from a region roughly corresponding to the North Carolina/South Carolina border -- and for starters, American Masonry was born in Charleston, S.C. -- is another incarnation of the Serpent, growing in ever-larger brown scales or segments until it leaves land, at which point it takes on a purplish hue. (An alternate, though much less likely interpretation, is that the Carolinas represent the "tail" of the Dragon.)

Named originally for Charles II of England, Charles Town was one of the first European settlements on the continent, granted in 1663 by the King to eight of his pals, set up as "Lords Proprietor."

It's oldest church is St. Michael's Episcopal (1752), and in colonial times its sister city was Boston, MA, with wealthy Bostonians often snowbirding in Charles Town. The town was a flash-point for the Revolutionary War. British warships targeted the steeples of St. Michael's so often, the citizenry eventually painted them black. Likewise, the first shots of the Civil War were fired by cadets from The Citadel on Union ships entering Charleston harbor.

Most tellingly for purposes of this essay, Charleston was -- and to this day still is -- often called The Holy City or Chucktown. Long before I learned this, I often referred to Manson as "Chuckles." Ragnaro(c)k also accords with the "stone" of "Charleston." A "practitioner" would read the city's name as Charles' s-tone, -- that is, occulted within the place-name is a serpentine "sonogram," or S-tone.

(Hey -- as Hunter Thompson often counseled: When the going gets weird, the weird turn pro!)

Let's return to Chuckles' "artwork."

Beginning at Charlestown, S.C., and tracing the "brown scales" up across the landmass of North America, the segments resolve into a large purplish blob, thence into an interlocked series of red and brown circles-within-circles, along with red "scales" or "thorns." The large purple patch delineates land vs. sea, a kind of metaphysical "transference zone." To a sorcerer like Charles Manson, this is a method of manifestation, not a static depiction. He is attempting to transmute something from the imaginal/spiritual/occult realms into physical reality.

Once "at sea," the red-hued Dragon's Body appears again to exhibit the characteristic "bone-ring" pattern of the "encircling serpent" wrapped around the western, eastern, and southern portions of the continent (again, sans Mexico). For whatever reason, however, the "triangular scales" on this aspect of the Serpent lack the "Zodiac crosses" within the reddish inner-circles.

On the left of this manifestation, just above the large purple patch, one can make out a "rooster's head," with two red triangular thorns/scales forming its beak. Just below this, three more prominent, red "thorns" form the "hackle feathers" of the rooster's neck.

Such feathers are often used in modern fly-fishing. Our pal Thor went on a "fishing trip" in an attempt to defeat the sea-serpent Jormungandr. Looks like he's enjoying himself! Not sure whether he's gonna bonk the Snake or his companion! LOL!!

Note that Thor seizes the tongue of the Midgard Serpent. Apparently, propaganda was popular in the old days, too.

Returning to Manson's drawing, the entire image, beginning at the origin or "seed" in Charleston, and terminating in the Arctic Ocean, forms a dread "mythological" entity usually called a cockatrice.

The cockatrice is mortal enemy of the "Archangel Tas" (Michael), as the Midgard Serpent is Thor's bane. Compare the Manson drawing with the Wikipedia cockatrice illustration via the link above. They face in the same direction.

Below is an illustration from Chapter 22 of L.A. Waddell's The Phoenician Origin of Britons, Scots, and Anglo-Saxons. In his caption, Waddell explicitly notes the equivalence of the cockatrice, or Dragon of Death, with the Norse god, Loki.

As captioned, the Hittites used this seal circa 2.500 B.C.E.

So whatever Charles Manson is illustrating, whatever he is conjuring by hand and mind, it's not new, at least in its core manifestation. These are old players in an old confrontation.

Waddell appends the following "prayer," with alternate translations, to the illustration:

The Son Tas has regarded him [the supplicant].
To his Father Ia, into the house he descends and says
'O my Father, the Evil Curse like a demon has fallen on the man!'
Ia to his son made answer . . .
'Go my son, Son Tas!
Take the man to the House of Pure Sprinkling,
And remove his ban, and expel his ban.'"

Or Ia or Indara replies:

"O Son Tas, substance of mine,
Go, my Son!
Before the [Cross of the ?] Sun-god take his [the afflicted's] hand,
Repeat the spell of the pure hymn!
Pour the (cleansing) Waters upon his head!"


"Go, my Son Tas!
Let the Fire [-Cross ?] of the Cedar tree,
The tree that destroys the wickedness of the incubus,
On whose core the name of Ia is recorded,
With the spell supreme . . . to foundation and roof let ascend And to the sick man never may those seven demons approach!"

The "incubus" and "ban" are equivalent to the Norse disir mentioned above. Removal of the "ban" in this formula refers not to a forbiddance, but to a class of female parasitic beings and, more broadly, to pre-monotheistic, matriarchal, serpent-worshipping tribal cultures, adept in sorcery and manipulation individual and collective states, especially unconscious/ecstatic states.

Thor is a "thundergod" whose chief weapon is lightning (the thunderbolt) and by extension, electricity. His base of operations is the sky, in opposition to the sea/underworld, and he's elsewhere known as Zeus (Greek), Illapa (Incan), Hadad (various Semitic cultures) and cognate Adad (Assyrian), Min (Egypt), Parjanya (Indian), Ngai (Masai), and so forth exhaustively. The fact that he is sky-based doesn't preclude incarnation on Earth.

Both North and South America have long traditions, mostly oral, of the Thunderbird. Neil Young's song "Danger Bird" addresses this figure, who suffers from the Ban/Medusa/cockatrice's weapon of petrification. This tune, with its soaring guitar, begins:

Danger Bird flies alone

and he rides the wind back to his home

although his wings have turned to stone

The Maverick Science website relates:

This association of the thundergod with the slaying of a giant serpent threatening to destroy the world forms a recurring and apparently universal motif. The Norse Thor was known as orms einbani, "sole slayer of the serpent." The Iroquois thundergod is described as "having slain the great Serpent of the waters, which was devouring mankind." The same idea is attested in South America: "Among the Arawak, Uitoto, and some other tribes in various parts of South America, it is said that a host of birds successfully killed the great water snake."

