Saturday, October 30, 2010

An American Nightmare on Bloody Elm

"No dog can live like this
Knowledge gained is far from bliss
So I resolved my soul to free
Through blackest magic and dark alchemy"

"Welcome to the prime time bitch"
-Freddy Krueger

With All-Hallows/Samhain fast approaching I thought it would be appropriate to post something in the spirit of the day. I haven't done a great deal of research on the historic Samhain festival and thus can not offer much except some probably well-used passages from The Golden Bough.

So instead of focusing on the holiday itself I shall focus on something closely associated with it in modern times, namely the horror movie. Actually, one specific horror film that happens to be my favorite in the genre and one that I suspect has had a profound effect on my life in ways I'll probably never be able to fully comprehend.

The film in question is A Nightmare on Elm Street.

I first saw it when I was very young -probably no older than 5 as I don't remember being in kindergarten at the time. I got to see it one night when it was airing on television and it absolutely traumatized me -I had terrible nightmares for over a month and would not be able to get up the courage to watch the film again until I was almost a teenager.

Of course I went on to love horror movies long before another Wes Craven film, Scream, was released and made it hip for my generation to watch them again after being long ridiculed in the early 90s. I was very much a horror geek in my teens -I had a subscription to Fangoria, dozens of slasher flicks on VHS and stacks of Stephen King novels; even a Freddy glove and mask. My love affair continued well into my 20s -I saw Freddy Vs Jason at least six times in theater when it was released. I've seen virtually every major horror film released between 1980 till 2005 and they were always fun times.

Only one other horror film, The Exorcist, has ever had the same effect on me that Nightmare had. Further, I've found in numerous discussions over the years that I was hardly the only one deeply frightened by the original Elm Street film. A female friend of mine and massive movie buff that loves all kinds of bizarre films once proclaimed to me that Nightmare would be the only horror film she wouldn't let her children watch until they were closing in on middle school. Others have shared similar sentiments with me.

The Elm Street films are typically described as slashers and that's pretty apt for most of the films in the series. However several of them, especially the first and New Nightmare, have always struck me as profoundly darker, mysterious, and even timeless, than virtually any other like film. It was as if they had tapped into something that was both very old and evil as Wes Craven himself alludes to in an onscreen appearance in New Nightmare:

...I'll tell you about what the nightmare's about so far... It's about this entity, whatever you want to call it. It's old, it's very old. It's existed in different forms in different times. About the only thing about it that stays the same is where it lives and what it wants

What's that?

The murder of innocence
That exchange can be seen between about 1:40 and 2:00 here. In the same scene Craven goes on to drop another tantalizing hint:

In this nightmare in progress then does this thing have any weaknesses?

Well, it can be captured sometimes.

Captured? How?

By storytellers of all things. Every so often they image a story good enough to sort of catch its essence and then, for a while, its held prisoner in the story.

Like the genie in the bottle?

Craven's choice of a genie to represent the negative entity that Freddy embodies is interesting. While most Westerners consider genies to be generally benevolent,if somewhat mischievous entities due the image portrayed in Aladdin and the like, they were considered to be quite sinister and dangerous beings in the original folklore.

Here they were referred to as Djinn and were considered to be similar to demons:

"Djinn, an ancient, Islamic, invisible, illusion-casting species who live for centuries, can manifest in any form and travel anywhere instantly. Like the Greek daimon, they are spirits of intermediate nature between humans and angels. It is said in the Q'uran that they are an ancient species who were created before humankind from smokeless fire. The Djinn have no bodies of their own but are masters of illusory disguise. However, because the Djinn are made of fire, when they manifest in human form they have flaming eyes, which are set vertically in the head, not horizontally as human eyes are."
(A Field Guide to Demons, Fairies, Fallen Angels, and Other Subversive Spirits, Carol K and Dinah Mack, pg. 147)

"All Djinn are closely intertwined or involved in human affairs. Like fairies, Djinn steal human babies and substitute their own. They also indulge in petty demonic acts like pushing people down stairs, making them yawn uncontrollably, spilling their milk, and giving them nightmares, but these are minor annoyances compared to the serious maladies that Djinn are known to cause, such as epidemics, convulsions, insanity, and death."
(ibid, pg. 149) 

A Djinn would seemingly be an apt mythological creature to liken Freddy too. Incubus, succubus, and 'sleepwalkers' (energy vampires) would also work as would virtually any other 'dream demon' myth of which the world's mythologies are full of.

