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Wednesday, September 30, 2009

The Qabalistic Poetry of OZ



The 70th Anniversary box set DVD for The Wizard of OZ came out yesterday, the same day as Ghostface's new album entitled Ghostdini: The Wizard of Poetry in Emerald City. I looked up the numbers in yesterday’s date (9/29=929) in David Godwin's Cabalistic Encyclopedia and found that 929 is synonymous with the Palace of the Supernals on the Kabalisitc Tree of Life. The Supernals, or Divine Triad, are the highest spheres on the Tree of Life.


If you look at the back of Ghost’s CD, you’ll see a palace with three towers (3 supernals) behind a lake. This lake is the Daath, the hidden Sephirah in front of the 3 Supernals on the Tree of Life. Ghost’s album has 3 executive producers (Ghostface, Mike Caruso and LA Reid) and is released in the astrological house of Libra (9/29). The official color for Libra is green (Emerald City) and it’s the most prominent color on the covers of both the DVD box set and CD (naturally). Also, the astrological house of Libra is ruled by Venus the Goddess of Love and Beauty. Ghost has nothing but love songs on this CD.


Then when you add 9+2+9 you get 20. 2+0=2. The 2nd sephirah on the Tree of Life is “Chokmah,” which means “Wizdom” in Hebrew. A Wizard is one who excercises wizdom in the practice of the spiritual sciences. Ghost is/was a God Body, (5 Percenter) one who believes that “God” is actually an acronym for “Gomar Oz Dubar” which they say means “Strength Wizdom & Beauty”. Ayo, this math is like ziti!!! Just dishing a little food for thought…..

Sunday, September 27, 2009

The Nexus of T.I.M.E.



Time travel can be achieved by tapping into the Nexus of T.I.M.E. (The Inner Mind’s Eye). The Nexus is a psychic gateway through which an individual can access the past, present and future all at a moment’s notice. Each individual’s experience of the Nexus of Time is unique, because we all have our own set of incarnational experiences within what we call the past, present, and future. The Nexus, to varying degrees, enables us to absorb the emotional residue of these incredibly powerful experiences without revisiting them in their entirety . Depending on the nature of the experience, this fact will either leave you feeling resentful or relieved.

You could be alone in deep thought or have a mentally stimulating conversation with a friend, then suddenly, you are splashed with what seems to be an odd cocktail of emotions. You feel anger, fear, joy, ecstasy, and profound anticipation all at once. You may even have visions (I have not had such visions, but I imagine that some people might). This short, but jolting psychospiritual experience which is usually accompanied by chills, goosebumbs and a head-swelling sensation, makes you feel as if you are literally experiencing the collective consciousness of the entire world populace at once.

However, it is not the collective consciousness of humanity you are experiencing, but those of all your past incarnations which may number in the hundreds or thousands. Each incarnation is connected to your Oversoul, a living astral intellect that stores all of your incarnational experiences like a hot air balloon stores air…..All of your past, present, and future incarnations are actually occurring right now as you are reading this blog. This may sound strange and ridiculous to some readers, but we must consider the fact that the human mind falsely perceives reality through the frame of space-time. Since we can only perceive reality from moment to moment, we separate it into past, present, and future. In truth, they are all part of one unified whole. Everything that has, is, and will happen to you is happening right Now. Time is static and unmoving. It is human perception that moves through time.

Imagine you’re watching your favorite movie on VHS. As you watch the movie you witness the entire story unfold before your eyes on the television screen. While you are enjoying the movie you understand that it is not being written and directed as the tape rolls along in your VCR. The movie’s beginning, middle and ending was already determined before you popped the video into the machine. It’s already on the tape.

After watching the video, you reflect on the movie and think about all of the exciting scenes and characters you just saw. Most importantly, you remember the emotions that each scene and character aroused within you. Some were “positive” while others may have been “negative.” The Nexus of Time that I speak of is a psychic bridge that connects you to your Oversoul, which is like a Blockbuster Video store on the astral plane. Within your Oversoul there are hundreds or thousands of movies that you can rent and experience. The difference here, is that each video in the store tells a story about one of your many lives since incarnating in the physical.