Above, we discover the syllable ban and disyllable bani within the Norse word einbani, yet again related to the Devouring Serpent. The "host of birds" is "bird-language" for, roughly, "angels," with the word "host" a helpful clue to the phrase.

Thor/Tas (and cross-cultural equivalents) would have primary responsibility for "removing the Ban." In the ancient world, many disputes were resolved through single-combat. But the South American tribes suggest that such an undertaking, with major terrestrial and cosmological repercussions, would be a "group effort" spanning millennia, not the weekend -- or even lifetime -- project of a Han Solo.

Here is an article discussing the Ban -- who were recently discovered by Science!


Contrary to Godling Science, Homo floresiensis has NOT disappeared from the scene. A variety of evidence, which I'll spare you here, strongly suggests that the Ban are still spread amongst the populations of Earth, probably in "dwarf-form" in terms of physical stature. Some, if not all of them, have retained the peculiar abilities and powers they manifested in the ancient world.

Heidi Strengell, in "The Monster Never Dies: An Analysis of the Gothic Double in Stephen King's Oeuvre," reports:

Nearing the end of his usefulness, [serial killer] Burny is at Mr. Munshun's request forced to take Ty Marshall, a promising breaker to an appointed meeting place. The term breaker is used for those slaves of Crimson King who break the beams leading to the Tower, thus aiming at the total annihilation of the universe.

Driven by contradictory urges, this odd serial killer is afraid of the consequences of his actions (Black House 541), but, despite a deadly wound, still lusts for Ty Marshall's "juicy buttocks."

Like the witch of "Hansel and Gretel," he is reluctant to hand over his prey: "A good agent's entitled to ten percent" (Black House 550). Only seldom can a parallel be drawn between a serial killer and a wicked witch from a fairy tale, which perhaps bears further witness to King's genre blending.

The Gothic double of Dr. Jekyll and Mr. Hyde shares some traits with characters in King's work. First, flawed humanity moves between the two poles of good and evil, causing contradiction and anguish to the subject. Second, the Gothic gnome, that is, the "dwarfish" and "ape-like" half of the personality is hidden at the cost of hypocrisy and oft hideous crimes. Therefore, a disguise is needed, which causes further tension and the fear of getting caught. Tension also intensifies from the constant threat of transformation.

Monsters of the nineteenth century scare us from a distance while at the same time, as Halberstam notes, "We wear modern monsters like skin, they are us, they are on us and in us."

Of course, we don't call them "ban" nowdays. That would hardly be Correct, and no doubt is prosecutable as a Hate Crime!

The Hellenic uber-witch Hecate, similarly, was known to the Celts as Banba, a triple-goddess of war and fertility -- both of which suggest rituals of mass blood-sacrifice. (See, e.g., Frazer's The Golden Bough.)

Sumero-Egypto-Chaldean necromancy, the "Dragon of Death" blood-magick also apparent in the activities and communications of Manson and Zodiac, is gyneocentric and tribal, earth-magick based in Great Goddess Mother/Son ritual and worship.

Although usually "administered" by "priests," and executed by male operatives, males involved in sorcery, wicca, necromantic cults etc., are always subject to the feminine principle. Sometimes they revel in this; sometimes they're unconscious of it.

Charles Manson, for example, has significant "charismatic control" over the Family, particularly its female members -- but this personal dominance masks the reality that Charles, like Zodiac, are sickles, tools, of the old fertility Goddess. As price of his magnetism and occult understanding, he is dominated by the collective feminine. Manchurian Candidates can serve Mistresses as well as Masters.

Also known as the basilisk or wyvern, or as the female chickatrice, the word cockatrice is related etymologically to "crocodile." Like snake-haired Medusa, another sorceress, the cockatrice's power is petrification, primarily infering the ability to freeze the inner life, the mind, emotions and spirit of victims. Physical symptoms follow. The phrase "the personal is political" applies.

The cockatrice is usually depicted with a barbed or forked tail and/or tongue, and with barbed/forked wings connoting its ailities and potency in the spiritual/occult realms, and in the more mundane areas of spoken deception and propaganda. The basilisk/wyvern is consistently associated in "myth" with pestilence and warfare (both spiritual and material).

Manson's triangular "scales" are virtually identical to the cockatrice's "barbs." A Christian interpretation would term them the "Devil's tail," or the "tail of the Dragon."

As mentioned, Manson's cockatrice either originates or terminates in the Charleston area, expanding north-by- northwest via the brown segments. Directly offshore from Charleston is the largest "bone-ring" segment of the Serpent -- which, again, infers an origin-point for Chuckles' cockatrice. Both cockatrice and Great Serpent are consistent in color and design.

Beyond the Charleston point the segments-proper end, and the Serpent's body continues offshore northward up the Atlantic, morphing into the shape of a "standing" or risen cobra. Egypto-Chaldean magick is therefore implicated, and the Serpent is extended in both its natural and supernatural aspects.

The cobra's head gazes across the Atlantic, towards Europe, Asia, and its roots, its "home" in the Old World. Occulted within the head and neck of the cobra is a stocky humanoid figure, with a dark patch of hair and slitted eyes. This figure, which appears male (at least to me) also stares across the Atlantic. He is the controller, the Fat Conductor, the inner-daimon or "brains" of the Great Serpent, which he "rides" through the world.

This daimon may be a Manson self-portrait, but I think he's someone else, someone with a more Zodiac-esque body type, darker-featured than Charles.

In the heartland of the U.S., we find two areas of red triangles or "thorns" connected to black blobs. Color and form continuity suggest gestating mini-serpents, or "children," of the main Serpent body. They resemble ants, centipedes, or more likely, crawling worms/maggots.

Another large black patch is connected in a general semi-circle with the "birth region" of the cockatrice in or near Charleston. Likewise, most of the continent/yellow is enclosed by black borders. The black borders and blotches are probably what they seem -- corruption, corrosion, poison . . . the venom of Jorgmungandr, the Midgard Serpent, which is literally devouring, eating away at the healthy body of the continent and its inhabitants, human and otherwise.

