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In Greek mythology, Daedalus (/ˈdɛdələs ˈdiːdələs ˈdeɪdələs/ Greek: Δαίδαλος Latin: Daedalus Etruscan: Taitale) was a skillful architect and craftsman, seen as a symbol of wisdom, knowledge, and power. He is the father of Icarus, the uncle of Perdix, and possibly also the father of Iapyx. Among his most famous creations are the wooden bull for Pasiphaë, the Labyrinth for King Minos of Crete which imprisoned the Minotaur, and wings that he and his son Icarus used to escape Crete. It was during this escape that Icarus did not heed his father's warnings and flew too close to the sun the wax holding his wings together melted and Icarus fell to his death.
The Minotaur in Context
Some scholars suggest that the myth of the Minotaur arose out of ancient rituals in which a priest or king donned a bull mask before performing sacrifices. The Labyrinth may have represented the ancient palace at Knossos on Crete, which was a sprawling complex of chambers and hallways. In addition, the tale reflects ancient Greek ideas about women and infidelity. Unlike many male characters in Greek mythology, Pasiphae does not seek to love the bull, but is forced to do so through the magic of the gods. This reflects the much lower incidence of female infidelity in ancient Greece. However, the child she bears is hideous and must be hidden from the outside world, which also reflects the enormous stigma—social disapproval—that was attached to wives who were unfaithful.
The Origin of the Minotaur
Minos was one of three sons of Zeus and Europa. When he eventually left her, Zeus married her off to Asterios, the king of Crete. When Asterios died, Zeus' three sons battled for the throne of Crete, and Minos won. To prove he was worthy of the rule of Crete, he made a deal with Poseidon, the king of the sea. If Poseidon would give him a beautiful bull each year, Minos would sacrifice the bull and the people of Greece would know he was the rightful king of Crete.
But one year, Poseidon sent Minos such a beautiful bull that Minos couldn't bear to kill him, so he substituted a bull from his own herd. In a rage, Poseidon made Minos' wife Pasiphae, the daughter of the sun god Helios, develop a great passion for the beautiful bull.
Desperate to consummate her ardor, Pasiphae asked for help from Daedalus (Daidalos), a famous Athenian sorcerer and scientist who was hiding out on Crete. Daedalus built her a wooden cow covered with cowhide and instructed her to take the cow near the bull and hide inside it. The child born of Pasiphae's passion was Asterion or Asterios, more famously known as the Minotaur.
The Minotaur comes from Greek mythology. He was the son of Pasiphae and a bull. Pasiphae was married to the King of Minos. The King made the god Poseidon angry and the Poseidon turned Pasiphae into a bull. She had sexual relations with the King’s prized bull and got pregnant. The result of this union was the Minotaur. Minotaur had the body of a man and the head of a bull. King Minos did not want to look at the Minotaur so a great maze was built where the King kept the Minotaur. The Minotaur would be given maidens and youths occasionally to eat. He would hunt them down in the maze and eat them. The maidens and youths were all procured from Athens. The Minotaur was killed by Theseus of Athens with the help of one of the daughters of Minos. Minotaur
The Minotaur was an outcast who lived alone in a maze that he could not escape. A maze can be neverending with paths that come to a dead-end and paths that lead nowhere. Even though the Minotaur was born of Poseidon of the sea, the minotaur could not navigate his way out of the maze. People believed he was dangerous because that is what Minos told them to believe. The minotaur was made dangerous by Minos. Living in a neverending labyrinth with occasional food and no real human interaction will drive anyone mad. Because of this the minotaur sometimes represents the chaos in life and our internal conflict.
The Minotaur was seven feet tall, his arms and legs were like something from the cover of Muscle Man magazine, his skin was vein-webbed. He wore no clothes except bright white Fruit of the Looms underwear. His top half was of coarse brown hair that started at about his belly button and got thicker as it reached his shoulders. His neck was a mass of muscle and fur leading up to his enormous head, which had a snout as long as Percy Jackson's arm, he had snotty nostrils with a gleaming brass ring, cruel black eyes, and enormous black and white horns with points someone couldn't get from an electric sharpener.
From a distance, Percy thought the Minotaur was a huge guy, like a football player, with his top half being bulky and fuzzy. He mistook his horns for upraised hands, thinking he was holding a blanket over his head. But then he saw his huge meaty hands swinging at his sides, making him realize that the bulky and fuzzy mass that was too big to be his head was literally his head.
During the Battle of Manhattan, the Minotaur wore standard Greek battle gear from the waist down. This included a kiltlike apron of leather and metal flaps, bronze greaves covering his legs, and tightly wrapped leather sandals. His was head so large he should've toppled over just from the weight of his horns. He seemed to have grown three more feet after being reformed. A double-bladed axe was strapped to his back.
Torso of the Minotaur - History
What could the conservative Irish-born writer CS Lewis (1898-1963), famous for the Narnia books, and the postmodernist Argentinian writer Jorge Luis Borges (1899-1986), famous for short stories that play in ‘labyrinths’ of meaning, possibly have in common? Well, for one, they share a fascination with impossible spaces and magical worlds. For another, their influences converge in Susanna Clarke and her recent novel Piranesi.
In interviews, Clarke has attempted to engage in the contradictory act of explaining the delicate obscurities and puzzles that are at the heart of her writing. “You start with an image or the fragment of a story, something that feels like it has very deep roots into the unconscious, like it is going to connect up with a lot of things,” she told The Guardian. Yet there is a sense that Clarke’s labyrinths aren’t meant to be solved, but rather dis-solve. Going to her looking for direction may be a waste of time, because even she might not understand them. Not understanding might be essential.
In 2004, Clarke’s debut novel Jonathan Strange & Mr Norrell was published, a charming, dark, eccentric pastiche of Regency literature that defied expectations by going stellar and selling more than four million copies. Neil Gaiman, a god among fantasy writers, called it “unquestionably the finest English novel of the fantastic written in the last 70 years”. It was made into a TV series that preserved its wonderful strangeness. It is a book about the magical things and impossible places that could lurk behind the dull everyday, notably a cold, surreal, sinister faerieland which the careless or unfortunate or power hungry might lose their way in.