Some are comedies, others are thrillers, many are dramas. Most are a combination of all three. Each movie has its own scenes and characters arousing a broad range of emotions within you. However one of the major differences between your Oversoul and the actual Blockbuster Video store down the block, is the fact that in your Oversoul, YOU have a starring role in each-and-every movie. In some movies you’re the leading actor or actress, while in others you’re the supporting actor or actress. In a few instances you might even be an extra whom nobody notices. The bottom line is that you are a part of the story and all of your fellow co-stars, whether minor or major, have some impact on your soul’s development within the film. Your current incarnation is one of several written, directed and produced by your Oversoul.

The Nexus, which grants you access to your Oversoul, does not exist beyond your fingertips. It’s inside a tiny structure between the two hemispheres of your brain called the pineal gland. It resembles a woman’s clitoris in its appearance and is sometimes called the “Third Eye” by occultists. The Nexus is often accessed through lucid dreaming or deep meditation which stimulates and arouses pineal gland function through the resurrection of Kundalini (also known as Jesus/Lucifer; Book of Revelations 22:16 ). Many of us have passed through the Nexus of Time in our dreams, and during waking consciousness, at one time or another. However, most of us don’t remember it when we wake up in the morning because we don’t get enough sleep. I’m still trying to get this right myself.

The less sleep you get, the less access you have to the deeper recesses of your mind. Therefore, the best way to ensure that you remember these dreams is to get lots of sleep, at least 10-12 hours a night. Yet given the time constraints that school, the job and the career place upon our lives, these long hours of slumber are not practical for most of us. For those who can’t sleep 10-12 hours a night on a long term basis, you should at least try it from November 24 to December 21. Mark it on your calendar.

The sun’s intensity is least felt during this 28-day cycle. This is a good thing because sunlight inhibits the production of serotonin, a neurochemical that helps you to access the Nexus of Time. People who are highly Melinated are already protected from the sun’s powerful rays. Those who have little or no meleanin are Third Eye Blind. Getting lots of sleep in the year’s later months, along with drinking large amounts of water, makes access that much easier for people of color. Meditation is also encouraged, but it can take years of practice before you can time travel. Personally, I have not developed the ability to Time Travel through meditation like the Yogis of India, so I cannot speak on the benefits of meditation in achieving this end. For those of you who doubt that astral projection—one purported means for time traveling—is real, all I can do is shake my head and say: YOU HAVE NO IDEA. I followed the directions in Gavin and Yvonne Frost’s book, Astral Travel in January of 2002, and have been a Knower on this matter ever since. Don’t take my word for it, though. Try it out for yourself.

Through the Nexus of T.I.M.E. you can access the day you were eaten to death by a crocodile fuckin’ around in the Yucatan, high off peyote and ayahuasca. That wasn’t a pretty Olmec girl on her back with her luscious legs spread motioning to you to “come get it.” That was a crocodile waiting for your dumb ass to come closer so he could make up for that tasty breakfast meal that got away earlier that morning. You should have been picking those bay leaves like your mom told you to instead of getting high in hostile territory.
Through the Nexus you can also access the day the Nagas (Niggas) descended from the heavens to oversee the construction of Cambodia’s Buddhist temple of Angkor Wat; the night you and your Ethiopian brethren danced around the Ark of the Covenant after chasing the Italians out of Adowa.

These experiences span the course of centuries and have different storylines. In some of them you were male in others who were female.All of our life experiences, whether “good” or “bad” are necessary for our souls to grow and achieve understanding. God and Satan represent the two polarities of your spirit that force your soul toward the center, which is balance. Satan is no more an enemy of man than God is. For those Christians who doubt this fact, I ask why did God make a deal with the Devil in the Book of Job (1:6-12). Also consider the Book of Isaiah 45:7. It’s just an inversion of the Good Cop-Bad Cop concept. Everything works toward the cultivation of your soul. You couldn’t get around it if you tried. Anything that resembles such is merely a detour on your road to glory.