Focusing now on the Hudson's Bay area, the thick black border of the Bay's eastern shore occults a small figure facing west. Only the face, and perhaps upper torso, of the figure is identifiable. Because of its size, I doubt this figure was a conscious inclusion.

The figure wears a triangular/conical hat, and its body resolves into a long, feline tail, white at its tip. It appears to be shooting/speaking a bi-lobed dart, or magickal weapon, from its mouth, out into the greenish body of Hudson's Bay.

Wikipedia reports: "Of the dragon-like creatures, wyverns are said to be the most feline, having a cat-like intelligence and temperament."

The yellow/continent is also scored longitudinally with thin, dark lines, perhaps symbolizing fault lines (not naturalistic, obviously) -- cracks or hairline fractures in the continent (and, by extension, faults in North America's culture/society/body politic/collective soul.)

The area around the cockatrice's head is also scored in a cross-hatch pattern, in an area roughly corresponding to extreme northern Canada, the Aleutians, and part of the Arctic Ocean. The cockatrice has an open beak which appears to spit out three smallish blotches of pollution/cancer/poison into the Arctic. Spellcasting /sonic potency is inferred.

Directly across from the cockatrice's upper beak/left eye, magnification reveals that the smaller two black blotches are humanoid. The figure to the viewer's left is kneeling, with hands extended outward, a ritual or supplicating posture. This figure is connected by a thin black line to a larger black spool/blob to its left.

Just beneath and to the right of the first figure is another, whose legs can be inferred. This figure is likewise pretty indistinct, but appears to have its hands bound behind its back. (The details, admittedly, are small. It may help to enlarge the images with a word-processing program.)

The main body of the Great Serpent/cobra closely follows the hurricane track of the Atlantic/Gulf of Mexico, terminating at the final and smallest round segment in extreme Southern California/Baja.

(Given Manson's detailed Beatles' links, Hurrican Rita (Meter Maid( gets at least a hmmm . . . and her predecessor, Katrina, struck the "mouth of the Snake," the Mississippi River's musical boca, New Orleans, whose Ninth Ward sustained severe damage.)

The tail segment of the Dragon is connected by a black blotch to a serpentine line, meshing with the "a" in Manson's signature. This is not an accident.

Charles' base of operations and activities, of course, was Southern California, specifically (but not exclusively) Death Valley. In his drawing, both the West Coast and the extreme Southwest/Sonoran Desert are heavily purplish and blackened. These are land-masses in direct contact with the main segment-body of the Serpent.

Those with image-editors now should turn the artwork upside down, and re-view the large pink blob off the West Coast. A smiling, ghostly figure -- probably male -- emerges, mirroring and inverting the "cobra-man" off the Eastern Seaboard.

The Grinning Ghost's right "eye" -- like the roving/scanning Eye of Sauron, whose very name is reptilian -- morphs into the thickest black blob in the drawing. His throat area, or chakra, is also prominently black; much occult practice is sonic.

In the Chinese Calendar, 2005 is the year of the Rooster or Chicken, called pinyin, which translates literally as "join together sounds." A black blotch appears at the genital area of the Grinning Ghost, connected to the two tiny figurines previously discussed by a thin black line. These elements are positioned directly across from the beak of the cockatrice, who is their Master and Jailer.

In discussion of the rightside-up aspects of these two small figures, I noted their postures of supplication, with one apparently begging or praying, and the other with hands bound behind the back. These recall the positionings of slaves or prisoners, and here it's important to remember the Zodiac's stated obsession with "gathering 'paradice [sic] slaves' for the afterlife."

The drawing smacks of predation and bondage, and Charles apparently shares Zodiac's zeal for hyperdimensional/spiritual slavery, the obsessions of necromantic magick.

The postures of the two figurines, especially the bindings, suggest Egypto-Chaldean sorcery. In the Egyptian underworld, captives are hung upside-down in the "caves of the underworld" as part of their torture/humiliation/enslavement. Sometimes they are depicted as headless, sometimes not. Often they appear in positions of submission and/or supplication, like Charles' "praying man."

A few minutes ago, while updating this post on October 22, I saw this article on Yahoonews, excerpted below:

Advertising Guru Leaves Job Over Remarks

By JILL LAWLESS, Associated Press Writer 46 minutes ago

LONDON - One of the world's most flamboyant advertising gurus has left his job after reportedly telling an audience that women made poor executives because motherhood made them "wimp out."

Marketing giant WPP Group PLC said Friday it had accepted the resignation of Neil French — a one-time debt collector, trainee matador and rock-band agent who served as the group's worldwide creative director.

French made the contentious remarks during an industry discussion in Toronto on Oct. 6. According to a report in the city's Globe and Mail newspaper, French said women did not make it to the top because "they're crap."

Nancy Vonk, a Toronto-based creative director at WPP subsidiary Ogilvy & Mather who attended the event, said French described women as "a group that will inevitably wimp out and go 'suckle something.'"

The comments sparked outrage among many women in the advertising industry.

Vonk wrote on the advertising industry Web site http://www.ihaveanidea.org — sponsor of the Oct. 6 event — that "my jaded jaw hit the floor" at French's comments.

"If our greatest leaders are busy quietly persuading girls they're just not cut out for this gig, how far is this group going to get — the brave ones who soldier on in spite of the discouragement?" she wrote.

British-born French, 61, known for his ever-present cigar, worked as a debt collector, trained as a matador and was agent to the heavy metal band Judas Priest before going into advertising.

He was among a generation of innovative admen — including future film director Ridley Scott and brothers Maurice and Charles Saatchi — who made a mark on British advertising in the 1970s and 80s.

"You can't be a great creative director and have a baby and keep spending time off every time your kids are ill," [French] was quoted as saying.

French's remarks are overstated, of course, but that's an understandable response to four decades of cultural censorship, especially concerning "gender issues." French is now rich and old enough to afford the truth and disregard its consequences.

The dissonance in the West between male experience and Approved Reality is vast, and the deepest rent in the American fabric is not race, but gender.

This A.P. story by Ms. Lawless qualifies as an investigative "hit," because Ridley Scott's name appeared "buried" in the story. A couple

days ago I saw Scott's superb epic, Kingdom of Heaven, for the first time. But, so what? . . . why is my "personal synchronicity" relevant to this blogpost?