The Gothic arch, Italy, 1749: this print by John Wilton-Ely depicts an imagined architectural feature from an etching by the Italian artist Giovanni Battista Piranesi
Now we have Piranesi, a book that isn’t actually about the 18th-Century Italian artist known for his densely intriguing representations of weird (very weird) prison spaces where architecture ties itself in knots. Clarke’s title is merely a witty allusion, but it is incredibly suggestive. Piranesi (the book) is difficult to describe without making a mess of its intricate puzzling plot, but here there are also fantastical spaces that underlie the real and reflect it (or which the real reflects) in distorted and beautiful ways. It is a story about an amnesiac man who is lost in an immense ruined Classical ‘house’ with countless rooms, some partly underwater, others full of birds or gusts of wind and cloud. The book might start out like an intellectual exercise, but if you’re patient with it you find that it isn’t. It turns into a warm book about losing and finding oneself about what humanity could have lost in the process of becoming rational.
Both of Clarke’s novels have an element of the labyrinthine, of impossible geometries or hidden infinities that one has to find one’s way through. In both the Jordan and Miller interviews, and elsewhere, she has talked about her influences. As a child she adored CS Lewis’s Narnia books, and especially The Magician’s Nephew. (A quotation from The Magician’s Nephew is one of the epigraphs of Piranesi.) Later in life she read and was impressed by Tolkien’s Lord of the Rings. When she was in her 20s, she did a night class on Borges.
From Tolkien she may have imbibed the density and complexity of his use of fantasy tropes (a project so vast that it included the construction of more than 15 languages), as well as his gothic, grown-up sorceries. Above all, Tolkien took fantasy seriously. Possibly too seriously. Then we have Narnia: an immense magical multiverse reached through portals such as a wardrobe and peopled with fauns, dwarves, winged horses, talking animals, witches, etc. Piranesi’s (the Clarke character’s) favourite statue is a faun reminiscent of Mr Tumnus from the Narnia books. To pass through a portal to this mystical realm is to risk getting trapped and never finding one’s way back – or finding one doesn’t want to go back. Piranesi seems to be a prisoner in his house of infinite rooms, through which he wanders.
The labyrinth at the Chateau de Villandry, Indre-et-Loire, France (Credit: Getty Images)
Auguste Rodin, The Walking Man
Who decides when a work of art is finished? An initial reaction may have you saying that the answer is the artist, but what happens when the artist’s painting or sculpture goes against preconceived notions of what constitutes a “completed” work of art? Auguste Rodin, a French artist who worked in the late 19th and early 20th centuries, was more interested in rough, blemished representations of the human body than idealized forms. He painstakingly immersed himself in his projects, sometimes spending years in order to develop a work of art, regardless of the public’s response. His sculpture was often judged harshly by the public and by critics (sculpture was in some ways a more conservative tradition than was painting).
Like a painter who reworked an old canvas, Rodin had a penchant for reusing old molds and reworking his earlier ideas. While this was not uncommon among artists, Rodin would continue to alter an existing form until it developed a new identity and a new narrative. Rodin transformed a major work, a bronze sculpture—over the course of two decades—and titled it, The Walking Man.
Auguste Rodin, Saint John the Baptist Preaching, 1878, bronze, 204 x 63 x 113 cm (Musée d’Orsay, Paris)
The Walking Man, started with his c. 1877 life-sized sculpture Saint John the Baptist Preaching (above), considered by many to be Rodin’s first life-sized masterpiece. The figure of Saint John is the embodiment of determination, with his head held high and his feet securely planted into the earthen bronze his body balanced with the right arm extended as a counterweight to the contrapposto turn of his hips. Rodin was clearly interested in representing movement in this statue and continued to explore ways to perfect his “walking man.”
Auguste Rodin, The Walking Man, before 1900 (cast by Alexis Rudier before 1914), bronze with green patina, 85.1 cm high (The Metropolitan Museum of Art)
Power and movement
Rodin reused the widely-spread triangle-shaped stance from Saint John the Baptist Preaching and paired it with, what is thought to be, the torso mold from another earlier project. What resulted was a fragmented figure expressing power and movement. That Rodin was able to accomplish this without including a head and arms is remarkable and startling. The rough, fragmented body nevertheless achieves a solid stance and caused critics to complain that The Walking Man failed doubly it could not possibly depict a man, and it was not walking.
This criticism missed the brilliant risk Rodin had taken. The male figure is posed in a wide stance, with the back foot turned to the side while the front weight-bearing foot is pointed straight ahead. The hips and torso are forward ready to take that much needed next step. The movement and motion is all right there in the arching torso, strong legs, and widely-spaced feet. Including additional appendages was unnecessary and would distract from the powerful combination of mass and movement.
Antoine-Louis Barye, Theseus and the Minotaur (second version), bronze, 50.5 x 34 x 20.3 cm (The Walters Art Museum)
Rodin sculpted a jagged, textured surface instead of the traditionally smooth, unblemished skin that was preferred in the classically-inspired statues of that time (see the Barye sculpture, right). This uneven “skin” enhances the curvature of the calf and abdominal muscles as they tense and twist in preparation for the implied next stride.
The rough surface texture creates a continuous line of movement for the viewer’s eyes to follow. Motion is constant as light and shadow play across the surface. Unlike a sculpture with a smooth surface, light that reflects off of the uneven surfaces highlight its imperfections. Divots become darker and high crests become brighter. As the viewer moves around the statue, the light and dark areas change, appearing to undulate like the swells of the ocean.