Is it possible that Craven somehow, as he states in the movie, 'tapped' into this ancient entity and created a modern form that would provide it with fresh victims?

While the previous paragraph is probably stretching the concept of collective unconscious a bit to far, there is a fascinating synchronicity between the original Nightmare and the JFK assassination.

For one, Kennedy was assassinated almost exactly 21 years to the day that the original Nightmare was released, which opened November 9th, 1984. Kennedy died on November 22rd, 1963. In the US, as well most other Western nations, 21 is considered the age when people reach adulthood or come of age or at least legally old enough to buy booze.

JFK was assassinated on Elm Street, which was referred to as 'Bloody Elm' by the locals. It gained this moniker on account of all the gun fights, stabbings, and other violence that occurred along it in the Old West.

Michael A Hoffman, among others, have noted that America's collective nightmare on Elm Street began that day. If it began on that day it had surely come of age by the time the first Elm Street film was released. For many the Kennedy assassination was seen as the end of 'traditional' America. Indeed, the culture changed rapidly with the rise of the Beatles and the rest of the rock'n' roll revolution that soon followed. It was the beginning of the drug culture and the 'sexual revolution' and the general breakdown of standards of decency.

In a way no series of films better embodied this change than the Nightmare ones. Here we had a demonic child murderer that was turned into a marketing icon primarily geared toward children. Every kid wanted a Freddy mask and claw in the late 1980s. His "Welcome to prime time bitch!" line became a catch phrase. Hell, he even got his own TV series.

The Nightmare films were so effective in part because of their ability to blur the line between reality and fantasy -In the original the viewer is a times never sure if the victims are asleep or awake and if what they're experiencing is real or an illusion brought on by insanity. Behind the scenes, the films would also straddle the line between reality and fantasy.

Craven apparently got the idea for Nightmare after reading a series of articles describing a group of Cambodian men that were terrified of sleeping after fleeing from Pol Pot's regime. These men suffered sever nightmares to the point that several died shortly after falling asleep. For more information on these 'nightmare deaths, check here.

The stalking of Heather Langenkamp depicted in the film is in fact based on real life experiences the actress had. I've always wondered whether Craven's idea for the stalker aspect of the New Nightmare script came before or after Langenkamp's real life stalker.

One thing that most certainly came after the New Nightmare script, which prominently features earthquakes in its storyline, was a major real life quake. The 1994 Northridge Earthquake was one of the strongest urban quakes in history, causing 72 deaths and $20 billion in damages. It occurred shortly as the New Nightmare production was wrapping up.

I certainly do not believe that Wes Craven meant the original Elm Street film to be some kind of magickal working but it seems to have inadvertently turned into that. It captured the zeitgeist of the era, picking up on the twilight language of the dream killer, decaying suburbia and bloody Elm, perfectly symbolizing the American nightmare that was then entering its prime. As Craven himself stated in New Nightmare, something old and evil became infatuated with Fred Krueger and gave the character a power that it could have otherwise never possessed.

And we, the children of the Freddy generation, inevitably responded to this power with the all the terror the modern era supplies, yet we can no longer conceptualize it. It's only when you're a child with the thought of dying while you're asleep and never being aware of it that the horror and confusion of our times can truly be realized.

Welcome to our nightmare.

Tuesday, October 26, 2010

Twilight Language

Twilight language is a concept that is often mentioned in this blog so I feel its time for a more in depth examination of the complex phenomenon and how it relates to many of the other topics that are discussed here.

There are many different definitions of twilight language. Officially twilight language is a polysemic language and communication system dealing with visual, verbal and nonverbal communications within Tantric Buddhism and Hinduism. In other words, it was a secret symbolic language of which only the initiates of these faiths would be able to understand. In theory this language would have even predated Sanskrit and may not have even been written down initially. Loren Coleman elaborates:

"Buddhism's tantras are thousands of years old and yet never publicly revealed, never written down. Gradually it became necessary to write the secrets down so they would not be completely lost. But when they were written, they were written in a 'twilight language,' that is, in allegory, symbolism, code, so they could not be misinterpreted and misused by unworthy seekers. For this reason, if we do not have a proper guide, the ancient texts may be confusing or even misleading to us today."
(The Copycat Effect, pg. 237)