Well, the primary motivation for the film's protagonist, Balian, to embark on his temporal/spiritual quest was assurance by a 12-Century priest that if he didn't, his recently deceased wife -- who was decapitated post-mortem for the "sin of suicide" -- would spend eternity headless, lost in Hell.

Thus, the sudden, unexpected, and unlikely appearance of the name "Ridley Scott" confirms one aspect of the "investigation," joining the apparently unrelated concepts of necromantic decapitation and feminism.

As in Kingdom of Heaven, a spiritual war or "holy war" is currently at fever-pitch, though it isn't demarcated by Islam vs. the West.

The nations of the West, regressed and conquered from within, lurch into the future without direction, without thought, without leadership -- headless. The iconography and artwork in this essay are "weapons" in that war.

Decapitation is characteristic of Chaldeo-Egyptian necromancy, as illustrated below. Neil French's critique of Western feminism is brusque but appropriate, as he is describing nations in Hell -- regressed to the chthonic Matrix, the underworld Realm of the Mothers.

The Egyptian Book of Caverns, originating in the 20th Dynasty, is reputedly one of the best available records of the ancient Egyptian understanding of the underworld, which they called the "Place of Annihilation."

Reproduced below from Tour Egypt is a cenotaphic illustration from the First Section of the Book of Caverns.

In Egyptian iconography, the bottom register (level) depicts "hell," the Place of Annihilation. Notice that all these captives or slaves have hands bound behind them, as does one of the figurines caught between the cockatrice and the Grinning Ghost's bespotted genitalia. Check also the coiled, triune-serpents guarding the Cavern entrance and prisoners. The Midgard Serpent and Grendel's Mother likewise live in a waterproof, enclosed cavern at the bottom of a lake or sea. Further, the common use of black to depict the prisoners is mirrored in Manson's illustration of the two figurines.

Again, the bottom, or infernal, register depicts necromantic "paradice slaves," here from the Sixth Section of the Book of Caverns. On the left, three "goddesses" with knives guard and torture decapitated, supine prisoners, their heads mockingly reversed and placed at their feet, a variant upon the upside-down punishment. In the third tableaux from the left, a male and female guard stand in ritual-dominance postures over four beheaded and bound slaves. The slaves kneel like one of the figurines bound between the Grinning Ghost's genitals and the cockatrice in Manson's Christmas 2000.

Both figurines are trapped in a magickal net, illustrated by the black crosshatch lines that form a vast prison-coop in the frigid, isolated abyss of the Arctic Ocean.

Songs are at root incantations, magical expressions capable of creation or destruction. Charles used, and uses, his voice in various ways to affect/effect people and events. Like Tolkien's Saruman, the fallen "Chief Wizard," Charles worked the West Coast during the late Sixties, a ravenous planet drawing many into his sphere.

The sonic potency of voice, crossover between ritual magick and music, is real as crossover between Zodiac and Manson's occult interests.

Both seem obsessed with the "gathering" of spiritual/occult "slaves" or "followers" -- the decpatitated, bound, pleading "enemies" depicted in the Egyptian Book of Caverns.

Zodiac's most stylized, histrionic slaying was the double-murder at Lake Berryessa -- near Vallejo, the vineyards of the Napa Valley (Valley of the Kings), and Bohemian Grove, where the West Coast double of Skull-and-Bones etc. congregate annually.

The vineyard/sacrificed-Lord ritual theme crosses-over (oops!) from Zodiac's Vallejo/Napa Valley killings to Manson via Sharon Tate. Much has been discussed in regard to Manson's interest in her pregnancy and connections to 1968's Rosemary's Baby. And 1968, with its mass trauma inflicted via R.F.K., M.L.K. etc., was indeed a bloodshed year in the dis-spiriting of the American Mind. It was a year of no return.

But it was 1967's Eye of the Devil that most interested Manson and Zodiac. That role -- as the witch orchestrating the vineyard owner/Marquis' rain-sacrifice -- was probably the role that cost Sharon Tate her life.

At Lake Berryessa, underlining the Dionysian/Bacchanalian themes of water/wine, crops, ritual blood-sacrifice, and so on, Zodiac deckrd-out in his "Operatic Executioner" regalia. He held a gun on the couple, but didn't shoot them. It was daylight, and in part, he probably didn't want to draw attention.

However, he then engaged them in a long, drawn-out conversation, including a bizarre rap about being an escapee from a Colorado prison on his way to Mexico. So he likely was "employing dialogue" -- using his voice and the "audience response" as a prop, a contrivance or artifice, a kind of Greek Chorus, part of the event's larger "plot."

At Berryessa, on September 27, 1969, two days before the Feast of St. Michael, Zodiac used his voice ritualistically to both terrorize and "charm" Cecilia Shepard and Bryan Hartnell, age 22 and 20, respectively -- just kids, really, and especially "receptive" -- stabbing them to heighten "theatrical energy," preparing them as his servants/slaves for the Place of Annihilation, an afterlife or parallel Shadowland.

It doesn't matter whether that Shadowland "really" exists. What matters is Zodiac -- and others -- "really" believe it.

To provide "closure" to the day's "play," Zodiac then drove down the serpentine, switchback Berryessa Grade to a phone booth near the Napa Car Wash, not far from Napa State Hospital. Then he called police and taunted them with his voice, leaving his sonic imprint, territorial spoor on the wire and in the air.

Each of the Zodiac's slayings was a re-enactment of an ancient sacrificial drama, the oldest drama of the race.

When Zodiac contacted local media, his cryptograms usually began with the tagline: "This is the Zodiac speaking."

Why, in a letter or cryptogram, refer to oneself as "speaking"? As if one were before the Microphone Knot at a Presidential Address?

In his detailed communiques, Zodiac's intended to implant his "inner voice," his Magickal Voice, en masse into our "inner ear" -- with effects similar to a catchy or powerful tune. Like Manson with Reprise Records, Family "Conserts," and televised legal platforms, Zodiac sought stage and amplification for his voice and the power of his word.