Auguste Rodin, The Walking Man (detail), before 1900 (cast by Alexis Rudier before 1914), bronze with green patina, 85.1 cm high (The Metropolitan Museum of Art)
Rodin may not have created an overtly twisting and contorting figure, but the impression and implication of movement is very much present. He conveys motion and strength in a figure that is fragmented and seemingly unfinished. Does a statue need to include arms or a head in order for it to be declared complete? Do all limbs need to be present to depict movement? Rodin’s answer is no.
George Frederic Watts
In Greek mythology the Minotaur, half-man, half-bull, was appeased by annual human sacrifices. Every year, seven youths and seven virgins were shipped from mainland Athens to the Island of Crete to be devoured by the monster. In Watts's painting , the Minotaur leans out across the sea from a high parapet in anticipation of the ship's arrival. The yellow sunlight of the breaking dawn glints off the shoulder of the beast, accentuating his powerful body and catching the hairs of the tail that flicks out behind him. On the parapet, the Minotaur's large, hoof-like fist has crushed a small bird, a recognised symbol of the innocence and purity of youth.
Watts, an allegorical painter who employed art to convey moral messages, uses the character of the Minotaur to signify man's bestiality and especially male lust. The making and meaning of The Minotaur can be traced to the social purity crusades against child prostitution, which led in 1885 to the passing of the Criminal Law Amendment Act and the raising of the age of consent from thirteen to sixteen. In the forefront of these crusades was the figure of W.T. Stead (1849-1912), whose series of articles on the London trade in child prostitution were published in the Pall Mall Gazette in July 1885 under the title 'The Maiden Tribute of Modern Babylon'. Stead's explicit references to the Greek myth of the Minotaur throughout his exposé reputedly inspired the subject of Watts's painting: 'The appetite of the minotaur of London is insatiable', wrote Stead 'If the daughters of the people must be served up as dainty morsels to minister to the passions of the rich, let them at least attain an age when they can understand the nature of the sacrifice which they are asked to make' (quoted in Mathews, p.339). Watt's close friend Mrs Russell Barrington records how The Minotaur was painted with unusual rapidity early one morning in response to 'a painful subject' that 'had filled one of the evening papers' almost certainly the Pall Mall Gazette (Barrington, pp.38-9). When The Minotaur was first shown, at the Liverpool Autumn exhibition of 1885, Watts explained that his aim in painting it had been 'to hold up to detestation the bestial and brutal' (quoted in Art Journal, 1885, p.322). The Minotaur was among those works that Watts dedicated to the British Nation in 1897 and which are now held in the Tate collection. Mammon (Tate N01630 ), a moralising invective against the evils of material greed, is another.
Patricia Mathews, 'The Minotaur of London', Apollo, May 1986, pp.338-41, reproduced p.338.
Andrew Wilton and Robert Upstone (eds), The Age of Rossetti, Burne-Jones & Watts: Symbolism in Britain 1860-1910, exhibition catalogue, Tate Gallery, London 1997.
Mrs Russell Barrington, Reminiscences of G.F. Watts, London 1905, pp.38-9.
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Decoding Illuminati Symbolism: Moloch, Owls and the Horns of Satan: Part 1
Hello and welcome back to IlluminatiWatcher.com! I’m your host, Isaac Weishaupt, and we’ll examine more of the symbolism that the “Illuminati” have been using for their agenda…
The Illuminati uses various symbols in pop culture in order to implant themes and ideas into the public’s subconscious. This may seem innocuous, but it has a rather sinister and darker purpose. Depending on whom you ask, certain signs indicate Illuminati ownership, magic symbols, or energetic sacrifices to other worldly deities.
The book Symbols of the Goddess by Clare Gibson says that Carl Jung and Sigmund Freud recognized how a symbol has the power to evoke and influence our actions on a conscious and unconscious level. Take a moment and let that sink in. You’ve got possibly two of the most influential psychologists of all time telling us that a symbol can influence our actions. The author goes on to discuss how Jung noticed similarities of symbols used by all ancient cultures (even though they didn’t have any direct knowledge on one another kind of like the elongated skulls mystery referenced in Ancient Aliens).
An example given is how early Greek and Roman psychiatry type sessions had clients drawing “trees and mandalalike circles.” These universal symbols represent the tree of life (axis mundi), and Jung attributed it to some kind of genetic mental blueprint. He subsequently made a theory of collective unconscious that defines universal archetypes of symbols. He believed there are three strata of the mind: the conscious, personal unconscious, and collective unconscious. This collective unconscious is the universal one that all of us somehow understand on a subconscious level.
These ideas manifest through universal symbolism (e.g. triangles, horns, All Seeing Eyes, etc.). He believed that symbols such as the moon and the sun are subconsciously understood by us as father and mother, or warrior and princess, or god and goddess archetypes. He said it was “an attempt to explain the reasons behind the creation and future direction of both the cosmos and humanity.”
Here’s some direct quoting from the book (which I highly recommend if you’re interested in symbolism of the female and goddess):
“Symbolism is, then, a truly international form of communication, for it bypasses the barriers of language, race and culture, speaking directly to each level of the human psyche, but most meaningfully to the collective unconscious. When we view a symbol, say, an image of the moon, we recognize it on a conscious level, equating it to the astral body that shines at night our personal unconscious may also recall a particular night with which, for whatever reason, we associate the moon strongly.
Our collective unconscious, however, transcends such superficial connotations: in accordance with a more profound, metaphysical response, it associates the symbol with the tides, water and feminine fertility, but also with coldness, death and the underworld, and thus, since all of these are her attributes, with the Goddess.”
Conspiracy theorist Freeman Fly details symbols in his book Weird Stuff Vol. 1 and says that symbols are magical seals or ‘signatures’ thought to be the…:
“…cross stiches in the fabric of reality. The language of symbols works on the subconscious level of the mind as they are easy to grasp and meditate upon. The only magically effective symbols are those charged with the peculiar vitality of the subconscious.