Tuesday, September 22, 2009

The Occult History of Contemporary Black Music (Pt.2 of 2)




The internet has made it so much easier for artist to get their music out to the public so you really have to be savvy and know what digital cracks and crevices to look in to find that authentic hip-hop music. In 2009 the Slaughterhouse, Raekwon and Ghostface have reminded us of the days when emcees rhymed with passion and took their art seriously. However all of those men are children of the 1970s. Younger artist must come forward to keep the tradition of Black music alive and define the sound of for this era.

In her book, The Psychic Vampire Codex, self-proclaimed vampire Michelle Belanger tells us what a real vampire is from a practicing vampire’s perspective. She says that most vampires do not drink blood (sanguine vampires) as you saw in the movie Blade Trinity starring Wesley Snipes. Instead, they absorb a person’s life force by feeding off of their emotions and attention (psychic vampires). Belanger explains that “psychic vampires have many different reasons for why they need to feed. Some believe that they feed as a result of a physical or spiritual ailment that has reduced their own vitality....Some psychic vampires believe that they have an imperfect connection to the universal sources of energy that fuel ordinary people” (pgs. 6,7). This aptly describes those vampires who get fat off of Black music and culture by using it as a mere commodity to be marketed and sold.

Like Belanger said, they are cut off from the universal sources of energy because they don’t have the carbon-based melanin necessary to process it. However, Black people do. Since vampires cannot tap into the universal mind, or even the ambient energies that emanate from it, they are unable to create original music that appeals to people of all races. They wait for Black people to do it so they can leech off of them and take all of the credit afterwards. However, the Priesthood of the Undead prefers not to feed off of authentic Black music because its energy vibration is far too intense.

When African American artists were recording some of their most inspired music between the 1920s and 70s the vampires could afford to let them slide because they were already having a smorgasbord with World Wars I and II, the Korean War and the Vietnam War. The fear, death, and destruction generated by these dreadful events were more than enough to satiate the psychic vampires who started them in the first place by applying the Hegelian Dialectic. Nevertheless, they were always looking for their next feeding source. One of their favorites is Black culture.

The blues, jazz, and rock gave African Americans the spiritual food they needed to overcome specific challenges of the 20th century. When they got the nutrients they needed from these foods, they pushed the excrement of their artistry into America’s toilet bowl so the culture flies could feast on it as they had no other reason to exist. Since African Americans have taken longer than expected to have a hip-hop bowel movement, the mainstream media and record companies are forcing them to “drop it like it’s hot” and the smell is nothing nice.

Most of the sonic sludge passing for hip-hop nowadays is pathetic. The vampire priesthood prefers trash that sells because when they feed off of your emotions they have to make sure that it is within their own carrying capacity. Thoughts and emotions that lend life and vitality to us would cause them to explode like Unicron in Transformers: The Movie. These sadistic creatures are like coke heads who experience a brain-numbing high from metaphysically snorting your pain, suffering and stupidity. 

These patron saints of niggerdom seek to absolve millions of Black youth of their morals and integrity by promoting good old American values such as sex without respect (Thomas Jefferson and Sally Hemmings), violence (the Trail of Tears), drugs (crack, cocaine, heroin, LSD, Ecstasy) and a lust for money (Enron, Savings & Loans, 2008 housing crisis). All of those things cause your spirit to vibrate on a low energy frequency which makes you food for the gods of the zodiac who maintain the Glass Ceiling of your awareness. The same can even be said about much of the “conscious rap” because the issues that it revolves around are usually tired and predictable.

The solution to the dilemma in Black music today is simple, but very hard to achieve. Hip-hop, soca, calypso, kompa, R&B, and reggae artists must fuse their respective powers to activate the crown charka of the Black world collective. They must stop selling trash to their community, because in doing so they only feed the vampires who live off of their creativity as pointed out before. To ensure that the bleeding comes to an end, Black recording artists—spanning a broad range of musical genres—must form a union designed to put full creative control in their own hands. Progress will not be made if Africans are separate forever. Black recording artists of the world unite!