Because Zodiac complemented his "voice" with a variety of other stimuli -- photos, cryptograms, "signatures" on cars, phone calls, the imagined screams of the victims, etc. -- we have a "readymade world" or inner cosmology in our imaginations/minds to which he has entry, influence and (dependant on various factors) control . . . a host for his Personal Infection, so to speak.

A gate, a door ajar via trauma-magick.

That's not Harry Potter.

That's sorcery. Real sorcery.

Egypt's Pyramid Texts, for instance, are actually spells, spoken aloud by the ancient "tending priests" aiding the "deceased" king through his descent and ascent experiences. Egyptian magic is principally vocal and choral. Angels have Choirs. Mansons have Families.

Sonic influence, especially combined with the trauma of bloodshed or death, make long-lasting impressions on the psyche, both collective and individual. The purpose of death-rites with sonic undertones, as Zodiac stated forthrightly, is the "gathering of slaves."

This is the Zodiac speaking.

It is a COMMAND, during which he "expands" in the ether, and his listeners diminish.

Our egoic boundary oscillates, slightly disturbed, and instead of separation via the San Francisco Chronicle, by the nonvisceral "barrier" of observation that makes us safe in body and soul . . . suddenly the Zodiac is WITH US, manifest, SPEAKING alongside our inner dialogue -- and the culture's mass-dialogue.

An image of him forms spontaneously in our minds. He has wormed in, DEMANDING our attention, and, if we're not careful, like any mesmerist masterful in alpha-predation, he feeds and grows, assumes our submission.

Manson and Zodiac have many fellow-practitioners, some of whom don't even know the repercussions of their own works. "Empowerment" through occult techniques is widespread in the West, following decades of strong pagan revivialism.

Other, more organized practitioners, however, are acutely aware of repercussions.

Here is a side-by-side comparison of the "Clock Towers" of Baghdad and Nashville -- two "Featured Speakers" on the "world stage." The image is borrowed from William Henry's companion essay, "The Baghdad and Nashville Connection: A Tale of Two Cities," in which Henry theorizes that these sites, with their Osiric coffin-key layouts, are occult instruments designed to operate on a grand scale in "resurrecting Osiris" and completing the ancient Sumerian duranki -- the link between heaven and earth (i.e., the ouroboric joining of the opposites, the eschatologic sine qua non of sorcery.)

Before dismissing Henry's speculation, look closely at the right-hand image. At its bottom, at either corner, are two greyish buuldings of similar height, with cross-hatch roofing. They're positioned at the "entrance" to the coffin/keyhole, partway up the hill between the "transformation chamber" below and the Tennessee Capitol above.

Both buildings resemble enormous Speakers. Here it's worth recalling that the former World Trade Center was also a twin structure, with vast communicative capacities.

Saddam considered himself the reincarnation of Nedudchadnezzar, and his "Clock Tower" and surroundings, like the Nashville Bicentennial Mall, may be sonic weapons.

Joseph Goebbels hung Hitler's voice, godlike, from speakers all across The Rhineland. Nimrod's chants rang around his Tower in Babylon, each level of the ziggurat representing an occult stage, a planetary passage. The King's Chamber at Giza is a Rock Boombox.

And Bill Graham almost built an ampitheatre at the terminus of Lake Herman Road, site of Zodiac's first lovers-lane-couples slayings, there in the Shadow of ole Mount Diablo.

Bill even had an agreement with the City of Benicia for upcoming construction . . .

. . . until his helicopter ended up dangling like a hung slave from some hi-power-lines, caught like a thief between Napa and Vallejo during a Wildhunt Storm, the copter blades twisted and broken, blackbird wings in an angry iron tree.

Serious business, that Music Business . . . .

Lest I be accused of playing favorites, here's an old painting by Bob Dylan, called "Lo and Behold." A red-clad figure, indeterminate of gender -- but bearing features reminiscent of, perhaps, Down's Syndrome or a similar condition, and wearing a huge talismanic medallion -- holds a hand in ritual gesture over a broken city that's similar to, if not literally, New York. Once again, the connection between music, ritual, and mass creation/destruction is overt.

Bob has a companion song called "Lo and Behold." Like the painting, it has to be "deciphered." I won't bore you here, but a hint: the figure is "be-holding" the City in his/her hand.

In No Direction Home, Joan Baez comments:

There are no veils, curtains, doors, walls, anything between what pours out of Bob's hand onto the page and what is somehow available to the core of people who are believers in him.

Especially when upraised, the hand -- here "flaming" or "gloved" -- has ancient connections with sovereignty, solar/sky deities, and the "world tree" found throughout myth. In the Edda, the proto-Germanic deity Tiwaz, Taz, or Tyr sacrifices his hand to the Fenrisulfr Wolf (i.e., the wolf of war/blood magick) so the other gods could bind the Beast -- a cosmogonic order-from-chaos event.

Diana Paxson points out that the Navajo call evil shamans "wolves." In her "Coming to Terms With Tyr" , she notes:

Among the major symbols associated with Tyr are the sacred post, weapons, and the Hand .... The god whom the Latin writers identify with the Roman Mars is Tyr (the ancient Tiwaz or Tiw), and his connection with the Irminsul supports the theory that he was the original sky-god and lord of the world-tree (note that the Tyr rune is also part of the astrological symbol for Mars)....

According to Nigel Pennick, the "kings" on some decks of old French playing cards carry a scepter or rod on the end of which is a hand.
The sovereign sky-god, the world tree, and the hand form a complex of symbols that go back to an extremely early time. Ellis-Davidson's discussion of the hand symbol in
The Chariot of the Sun adds some interesting evidence.

Single handprints are often found in connection with Bronze-Age Scandinavian rock carvings of the sun disc. The one-handed Irish god, Nuadu, was the sovereign of the Tuatha de Danaan (although he was ritually deposed when his hand was cut off in battle and only after he was given a new hand of silver could he reign once more). The hand, whether represented by a palm-print, an armed fist (the Red Hand of Ulster), or a hand at the end of a scepter, seems to have been a symbol of regal authority. In addition to the Ulstermen, a number of Scottish clans have legends in which a chieftain cuts off his hand and throws it onto a piece of land to claim sovereignty. The hand is also, of course; a symbol of law, and shaking on bargain still constitutes a legal agreement.