Carl Jung said in Man and His Symbols:
Thus an examination of Man and his Symbols is in effect an examination of man’s relation to this own unconscious. And since in Jung’s view the unconscious is the great guide, friend, and adviser of the conscious, this book is related in the most direct terms to the study of human beings and their spiritual problems.
When the medical psychologist takes an interest in symbols, he is primarily concerned with “natural” symbols, as distinct from “cultural” symbols. The former are derived from the unconscious . . . the cultural on the other hand . . . used to express “eternal truths”, and . . . still used in many religions
One such theme of symbolism used to convey an ‘eternal truth’ is that of horned deities.
The origin of this deity with horns is convoluted at best, so by all means research it for yourself and if you find anything that counters what I’ve got here be sure to comment and let me know. I’m by no means an expert on this subject.
The oldest mention of a horned deity starts with Nimrod, El, and Moloch. These somewhat-interchangeable deities were thought to be depicted as either a single or double horned-god who was worshipped in the Bronze Ages of Mesopotamian culture. He was one of multiple gods in these ancient Pagan cultures that we see the Canaanites, Sumerians, Phoenicians, Assyrians, and Babylonians devoting much energy and bloodshed.
They were worshipping this deity to the point of sacrificing their own children (although some argue there is no definitive evidence of this, while others claim a counter-conspiracy cover-up of the disturbing practice). These ancient cultures believed that sacrificing their infants would appease the deity and they would in return have financial blessings, more fertility, good fortunes, or any other type of prayer worthy gift. This form of idolatry is what influenced much of the teachings of the Bible (about having false idols and such).
I talk about various theories involving the pagans of the time with goddess worship like Semiramis in this post on Occult & Illuminati holiday traditions, while going into Moloch stuff:
The Hanging Gardens of Babylon had a temple of Nimrod (with the single or double horns represented as aka Moloch) where sacrifices were given, as referred to in 2 nd Kings 23:10:
He also defiled Topheth, which is in the valley of the son of Hinnom, that no man might make his son or his daughter pass through the fire for Molech.
Also in Leviticus 18:21 of the KJV:
And thou shalt not let any of thy seed pass through the fire to Molech, neither shalt thou profane the name of thy God: I am the LORD
Further on in the occult holidays post when talking about St. Patrick’s Day:
They believed that Moloch would give them financial blessings if they sacrificed their children, and this is believed to continue to this day, as is evident by the startling number of missing children around the world at any given time. A study from 1999 reported that approximately 800,000 children are missing every year in America. 800,000 is an astoundingly high number, that’s about 16,000 per state (if distributed evenly). Getting back to the worship of Moloch, people still wear the horns of Moloch as jewelry, referred to as the Italian Horn.
The unicorn’s horn was attributed with healing powers, and was considered one of the most valuable things on earth. The Inquisition would torture those that wouldn’t acknowledge the strength and existence of the unicorn and its horn. The unicorn horn spirals (just like the ziggurat of the Tower of Babel), and is yet another reference to Moloch. The horn gives you blessings if you could acquire it as well (again, same logic for the Moloch sacrifices). The leprechaun shillelagh was just another representation of the horn of Moloch with its powers.
Rainbows are also symbolic of the ancient worship of Moloch. At the end of the rainbow there are treasures that leprechaun would do anything to get back. It is depicted as a cauldron filled with gold. Again, it is the financial blessings that Moloch gave you in return for the sacrifice. These cauldrons were used in occult practices, including the sadistic bobbing for apples (see the occult symbolism found in Halloween).
Perhaps this explains why we see the rainbow symbol so often in Stanley Kubrick’s Eyes Wide Shut
Or in Wizard of Oz a tale by Theosophist Frank L. Baum.
Some Greek and Roman records claim that the Phoenicians of Carthage also had children that were sacrificed by fire to the deity of Saturn (Greek) or Cronus (Roman), which was also known as Ba’al Hammon by the Carthaginians. This is where we can tie-in Moloch with Ba’al, even though they were technically different deities. Ba’al was the son of their version of God the Father, El, and they were synonymously referenced. They were also both depicted as bulls, or seen with horns atop their heads.
It should be noted that the ‘sacrifice of children to a deity’ concept is refuted by some, the notion still exists that Moloch and/or Ba’al is the deity attributed to death and particularly the blood sacrifice of the youth in exchange for the gifts from an entity of the dark side. In fact, Beelzebub is a common household name for Satan, which derives its origin from Ba’al, or in its Arabic form Ba’al dhubaab (and on the occult holiday of May Day or Beltane Fire Festival, the bailfires are really just Ba’al-fires).
There was also a hollow bronze bull that the ancient Greeks would execute criminals inside of by roasting them to death via applied heat. Perhaps this is a carryover tradition from the days of Moloch worship as well. Here’s NNDB.com talking about the notorious leader of Sicily, Phalaris, who created the bronze bull as a hail to Ba’al:
After ages have held tip Phalaris to infamy for his excessive cruelty. In his brazen bull, invented, it is said, by Perillus of Athens, the tyrant’s victims were shut up and, a fire being kindled beneath, were roasted alive, while their shrieks represented the bellowing of the bull. Perillus himself is said to have been the first victim. There is hardly room to doubt that we have here a tradition of human sacrifice in connection with the worship of the Phoenician Baal (Zeus Atabyrius) such as prevailed at Rhodes when misfortune threatened Rhodes the brazen bulls in his temple bellowed.
The Rhodians brought this worship to Gela, which they founded conjointly with the Cretans, and from Gela it passed to Agrigentum. Human sacrifices to Baal were common, and, though in Phoenicia proper there is no proof that the victims were burned alive, the Carthaginians had a brazen image of Baal, from whose downturned hands the children slid into a pit of fire and the story that Minos had a brazen man who pressed people to his glowing breast points to similar rites in Crete, where the child-devouring Minotaur must certainly be connected with Baal and the favorite sacrifice to him of children.