The Occult History of Contemporary Black Music (Pt.1 of 2)



Unless you’ve spent the last decade of your life in a hermitage, it’s quite clear that hip-hop has become the new face of American pop culture. From Flatbush Avenue, to Madison Avenue, its power is felt and acknowledged by all.


Naïve and highly impressionable young Blacks will interpret its cultural dominance as some indication that they have finally been embraced by the loving arms of white America. In all actuality, they couldn’t be further from the truth. Hip-hop isn’t taking over white America. It has been co-opted by its most trusted corporate entities. The implications are dire for the music that hip-hop culture created, because whenever a genre of Black music fully assimilates into the American mainstream it usually means that it is about to die.


Jazz, the Blues, and Rock & Roll—which were all created by African Americans during the 20th century—may still have a strong following around the globe, but none of them carry the same cultural relevance that they did in years past. The primary reason for this, as we will discover, is the spiritual evolution of African Americans living under hostile and oppressive conditions. African Americans created each genre to fulfill a specific need, and when that need was met they moved on to create something totally new. Hip-hop music, in stark contrast, is breaking this century-old pattern as it is being forced into an early grave by Psychic Vampires.


What is particularly alarming about this trend, is the fact that no nationality within the African Diaspora has created a new genre of music within the last 25 years—an astonishing fact for anyone who knows the history of Black music in the Western Hemisphere. It almost seems as if Black people have suddenly lost their creative impulse. Perhaps, they may have become a bit too complacent….No matter how you look at it, it is safe to say that Black recording artists will not be a major cultural force in the global age unless they can fuse their ideas, sounds, and cultures to create a thriving new African centered soundscape.



Men and women of African descent are unrivaled in their contributions to the wonderful world of music. To highlight all of those contributions here would be impractical, as it would take us far beyond the scope of this particular blog. Therefore, we will use African American music as a microcosm of Black world music given its global reach, popularity, and variety of sound. Together we will examine the catalysts behind its metamorphosis, the impact it had on Blacks here in America, their enemies, and how it is being used to undermine the progress of Black people around the globe today.

Black artists like Robert Johnson, Miles Davis, Bo Diddly, Chuck Berry and Jimi Hendrix weren’t just great musicians. They were, and remain, cultural icons who shaped the way we thought, the way we felt, and the way we lived. When you listen to Hendrix play the electric guitar you’re not just listening to a musical instrument. You’re listening to a man’s soul put to musical scale. Hendrix’ mind traveled so far out into the cosmos that when he came back to Earth on his Band of Gypsies album the Afronaut gave us a totally new genre of music: funk. Eric Clapton, Led Zeppelin, The Beatles and The Rolling Stones made some great contributions to rock, no doubt, but even they have identified Hendrix and other Black pioneers of rock and blues as their favorite feeding sources, I mean, artistic inspirations.



By the time the 1960s rolled around, Blacks in America were beginning to distance themselves from jazz because as a thinking man’s muse it did not provide them with the emotional outlet they needed to express their feelings during one of the nation’s most turbulent periods. The blues did, but its lyrical themes usually reflected a fatalistic interpretation of life. It gave African Americans a chance to vicariously express their pain and suffering through blues artists, but it never gave them a sense of hope or feeling that their quality of life would improve. Sam Cooke (“Change Gonna Come”) and Marvin Gaye (“Love Party”) did. In addition, the blues music industry was one of the must corrupt in the nation’s history. Even the best artists of the day were cheated out of their rightful earnings, which only discouraged the young talent that could have powered the music forward.

Hendrix was probably the last of the legendary Black musicians to play rock after it reached its peak popularity within the African American community. The factors that contributed to its loss in popularity were primarily metaphysical. For one, rock & roll music is purely based on sexual expression. The guitar itself is a phallic symbol and those who play it from the soul are simulating masturbation. This assessment would sound ridiculous to those who do not view history through a metaphysical lens of perception. However, one must understand that Black men were burned, lynched, and castrated across the United States in record numbers during the 1950s (Emmitt Till). Coming on the heels of this phenomenon was a new wave of Black recording artists who rolled up from behind and rocked white America from the rear.