Nigel Pennick's chapter on "The Royal Centre, Fairs, and Sacred Boards" in Games of the Gods, provides some evidence which may illuminate these relationships. Medieval Fairs were laid out on a grid based on the same principles that governed both Germanic and Celtic concepts of spatial organization, with four (sometimes subdivided) sectors surrounding a sacred center, which was the place of the King.

This center was marked by a pole (representing the sacred tree often planted at the center of a town, and surviving in the Maypole which still stands in the central square of many German villages) at whose top was placed a glove.

When this pole was raised, the fair was open, and the Law of the Fair took effect within its borders. The cry, "The Glove is up!" opens the Renaissance Pleasure Faire to this day. In her discussion of the significance of attaching Grendel's hand to the eaves of Heorot, Ellis-Davidson remarks that it may recall "... an earlier tradition of a great hand which once symbolized the power of a deity." (p. 159). It seems to me very likely that this was precisely the case, and that the glove on its pole at the center of the medieval fairs was in effect the Hand of Tyr at the top of the Worldtree....

In helping to bind Fenris, Tyr not only breaks an oath, but betrays a trust. He and the wolf are linked by more than his hand. In effect, Fenris is Tyr's fosterling. He and the god therefore become the polarized aspects of a single archetype.... Tyr's sacrifice can also be seen as a higher law in conflict with a lower one, or two kinds of power achieving equilibrium. As Odhinn sacrificed self to self and gave his eye to gain true vision, so the uncontrolled violence of war (the wolf) is bound by cosmic justice (the god). [emphasis added]

If Tyr and the Fenris Wolf are a single being, at least at conception, then this myth concerns the control of the limbic/reptilian/libidic/violent energies in a single being (Tyr), and in the species. Thor/Midgard Serpent, Marduk/Tiamat, Archangel/Dragon etc. are analogs.

Fenris represents greed or lust for war beyond what is necessary, or for mean/selfish purpose, and the Warwolf can possess nations as well as individuals. The Beast is always a polarized doppelganger, a willed unconsciousness of the Shadow that permits atrocities in the name of dualism (Me/Us good, You/Them bad.)

Because war is a kind of power, it's a hard habit to Jones. A war-god's power, after all, is war. In peace he is usually retired. Since he cannot be defeated, the Violent God must bind himself.

Of war and peace the truth just twists

Its curfew gull just glides

Upon four-legged forest clouds

The cowboy angel rides

With his candle lit into the sun

Though its glow is waxed in black

All except when 'neath the trees of Eden

"Gates of Eden" (Bob Dylan)

Paxson concludes:

One of Tyr's functions is to bind the wolf whether he appears as unbridled destructive fury in nature, the force which impels nations to make war, corporations to rape the environment, or individuals to battle themselves. To serve Tyr, one must learn to deal with both the energy of the warrior and the forces which that energy is meant to control.

The binding of the "battle fury" of nature in conjunction with national destiny and a personal, internal war -- that is, the madness of psychotic nations and/or individuals -- is especially relevant to this essay. Paradoxically, though, a measure of potential to unleashed chaos -- the looming berserker, hand poised over the civilized City -- is requisite to maintaining a balance between chaos and order.

Returning to Bob Dylan's "Lo and Behold": just above the "flaming" or upraised hand may be a yellow "dialogue balloon" emerging from the figure's mouth.

Yet the "dialogue balloon" is empty, suggesting either the occult dimensions of song, or more likely, literal muteness. Supporting the latter interpretation, the yellow-shading extends across the figure's face. No word is manifested, but the potency of the upraised hand (i.e., the figure's gestured-will) is sufficient to raze -- or raise -- the entire metropolis. Power, like the figure's face, is masked and slightly abstracted.

Bob's painting also fleshes-out a comment by Maria Muldaur in Scorcese's Bob-ocumentary, No Direction Home. As Muldaur re-tells the story, a young Bob declines her post-concert offer to dance because "his hands are on fire" -- presumably with the Holy Spirit.

But being with the Spirit and being the Spirit may not be precisely the same. Who is this Spirit? Is it Bob? Is it even a single being?

Bob is hardly mute -- LOL! -- but autistic people often are, sometimes temporarily, sometimes for life. The figure's mongoloid-ish features suggest autism and/or Down's Syndrome, as does the fact that the figure is looking away from the "action." The "action" is not just buildings, but the people of the City. The lack of human depiction combined with the askance gaze is characteristic of autism.

In Lo and Behold, Bob might be representing his own magickal/sonic potency through the figure in red. Bob's "flaming hand" may be raised over the ruined City . . . but I don't really think so.

The figure just isn't Bob-esque. Instead, I think Bob is revealing a functional aspect of a certain "tribe" of persons amongst the human population, with whom he has contact, and through whom he draws inspiration.

He is externalizing his Muse, and displaying its real-world power -- a consciousness concurrent with, yet independent of, his own. The figure is not a projection of Bob's ego, but another being who shares aspects of his consciousness.

It's called music, after all. Not bob-ic!

In Christmas Day 2000, however, whether focusing on the "cockatrice" image, the "black mini-worms," or the Vast Encircling Serpent, there appears no intermediary figure, no buffer, no second-opinion, between the "artist" and the potential/realized threat. Except for Manson's signature, his drawing actually is untitled, as if even a title is too much power to share while Charles stares, fractured and fascinated, at himself.

Both Charles and Bob are powerful sorcerers, of ancient and immanent lineage. Both are servants. Bob probably knows this, Charles might not.

Perhaps one is a maestro, and the other a wannabe, requiring captive audiences -- the difference between fear of God, and plain old animal-fear.

Manson had many music industry contacts in the late Sixties during his singer/songwriter days. Known at that time as "The Wizard," some of his rage may stem from perceived and real rejections by that industry.

In the late Sixties, Neil Young swayed to Charles' song, at least briefly, purchasing a motorcycle for Manson, and apparently recommending him to Reprise Records for a recording contract. To paraphrase the character Amsterdam in Scorcese's Gangs of New York, "It's warmer than you think under the wing of a dragon."