There is another term for the burning sacrifice of human beings that will be easily recognized by the reader, and that is ‘holocaust.’ Some conspiracy theorists rightly point out the disturbing fact that we still reference the tragic events of World War II as the ‘holocaust’ which literally means a ‘burnt offering of sacrifice to god.’ OneEvil.com has much more on this concept as well:
The Holocaust- the mass sacrifice of over eighteen million innocent Protestants, Orthodox Christians, ethnic Jews and minority groups by burning several million of them alive in ovens in Poland and Russia less than seventy years ago by Catholic dictators Adolf Hitler S.J. and Fr Joseph Stalin S.J. represents the largest and most expensive act of mass human sacrifice in history.
So vast were the military and logistical resources ordered to be deployed to this “Great Inquisition” from Rome from 1939 to 1945 that it played a major part to the eventual downfall of the Nazi Third Reich. The effort to efficiently sacrifice the largest number of non-Catholics in 24 x 7 purpose-built ovens [24 hours a day, 7 days a week] was a massive logistical effort- not the least of which required the complete genealogy analysis of most of Europe.
The genocide that took place did in fact take place in a ritualistic manner over a mapped out area of a pentagram (from DavidIcke).
The pagan religions of the Middle Ages worship both the horned god and the Triple Goddess (Maiden, Mother, and Crone explained further in the Occult & Illuminati holiday traditions post). The horned god is the male aspect of the divine, usually being depicted with the head of an animal, and always with horns atop its head (although it was also referenced with its various forms or ‘moods’ as the Green Man or Sun God). The male deity is shown with anthropomorphic characteristics because it represents the wild side of human nature, which one could argue is consumed by sex, survival, fear, and violence all reptilian brain functions that the Illuminati use to their advantage:
To play devil’s advocate (you see what I did there?…Big Pun), there are claims by anthropologist Margaret Murray that the Christian Church started depicting Satan with horns in order to demonize the Pagans with their horned god, and the witches/Pagans use this theory to defend themselves from the given label of “devil worshippers.”
Continuing on that line of witches and Pagans, Wiccan founder Gerald Gardner established the religion through an amalgamation of Occult, Freemasonry, Theosophy, and Aleister Crowley’s beliefs from their time together at the Ordo Templi Orientis and Order of the Golden Dawn.
Occultist and magic practitioner Eliphas Levi created the infamous Baphomet image and defined the inverted pentagram with its two points upward (like horns) as the symbol representative of evil.
So it seems that through six degrees of separation we can tie evil to horned imagery, to the occult (Levi to Crowley), to witches, to Pagans, and then back to Moloch. And of course there is the overarching web of the Illuminati who promote these things subtlety through entertainment and various other forms. Depending on how deep you want to go down this rabbit hole we can claim that the Archon demons from another dimension are really pushing this entire agenda (aka the reptilian shape shifters- see my book A Grand Unified Conspiracy Theory for the breakdown on that one) .
Here’s why I say that. In Hebrew, Moloch means ‘king’ and Ba’al means ‘master’ or ‘owner.’ In Greek, Archon means ‘to rule’. The rulers of this world (the ‘kings’-Moloch, or masters-Ba’al) are the top 1% of the top 1% the most elite who control all industries of energy, entertainment and media also known as the Illuminati.
The Archons are the shape shifting reptilians who believe they can rule the masses. They are what form the Illuminati. When we see satanic imagery in music videos and films, it’s a subliminal message to the masses while at the same time a sign to each of the other members of the Illuminati who understand this esoteric language.
The rituals that were done in Babylon and the ancient world, and continue to this day, are done in a certain sequence in order to appease this dark force that exists in another dimension, unseen to us. The people who are into this have no empathy for others and seek only to please the demons and entities that exist on the dark side of the Kabbalistic Tree of Life. I explain this in the post about the Kabbalah conspiracy theories & Illuminati symbolism in pop culture post when I talk about ‘the other side:’
When broaching the concept of evil, some of the Kabbalah teachings display it through a shadow Sephirot and call it the “Other Side.” It is also referred to as the “evil twin,” and this “Other Side” is represented by evil spirits known as the Qliphoth. The Hermetic Qabalah actually tries to make contact with the Qliphoth spirits as part of the self-realization process (unlike the Jewish Kabbalah).
Some of these evil demons are eerily similar to the Illuminati symbolism we see from the entertainment industry on a regular basis, leading me to believe that the Illuminati are part of this magic ritual trying to contact the dark forces of the Qliphoth For example, the demon Nehemoth (a.k.a. Naamah) means ‘whisperer’ and is responsible for frightening sounds and exciting the mind with strange desires. This demon was characterized as pleasing and had a proclivity for idolatry and singing songs to pagan deities (does ‘American Idol’ seem fitting?…). The symbolism for the Illuminati vow of silence that we see from young men and women in the entertainment industry couldn’t convey this point any clearer
That same post goes into songs we find about ‘the Other Side’ from various popular musicians:
And there are the remaining demons that all correspond to the Tree of Life to fill out the shadow “Other Side” of God’s good attributes. These demons were studied by many of the ‘forefathers’ of the occult and dark arts including Aleister Crowley (Liber 777) and Anton LaVey (the Satanic Bible). Is it a surprise that rock group Aerosmith had a hit called The Other Side with dark lyrics such as:
Lovin’ you has go to be (take me to the other side)
Like the devil and the deep blue sea (take me to the other side)
Forget about your foolish pride (take me to the other side)
Oh take me to the other side (take me to the other side)
My conscience got to be my guide (take me to the other side)
Oh honey take me to the other side
Red Hot Chili Peppers have a song called Otherside that is about battles with addiction, and Macklemore also has a song called Otherside as well that features lyrics of drug addiction. Are these drug fueled songs revealing the reason for the rampant drug use in the entertainment industry as links to occult beliefs and the Illuminati?