In an effort to fight against the terrorist acts perpetrated against them, Black men found an artistic means of flaunting the very thing they were enviously being murdered for: their sexual dominance. Throughout its history, rock has always been the music of rebellion in its many forms. This is because it was born out of rebellion; the Black man’s sexual rebellion. Whenever you see a rock star holding a guitar, know that they are actually holding the dismembered penis of the Black god Osiris.



According to Eastern philosophy, all sexual energy comes from the root chakra, or vortex of light, located at the base of your spine. The R&B coming out of Motown on the other hand was based on love, and love—not sexual expression—was what African Americans needed most to whether the social, political, and economic storm that they faced in the decade that followed. Love emanates from the heart chakra, which is synonymous with a higher level of spiritual development. The R&B songs of the 1960s continue to touch millions of people decades after they were made because they speak directly to the human heart. The class and race struggles of the ’60s forced African Americans to alchemically raise their spirits from the root to the heart chakra and this transition was reflected in the dominant musical preferences at the time: R&B.



As a result, when Hendrix died on Sept. 18, 1970 there were no other Blacks available to take rock to even higher creative heights. That’s why you ended up with shitty bands like Kiss, Poison, and White Snake in the decade that followed. As weak as they were, they made tons of money off the Black man’s creation. So did the major record labels. But when the gods who made rock what it was suddenly abandoned it, you still knew that the music as an art form was running on borrowed time. With rock having one foot in the grave, greedy old white men in corporate boardrooms needed a reason to live. That reason turned out to be hip-hop music. When you listen to songs like “Paid in Full” by Rakim or “C.R.E.A.M” by the Wu-Tang Clan, you’re listening to young Black men with nothing giving you all that they have: their hunger, wit, style and passion. Sure the lyrical content wasn’t always “positive” but it gave you an opportunity to hear what was really on a young Black man’s mind.


It is for this reason rap music—in its purest form—signifies the activation of the brow charka, where man comes face to face with his own divinity. The men who made classic hip-hop music did what all great artists do: they upgraded their art form by raising the bar for creative excellence. You can’t say the same about most of today’s high profile acts.

Another reason why you don’t see another Big Daddy Kane (a lyrical beast with style, natural charisma, street credibility and Knowledge of Self) springing up in the business is because of the internet revolution. Rap music came as a result of young Black men in the Bronx, New York having few outlets for creative self expression since the instruments were taken out of the schools. Yet with the various forms of media available today on the net (blogs, Youtube, blogtalkradio etc.) most young Black men have viable outlets to get their thoughts and ideas out to a large audience, so the angst you had among young Black men in the mid 1970s, 80s and 90s is not as prevalent today.

Also most children in high school today have parents who came of age at the tail end of the civil rights movement. Unless they have culturally responsible parents, these kids don’t relate personally to the struggles of the Civil Rights movement. It’s ancient history to them. Actually, they don’t relate to struggle at all so there’s no tension, no fermentation of the soul. These Kali Yuga Kids are spoiled and complacent. However they are far more intelligent and have a lot more potential. That’s just my opinion, though.

Monday, September 21, 2009

The Occult Meaning Behind the Game of Baseball






Monotony is the mother of revelation. That was my thought as I attended a horribly boring Mets baseball game this past August. The more you immerse yourself in the study of metaphysics, mythology, and cosmology, the more these concepts filter through your observations about things that most people would consider trivial.

Occult themes and concepts have become the very foundation for much of what we call popular culture. They're in the movies, they're in advertising, and can also be found in America's favorite pastime: baseball.


The diamond on the baseball field is in fact the square and the compass of Freemasonry. Freemasons often refer to God as the “Grand Architect of the Universe,” who would naturally correspond to the Kemetic god, Ptah, the original Inspector General. The Pitcher on the mound is Ptah. We know this because according to ancient Kemetic cosmology, as it is recorded on the Shabaka Stone, our physical universe came into being when the god Ptah arose upon the primordial mound from the celestial waters of Nun carrying the god Atum (from whence you get the word “atom") on his shoulders.