Young once said of Charles:

"He had this kind of music that nobody else was doing. He would sit down with a guitar and start playing and making up stuff, different every time. It just kept comin' out, comin' out. The he would stop and you would never hear that one again. Musically, I thought he was very unique. I thought he really had something crazy, something great. He was like a living poet."

In "Revolution Blues," Young takes on the persona/voice of The Lizard . . . er, I mean Wizard:

Well, I'm a barrel of laughs with my carbine on

I keep 'em hoppin' till my ammunition's gone

But I'm still not happy, I feel like there's something wrong

I got the revolution blues, I see bloody fountains

And ten million dune buggies comin' down the mountains

Well, I hear that Laurel Canyon is full of famous stars

But I hate them worse than lepers and I kill them in their cars.

The final line is the giveaway -- killing people in cars is the Zodiac's M.O., not Manson's -- but Young is correct in connecting the two.

The Laurel Canyon "stars" mention is a lyric doppelganger. Young may suggest that Manson and Zodiac are hunting the "celestial host." Ritual blood-magick relies on the potential "charge" available from victims. When it comes to "paradice slaves," quality counts!

Young's reference to "lepers" conjures an Antichrist imago. Instead of curing and loving lepers, Young-as-Manson hates them -- though not as much as "stars"! Further, one of the most memorable characters in Kingdom of Heaven was Baldwin, the masked Leper King.

Now -- if you've survived this far, poor thangs!! -- compare Manson's drawing with the python-eats-gator A.P. photo at the top of this post. The crocodile, as we've already established, is related etymologically to the cockatrice. Words have hyperphysical dimensions, just like embodied entities, and etymological relation infers both spiritual and material connectivity ("In the beginning was the Word," etc.)

In both photo and drawing, the cockatrice/crocodile appears to burst, grow, or extrude from the "main body" of a Great Serpent.

It takes a dragon to whup a dragon. And most often, as with croc and python, or with Thor and Jormungandr, they croak each other.

Good conquering evil makes good teevee, but down here in Zooville, 'mongst the fields of grey, it's a bit more practical. We hope the Lesser Evil can conquer the Greater Evil. (Then we usually scapegoat and dispose of the Lesser Evil, enjoy the Atonement Rush, pretend We're The Good Guys, and start the Loonie Loop all over again!)

Talk about a "Ring of Power."

Sorcery, shamanism, necromancy, and the modern glut of magico-occult practices are not games. The more they are discounted as mere popular entertainments, the more effective become their practices and adepts.

We inhabit a profoundly strange world, to say nothing of the universe. Both are quite alive -- if, perhaps, not quite fully conscious. Both are stranger than we can imagine.

Much stranger.

Quite a caution.

Whatever Charles Manson and the Zodiac were doing, whatever they were involved in, they are still at it. Big-time and full-time.

One of Manson's overarching interests in murder/sacrifice/occult activity was to trigger the Healter Skelter Race War, prinicpally between American whites and blacks. Because no massive conflict has erupted since the Tate/LaBianca killings, common assumption is that his attempt to manifest race war failed.

How does this drawing make you feel? Is Charles Manson Grendel the Monster, or Beowulf the Hero? Because whatever's happening in that drawing wasn't over-and-done-with in 1969. Manson's Christmas Day 2000 isn't a retrospective. It's his willed prophecy, and his will is very much alive.

Manson's Jormungandr, Midgard Dragon, Great Serpent, wraps around the southern border of the U.S. like an old lover, and makes landfall, perhaps, around the "Africa of the West," New Orleans. The reactions of the Federal Government and the American public to scenes of New Orleans deluged -- many of the stranded being black -- was mixed, to say the least.

Hear That Long Snake Moan, Michael Ventura's devolutionary essay on New Orleans, voodoo, sex, rock 'n roll and sundry other matters pertinent to our subject, helps reveal the occult/spiritual undercurrents that shaped America and not only produced Manson and Zodiac, but mandated them.

They are powerful limbic currents, enatiodromic and ouroboric. On the LaBianca walls, "rise" was written, perhaps a blood-prayer to Manson's cobra, rising from the Atlantic, swollen, voracious, and preternaturally intelligent. "Race wars" need not be won by armed combat; a civilization can also be overturned culturally -- flooded by its mojo, sauteed in its Primal Juice, dipped in its magic cauldron, cooked in its own Melting Pot.

McCartney's song "Helter Skelter" (1968) is a prototypical shamanic descent, in which the narrator, with casual cynicism, describes his spiral incarnation into sub-lunary matter and subsequent descent to "her" -- Earth and its inner Kore, who is likewise experiencing her own nekyia or descent.

Of African/voodoo drumming, Ventura comments:

The drumming and dancing together form an entity from which, in Metraux’s words (and my italics), “emanates a power that affects the supernatural world... If the music and dancing please the spirits to such an extent that they are affected, even against their will, then it is because they themselves are dancers who allow themselves to be carried away by the supernatural power of rhythm.”

Helter Skelter is not over. To say nothing of 9/11, something shifted, something loosened in the American experiment with Katrina and Rita, and much of it concerns racial/cultural assimilation (or non-assimilation) -- the hairline fractures in the American fabric that Charles expresses so poignantly by hand.

And that's to say nothing of the Great Rift, the broken bond between female and male in America and the modern West.

Sorcery and spiritual warfare have always co-existed, hidden, running alongside objective/mundane events. As in the parallel structure of Scorcese's Gangs of New York or Scott's Kingdom of Heaven, or in the artwork of Charles and Bob, our generation is witnessing the scaffolding of power, the hidden hand.

Spiritual awareness and adeptness -- including the darkest aspects of such adeptness -- is the technology of the new millennium, and it is fully resolvable with rationalism and science.

In Stephen King's Christine the protagonist, carrying the feminine christos, says:

It was as if I had seen a snake that was almost ready to shed its old skin, that some of the old skin had already flaked away, revealing the glistening newness underneath.

In the Cthulhu "mythos" of H.P. Lovecraft, the ocean depths are inhabited by the "Deep Ones," a humanoid race grown gigantic in stature and power after milllennia undisturbed.