Jason Derulo must also go there with his song The Other Side:
Take me to the other side
And take me to the other side
Kiss me like it’s do or die
And take me to the other side
Arcade Fire’s Reflektor also boasts some lyrics about the other side in its occult-Illuminati post:
We hear the lyrics “it’s just a reflector” all throughout the Arcade Fire song, which are very close to Blavatsky statement “only the reflector” and the song ends with the repetition:
It’s a reflector
It’s just a reflector
Just a reflector
But I see you on the other side
It’s just a reflector
But I see you on the other side
We all got things to hide
It’s just a reflector
But I see you on the other side
Nicki Minaj is in a movie called The Other Woman and she told MTV (concerning her new look that appears more natural and less garish):
“I went so far to the other side that there’s only one place to go from there…”
And who could forget the hit from The Doors called Break on Through (To the Other Side) which has it right there in the title and features lyrics such as:
You know the day destroys the night
Night divides the day
Tried to run
Tried to hide
Break on through to the other side
The gate is straight
Deep and wide
Break on through to the other side
Crowley has a profound impact on the music industry and that is why they partake in these symbols. The musicians are performing these rituals when they use these lyrics and putting on certain performances. We saw Katy Perry perform a very dark ritual with Juicy J on the 2014 Grammy Awards with their performance of her song Dark Horse. I’ve got an Illuminati symbolism post about that too. In the words of Calhoun Tubbs, “if you liked to hear it, here it goes”:
The initiate who plays with magic really should know what they are falling for, but that doesn’t stop the musicians and Hollywood stars from dabbling anyways. Kenneth Grant wrote about the downfall of playing with magic when one is not ready for it in The Magical Revival:
In mediaeval times secrecy was restored to more as a safeguard for the occultist than for the world of which he formed a part. The scene is not much different today, except that the tables are turned. The indiscriminate revelation of occult formulae often leads to insanity and death. The unprepared who meddle with occult processes invite trouble.
So it’s no shocker to see that she made us watch (and take part) of a ritual with witches, a beast with Moloch horns (horned god symbolism it’s the figure on the far right), and plenty of fire to go around
Crowley said Satan wasn’t merely just a devil with a pitchfork, but rather anyone who is ‘God’ for the ‘other’ team. From his book Magic in Theory and Practice (retrieved from Hermetic.com):
“The Devil” is, historically, the God of any people that one personally dislikes. This has led to so much confusion of thought that THE BEAST 666 has preferred to let names stand as they are, and to proclaim simply that AIWAZ — the solar-phallic-hermetic “Lucifer” is His own Holy Guardian Angel, and “The Devil” SATAN or HADIT of our particular unit of the Starry Universe. This serpent, SATAN, is not the enemy of Man, but He who made Gods of our race, knowing Good and Evil He bade “Know Thyself!” and taught Initiation. He is “the Devil” of the Book of Thoth, and His emblem is BAPHOMET, the Androgyne who is the hieroglyph of arcane perfection. The number of His Atu is XV, which is Yod He, the Monogram of the Eternal, the Father one with the Mother, the Virgin Seed one with all-containing Space. He is therefore Life, and Love.
Evoking these dark entities breaks one down over time to the point that the medium takes on the traits and despises the masses, viewing them as cattle. The victims are destroyed and it affects many others around them. This is why you see public meltdowns from entertainers like Britney Spears shaving her head, Michael Jackson actin’ the fool going on spending sprees, Mariah Carey saying goofy stuff on TRL, or one of the many deaths we see (see the 27 club).
I go into this in Decoding Illuminati Symbolism: Moloch, Owls and the Horns of Satan Part 2:
The importance of the symbolism is expressed by occultist Manly Palmer Hall in his book The Secret Teachings of All Ages:
In the World of Assiah are to be found the demons and tempters. These are likewise reflections of the ten great globes of Atziluth, but because of the distortion of the images resulting from the base substances of the World of Assiah upon which they are reflected, they become evil creatures, called shells by Qabbalists. There are ten hierarchies of these demons to correlate with the ten hierarchies of good spirits composing the Yetziratic World. There are also ten Archdemons, corresponding to the ten Archangels of Briah. The black magicians use these inverted spirits in their efforts to attain their nefarious ends, but in time the demon destroys those who bind themselves to it. The ten orders of demons and the ten Archdemons of the World of Assiah are as follows:
D1, the evil Crown the hierarchy is called Thaumiel, the doubles of God, the Two-head the Archdemons are Satan and Moloch.
The light bearer known as Lucifer is also depicted as a flame, or a torch particularly that of Torch of Liberty. The flames and light are a symbol for enlightening and truly allowing man to ‘do as thou wilt.’ Crowley oddly echoed the Declaration of Independence which gave men and women many rights to pursue their own form of happiness. The Freemasonic influence of the founding fathers is no doubt imbued in the founding of America, and Lady Liberty (aka Lady Semiramis or the Babylon Whore). I go into this a little bit on my post of Decoding Illuminati Symbolism: The All Seeing Eye and 666 Hand Gesture:
The ‘Age of Reflection’ refers to the Romanticism period (1800-1840) of thought, both scientifically and intellectually. It essentially sought to unify man and nature through science an opposition to the Age of Enlightenment that sought to divide out the two. Granted, the Age of Enlightenment had prominent Illuminati-Freemasonry ties and historical connections, considering how the two had roots through prominent intellectuals like Isaac Newton (known Freemason), Robert Boyle (known Freemason), John Locke (probable Freemason), and Francis Bacon (rumored Freemason).
So one could say the Age of Reflection is in opposition to the practices of the Age of Enlightenment, and therefore the Illuminati. But I’m not going to. And the reason why is because the Age of Reflection believed in a concept of a ‘Golden Age’. Romanticism had four basic principles: “the original unity of man and nature in aGolden Age the subsequent separation of man from nature and the fragmentation of human faculties the interpretability of the history of the universe in human, spiritual terms and the possibility of salvation through the contemplation of nature.