Ptah gave birth to nine gods, often referred to as the Ennead. This is why there are nine innings to a baseball game. The nine innings in the unfolding of a baseball game are symbolic of the nine gods, who in turn represent the nine stages involved in the birth of our physical universe.


There are 33 degrees in Scottish Rite Freemasonry and 3x3=9. Symbolically speaking, an Inspector General is supposed to represent one who has attained mastery over himself, and consequently, his environment. A Master of the Royal Secret, on the other hand, has only 32 degrees which is the freezing point of water. When we marry Freemasonic thought to scientific fact, we can conclude that a Mason is still frozen in a catatonic state of ignorance unless he gets his 33rd degree, because his soul has not been thawed by the light emanating from the mind of the Grand Architect. And even then, he's not even hot. In order for him to reach his spiritual boiling point he would need “Moor” fire.


Those of you who read my blog entitled “The Collapsing House of Mirrors” may remember that Ptah, is also the Demiurge spoken of in the early Gnostic scriptures. For more on the Demiurge you might want to check out the complete Nag Hamadi Library (It’s a collection of various Gnostic scriptures, not an actual library). For those of us on the path of spiritual liberation the Demiurge is the "Bad Guy" but this is actually a matter of our human perception which is firmly entrenched in the polaristic pleasure-pain, fight or flight dynamic.


The Demiurge uses our animal appetites against us (so it appears) for the purpose of keeping our souls locked in the Dead Zone. This is the true meaning behind the fictional crucifixion. It represents the tragedy of pure spirit being trapped in the dregs of matter. Nothing more, nothing less. A cross contains four 90 degree angles, which represents the four elements (fire, air, water and earth) of matter. When we submit to the whims of our lower selves our spirits are crucified on the elemental cross of matter.


Given that a cross consists of four 90-degree angles, we know that there are 360 degrees in a cross. There are also 360 degress in a baseball diamond since a diamond is made of two triangles which are 180 degrees each. Have you noticed that if you add the digits in each of the four numerical references in this paragraph, they all add up to nine (e.g. 9+0=9, 3+6+0=9)? Multiply these nines by four and you get 36, which brings you back to 9 again (3+6=9).

There are no other numbers past nine. Every other numerical value that comes after the number 9 is just a reconfiguration of the first ten numbers (zero being the first) in our numerical system. This is because numbers are the markers for places and things in the physical universe which has inherent limitations. The universe may be expanding as many scientists propose, but there are definite constraints on this expansion which we will all realize eventually. Does the so-called “Big Bang” mark the birth of our universe, or the death of an older one? It doesn’t have to be one or the other. It could be both.


Like the cross, the baseball diamond is emblematic of the the realm of matter, Malkuth, which is under the dominion of Ptah. However, there is an interesting paradox as it relates to Ptah's role in the progression of our spiritual careers. By challenging us, Ptah the pitcher, is actually helping us to build the muscle and develop the hand-eye coordination that will enable us to escape the world of Maia, and return to the stars from whence we came. This is the true “Home Run.”


Ptah pitches obstacles and challenges at us over the course of our lives and it’s our job to bat them out of the ballpark (the ballpark being the Kabbalistic world of Assiah, the plane of solids, liquids and gases which we currently occupy). The bat that you use to accomplish this is your pineal gland, which is a tiny pine cone shaped organ resembling the female clitoris in the center of your brain that becomes stimulated once you become enlightened.


This is the true "light that taketh away the sins of the world." The pineal gland is also known as the “Third Eye,” which gives you “sight beyond sight” as Lion-O(siris), Lord of the Thundercats would say. The white ball blasted out of the park once it connects with your bat is symbolic of you leaving this density as a white orb of light following your final incarnation.


When you fail to cultivate your mind, the love in your heart, and build courage, then you strike out in the game of life and must return to the dugout (the ancestral realm) until your number is called again. I'm going, going, gone. Actually, I'm Already Home and so are you.