They can also function, less optimally, on land, and "gigantic" approximates Biblical and apocryphal usage of "giant" -- not physical stature, but great occult/spiritual/mental potency carried across millennia.

Home base of Lovecraft's Deep Ones is the undersea city of Y'ha-nthlei, lying just off the Massachusetts coast [ahem], and their principal contact-point is the "fictional" town of Innsmouth, MA and the land-based "Esoteric Order of Dagon," it's land-human interface "religion," that itself uses Masonry as its own front.

The Esoteric Order worships the Great Deep Ones: Father Dagon and Mother Hydra who, like their fellow Deepies, survive a-la-Moloch, via human sacrifice.

In his "story" titled "Hydra," Henry Kuttner reveals that the "sacrifice" extends beyond the physical plane, and again reminds us -- like Zodiac -- of the inner intent of those seeking "paradice slaves," particularly in our Era of the Mass Mind:

There are innumerable tales of multi-headed monsters, all springing from the actual entity of whose real existence a few have known through the ages. This creature did not originate on earth, but in the gulfs Outside. It was... a vampiric entity, living not on the blood of its victims but on their heads—their brains... Through the eons this being has ravened in the abyss beyond our dimension, sending out its call to claim victims where it could. For this entity, by absorbing the heads and brains of intelligent creatures both of this world and of other planets, emerges with its powers and vitality greatly augmented.

Kuttner's "fictional" description accords with other "nonfictional" texts, which assert that the Great Serpent -- at least in essential aspect -- dwells outside of time -- and is therefore not subject to the usual forms of confrontation, control,, or destruction

Wikipedia, paraphrasing Kuttner, describes the Serpent's method:

The Hydra's worshippers trick others into sending the god sacrifices through a pamphlet known as On the Sending Out of the Soul. The last page of this pamphlet contains a magical formula for projecting oneself astrally. If followed, the formula works as expected—the user is harmlessly transported in astral form to whatever destination is desired. However, unbeknownst to the user, the ritual also brings the subject into contact with the Hydra. The Hydra then merges with the subject's astral self, using it as a host. Anyone present at the place where the astral traveler appears is decapitated, the victim's head taken to become part of the Hydra. Afterwards, the astral traveler is returned safely to his or her original body, suffering no ill effects, except perhaps receiving a terrible shock from what he or she has seen.

In Japanese mythology, the Many-Headed-Serpent is called Yamat no Orochi, and in Greek myth, The Lernaean Hydra.

Note the cockatrice-clawed feet. The multiple heads connote wide organization under a single "authority" or subtle-"Body" (fill in the occult organization of choice), as well as vast intelligence (e.g., CIA, fraternal orders). The crowns suggest earthly power, and here it helps recalling that, as Time Magazine reported, ALL American presidents are descended from European "nobility," and our last two Presidential "candidates" were (and are) BOTH members of Yale University's necromantic Skull-and-Bones society.

Also, check the illustration of the Lernaean Hydra above -- the the circle-within-circle "scales" on its back match Manson's "bone-rings."

The Hydra's spiral tail is meant three-dimensionally, as a "track" that leads not simply around and around, but also DOWN -- into chthonic regression, fulfilling the Hydra's role as Gatekeeper of the Underworld.

If one were a nation "surrounded" by such an energy/entity, one would expect to find violence, overt sexuality, ecstatic experience, and regression to chthonic matriarchy. Sound familiar? LOL

Unsurprisingly, in Greek myth the World Serpent/Hydra/Midgard Beast was (is) a creation of the Mother Goddess, working in alliance with her "son," designed and functioning as "sleeper agents" of primal power. Though in the Greek myths it's Heracles who kills this entity, the individual's name is unimportant (Thor, Perseus, St. George, Marduk, etc.).

The motif is of a mortal or semi-divine human male (i.e., incarnated repeatedly), in deadly conflict with this avatar of the Great Mother (Hera to the Greeks) who represents not merely planetary rulership, but heavenly or extraterrestrial dominion. The struggle takes place "on Earth," because that is the center of materiality -- the most dense plane. But its repercussions are celestial.

The artwork of Bob and Charles document the "rising of the Id Monster" in post-war North America, the unleashing of our individual and collective doppelganger, our Shadow. Fundamentalist regressions (e.g., political correctness, prison-economies, evangelical politics) subsequently entrenched dualism, as a way of "holding back the tide." (Bush Administration's "Evildoers," feminism, etc.)

These strategies comfort the psyche with Me Good/Thou Evil fortifications, yet the Monster feasts ever more voraciously. The will to deny evil in ourselves, our identity group, race, religion, nation -- whatever -- allows us to create new scapegoats, new Sacrifices to nourish the Beast.

The Shadow is thrust out and projected, precisely as in the ancient world. Apparently, in order to recognize the evil in ourselves, we must undergo history, to remind us what Greater Evil is -- black blotches upon the land, great city towers in ruins and soot.

Like all apocalyptic events, Ragnarok is humanity, and the planet itself, harrowing the crucible of full self-awareness, of full responsibility -- with all attendant birth-pangs . . . Hyde emerging from Jekyll, crocodile from serpent's belly.

It's a small universe, there ain't nowhere to run. Yikes. And that's the Good News!

By the looks of ole Chuckles' loverly work of "art," our sorry asses is surrounded.

Either we own that Shadow, or it owns us, and one by one, as nations and individuals, we become paradice slaves.


Tom: Do you want to say anything about what Brent meant by Oz?

Nick: Yes. Oz you. Tom Perry wo you. Rot tutu zoo OE Jojo! ( He may have mentioned Perry here because I had just talked to him on the phone. The statement about Jojo [Geof] is significant. It fits in what was said before about the more destructive type of signs that I would see in the comming year that I believe are directly related to this project.)

Tom: What’s Nick trying to say here Geof?

Geof: Torture it. Rotog to toll.

Tom: Rotog?

Geof: Rok w/k. (2/97 ? Got me)

-- quoted from Qim Tunes


Thanks to J.L. and crew for help with this post. All ashore that's going ashore!


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