In Texe Marrs’ Codex Magica he claims that George Bush Sr. once walked into the Oval Office wearing a goat head mask. Combine that oddity with the fact that George Bush Jr. was reading The Pet Goat on 9/11 and one has to wonder?…
**Note the ’ on the hat a number known by occultists thanks to Aleister Crowley’s Liber OZ or Book 77.
Another goat-like depiction of a deity is that of Pan. This is the horned god of nature for many Pagans. Pan’s father is Hermes the founder of the Hermetic traditions and the Illuminati vow of secrecy.
A website called HollywoodSubliminals.com has a pretty good write up on Saturn and its occult influences and I detail it further in my Decoding Illuminati Symbolism: Saturn and the Black Cube post:
Saturn has also been associated with Satan and this, for numerous reasons. First, many authors argue that the word Satan is derived from the word Saturn. Second, Saturn is associated with the color black as well as Satan. Third, Ancients considered Saturn to be the farthest planet from the sun , the latter being associated with the principle of Good. (Note that Pluto never was considered a planet). Saturn is consequently the celestial body that is the less exposed to the sun’s divine light and thus associated with the coldness of the principle of Evil. Finally, the “great god Pan”, the horned deity, represented Saturn in ancient paganism. This half-man half-goat creature is considered the ancestor of our modern depictions of Satan.
“Pan was a composite creature, the upper part–with the exception of his horns–being human, and the lower part in the form of a goat. (…)The pipes of Pan signify the natural harmony of the spheres, and the god himself is a symbol of Saturn because this planet is enthroned in Capricorn, whose emblem is a goat”
– Manly P. Hall, Secret Teachings of All Ages
So Pan was depicted with horns due to the fact it represented Saturn, the ruler of the house of Capricorn which symbol is a goat.
Pan was the controlling spirit of the lower worlds. He was portrayed roaming through the forests, penis erect, drunk and lascivious, frolicking with nymphs and piping his way through the wild. We might say he ruled the lower nature of man, its animal side, not unlike Satan.
Despite acknowledging its association with Evil, secret societies find the veneration of Saturn necessary to obtain illumination. It is the necessary counterpart of the principle of Good. Masonic authors clearly associate Saturn with Satan.
Yet another play on the horns would involve the various astrological ages we know about in recorded history. The order of the astrological ages goes as follows:
- Age of Taurus (symbolized by the bull)
- Age of Aries (symbolized by the ram and fire)
- Age of Pisces (symbolized by fish and monotheism)
- Age of Aquarius (symbolized by the water carrier and the New Age movement, freedom and technology)
I know the astute reader will be able to put two and two together and see where we’re headed with this. The first age of Taurus was roughly around the pre-Moses time and he destroyed it with the Ten Commandments when God declared Thou shalt not worship false idols. This was because the people were worshipping Moloch and the bronze bull gods at that time.
The next age was Aries and the ram (more horns). This was around the time of Akhenaten who was the Egyptian pharaoh who attempted to supplant the polytheistic worship of multiple deities with a monotheistic one. Moses continued to condemn the practice of worshipping the false idols, and the concept of a single God started to take foothold.
Next up, the Age of Pisces is the age of the Christian, brought forth by Jesus Christ, hence the reason we see the fish as a symbol of Christianity.
Lastly we have the Age of Aquarius which some argue already started, while others claim they are pushing us towards. The massive amount of change that has taken place over the last 100 years makes one think we are in a period of serious transition, especially with the transhumanism movement which takes technology and “reforms” God’s creation of man to make an artificial evolution into a new form of biological robot.
So you can see that the horns of the ancient ages of astrology are the Illuminati’s way of saying that they are continuing to defy Christianity and that they are laying low until the Age of Aquarius can take over and they can make all of us transhumanistic robots and slaves to their purpose. The film Zeitgeist did a good job of going through this theory if you’re interested in learning more.
One more thing I feel I should point out is the improper conflation of the bull deities (e.g. Ba’al, Moloch, etc.) with the owl deities. I’m going to be forthright and just point out that I’ve been blatantly guilty of this in the past, but that just shows the progression of the knowledge I’ve acquired since I started this website. I started it to go on this journey of exploring controversial ideas and intend on taking the reader right along with me. So when you look up past articles on here you’ll see that Moloch and owls get mixed up together, but that is sort of incorrect.
The owl is actually symbolism for the goddess, which is depicted with the various goddesses like the Greek Athena, and then the Roman Minerva. The owl was depicted as the symbol for wisdom because it had an ability to see in the dark. It was a metaphor because it would illuminate the darkness of the masses and educate the ignorant. It was able to transcend illusions and deception and see the ultimate truths of the world.
The people who believe in these occult practices think that the owl is a perfect representation of their ‘path.’ The owl symbolizes going into the dark in order to find wisdom as in exploring dangerous realms (like Crowley’s “Abyss”) in order to attain more wisdom.
We see the owl all over the place in the realm of conspiracy, including its most infamous use at Bohemian Grove during the Cremation of Care ceremony where ‘mock’ sacrifices of children are given up to the owl-god:
You can also see it on the DoD Project MINERVA logo.
Richard Cassaro has a great post about owl symbolism, and one of the sections is entirely about the Cremation of Care. From RichardCassaro.com:
The ceremony involves the poling of a small boat across a lake containing an effigy of Care (“Dull Care”). Dark, hooded individuals receive the effigy from the ferryman which is placed on an altar and, at the end of the ceremony, is set on fire.
Domhoff notes: “this is the body of Care, symbolizing the concerns and woes that afflict all men during their daily lives.”
The occult meaning of this ceremony seems clear. These men carry the cares of the world and use a symbolic ritual to cast it off. The remaining time at the Club represents a careless period, or vacation of sorts, during which time no business is conducted.
By “cremating” care, they expunge the negative energy of such emotions as worry, fear, and anxiety it is the goal and magical effect of the ritual, which could more properly be called the “Cremation of worry” or “Cremation of negative energy.”
The pertinent evidence to the present article, of course, is the fact that the ceremony takes place next to a 45 foot (14m) high concrete owl statue, symbolizing knowledge and wisdom. The voice of the owl during the ceremony is former newsman Walter Cronkite, himself a member of the Bohemian Club, and music and fireworks accompany the ritual for dramatic effect.
And of course, we tie right back into magic when referencing the ridding of stresses from this ritual:
Magical thinking applies here: they believe they have done it, and so they have.
The owl is connected to magic because Native Americans and Africans both used it as symbolism for magic, prophecy, divination, and protection from evil spirits. Some believe that the owl carries messages back and forth between the nether world and ours. From RichardCassaro.com:
Shamans called upon Owl medicine for insight. Plains Indians wore owl feathers to protect against evil spirits. The Cree and Apache believed the Boreal Owl was a summoning to the spirit world. To this day, Native Americans associate the owl with spiritual vision the owl is viewed with respect and associated with the souls of deceased ancestors. African cultures viewed the owl similarly to the Native Americans, heralding them as messengers of secrets as well as the bird of sorcerers, witches, and warlocks. In Madagascar owls are said to dance on the graves of the dead, and to the Aboriginal Australians they are companions to medicine people.
Check out that entire RichardCassaro.com post and you’ll see more examples at Yale, and even in Disney films such as Snow White.
The owl is hidden on the American dollar (although I doubt that’s news to you).
It’s also on the layout of Washington D.C.
Here is an owl on a handout of the Bavarian Illuminati.
Drake loves the owl, and we see that with his OVO label.
Some theorists claim the owl is the female evocation of god, while the bull is the male aspect hence the confusion.
I’ve also heard David Icke describe this concept with the ancient goddess symbolism of the moon crescent on the head which is another example of horns. Here is a statue of the Greek moon goddess Selene (also holding the torch of illumination).
The Egyptian goddess Isis also has this.
Website publisher of IlluminatiWatcher.com, author, and independent researcher Isaac Weishaupt has been on the leading edge of conspiracy theories surrounding the elusive “Illuminati” and its infiltration of the entertainment industry. Using examples of familiar pop culture and works of entertainment, Isaac has been speaking and writing about the occult from a unique perspective that seeks to understand the big agenda while helping others along the way.
Isaac has been a featured guest on Dave Navarro’s “Dark Matter Radio,” Richard C. Hoagland’s “Other Side of Midnight”, VICE, SIRIUS/XM’s The All Out Show, The HigherSide Chats, Freeman Fly’s “The Free Zone”, Mark Devlin’s “Good Vibrations”, and many more radio shows and podcasts. His fresh perspective and openly admitted imperfections promotes the rational approach to exploring these taboo subjects and conspiracy theories.
Minotaur (5e Race Variant)
Monstrous humanoids struggling against villainous tendencies.
A minotaur combines the features of a human and bull, with the build and musculature of a hulking humanoid, but with cloven hooves, a bovine tail, and, most distinctive of all, a bull's head. Fur covers a minotaur's upper body, coarse and thick on the head and neck, gradually thinning around the shoulders until it becomes humanlike hair over the arms and upper torso. The thick hair turns shaggy once more at the minotaur's waist and thickens around the loins and legs, with tufts at the end of the tail and around the powerful hooves. Minotaurs take pride in their horns, the sharpness, size, and color of which are related to an individual's place in minotaur society. Fur and skin coloring runs from albino white to coal black, though most minotaurs have red or brown fur and hair.
Minotaurs embody the tension between civilization and savagery, discipline and madness, for they stand in two worlds. Tugged towards violence but bound by conscience, numerous minotaurs are driven to rise above their dark impulses. Such a minotaur seeks the balance between the monstrous and the refined. Innumerable minotaurs give in to the temptations staining their souls and find themselves thralls to Baphomet, The Horned King. Minotaurs must struggle to become more than the beasts they resemble or else succumb to the demonic brutality they despise.
Symbol of the Labyrinth
Labyrinthine patterns are important to minotaurs, and these decorations appear on their clothing, armor, and weapons, and sometimes even on their hides. Each pattern is particular to a clan, and the pattern's size and complexity help minotaurs identify family allegiance and caste. The patterns evolve through the generations, growing more expansive based on clan members' deeds and a clan's history.
Minotaurs primarily use either Giant or Abyssal dialect and thus minotaur names have evolved from these scripts.
Male: Asteron, Bjorkus, Codrus, Foostus, Goeban, Jak, Minron, Noostoron, Podrus, Terios
Female: Duula, Esteru, Hester, Kuonu, Loodra, Oestra, Raastred, Seestra, Uovana, Weoren
Design Note: It is very strongly recommended that you use the Large Player Characters and Oversized variant rules.
Monstrous humanoids struggling against villainous tendencies.
Ability Score Increase. Your Strength and Constitution both increase by 1.
Conqueror's Virtue. Your choice of your Strength, Intelligence, or Wisdom score increases by 1.
Age. Minotaurs age and mature at about the same rate as humans up to the age of 18. From then on they age slowly staying fit for at least 150 years.
Alignment. Because of their demonic heritage, most minotaurs are chaotic in nature. Although good aligned minotaurs do exist, the majority of their race choose a more neutral outlook on life.
Size. Minotaurs are much larger than other races, reaching heights over nine feet by maturity and weighing well over 500 pounds. Your size is Large.
Speed. You have a base walking speed of 30 feet.
Horns. You are never unarmed. Your horns are a melee weapon that deals 1d8 piercing damage, and you are proficient with your horns. Your horns grant you advantage on all checks made to shove a creature, but not to avoid being shoved yourself.
Hammering Horns. When you take the Attack action on your turn to make a melee attack, you can attempt to shove a creature as a bonus action. You cannot use this shove attempt to knock a creature prone.
Goring Rush. When you take the Dash action on your turn, you can use your bonus action to make one melee attack with your horns.
Labyrinthine Recall. You can perfectly recall any path you have traveled.
Languages. You can speak, read, and write Common.