However, many other groups through out history have had a concept of twilight language. Secret societies of all eras have found it attractive for maintaining their secrecy. Naturally many of the initiated members we given a far more noble explanation for their coded speak. Michael A Hoffman states:

"In the secret societies, 'twilight language,' was advertised as the 'Adamic language,' the language Adam learned from God in Eden, 'the key to divine knowledge.' "
(Secret Societies and Psychological Warfare, pg.7)

For our purposes, the best definition has been given by Coleman:

" 'Twilight language' concerns, from psychology, the hidden significance of locations, dates, and other signs; from religious studies, the hidden symbolism that lies in the texture of the incidents; and, from criminology, the profiling insights that have revealed the ritualistic nature of certain crimes and violent incidents...

"...But two elements of this 'twilight language' are becoming rather clearer as we examine this whole arena. The copycat effect can work through the power and pull over vulnerable and angry human beings through the specific locations where these incidents happen as well as the timing of them. Place and time, locations and dates, milieu and moment are hiding in plain sight."
(The Copycat Effect, pg. 237-238)
 I've already focused a lot in my "New World?" series on the power locations can have over people as well as the structures that are built on or near these locations to harness that power. In this installment I hope to focus more on the symbolism, rituals, and archetypes that infest twilight language for I believe these things are closer to the origins of this secret code. In fact, I do not believe that twilight language even originates from human beings, but was rather something that was handed down to us from somewhere else. Certain symbols, archetypes, and rituals have appeared the world over in countless cultures even when now ready explanation of diffusion is available. Reference to this is found in the traditions of various shamans the world over:
"Wherever these 'technicians of ecstasy' [shamans -Recluse] operate, they specialize in a trance during which their 'soul is believed to leave the body and ascend to the sky or descend to the underworld.' They all speak a 'secret language' which they learn directly from the spirits, by imitation. They talk of a ladder -or a vine, a rope, a spiral staircase, a twisted rope ladder -that connects heaven and earth and which they use to gain access to the world of spirits. They consider these spirits to have come from the sky and to have created life on earth."
(The Cosmic Serpent, Jeremy Narby, pg. 17)

The ladder is one of these symbols that I'm referring to. The ladder, or some variation on it such as a rope or bridge, reaching upwards toward the heavens appears over and over again in world mythology and religion. The most famous example of this is of course Jacob's Ladder:

"Jacob left Beersheba, and went toward Haran. He came to the place and stayed there that night, because the sun had set. Taking one of the stones of the place, he put it under his head and lay down in that place to sleep. And he dreamed that there was a ladder set up on the earth, and the top of it reached to heaven; and behold, the angels of God were ascending and descending on it! And behold, the Lord stood above it [or 'beside him'] and said, 'I am the Lord, the God of Abraham your father and the God of Isaac; the land on which you lie I will give to you and to your descendants; and your descendants shall be like the dust of the earth, and you shall spread abroad to the west and to the east and to the north and to the south; and by you and your descendants shall all the families of the earth bless themselves. Behold, I am with you and will keep you wherever you go, and will bring you back to this land; for I will not leave you until I have done that of which I have spoken to you.' Then Jacob awoke from his sleep and said, 'Surely the Lord is in this place; and I did not know it.' And he was afraid, and said, 'This is none other than the house of God, and this is the gate of heaven.' "
Book of Genesis (28:11-19)

Countless other traditions of ladders appear the world over in shamanistic traditions:

"...there were 'countless examples' of shamanic ladders on all five continents, here a 'spiral ladder,' there a 'stairway' or 'braided ropes.' In Australia, Tibet, Nepal, Ancient Egypt, Africa, North and South America, 'the symbolism of the rope, like that of the ladder, necessarily implies communication between the sky and earth. It is by means of a rope or a ladder (as, too, by a vine, bridge, a chain of arrows, etc.) that the gods descend to earth and men go up to the sky.' "
(The Cosmic Serpent, Jeremy Narby, pg. 63)

The ladder is something that even we in VISUP are effected by. My partner Stofphia, who does the lucid dream logs, often dreams of some kind of ladder, stairway or bridge when he's about to go lucid. The ladder or like structure is always very unstable and ascending. For more information on Stofphia's experiences, check out his YouTube log here.

Another common symbol that appears over and over again and is closely related with the ladder, is that of the serpent. As I noted in a previous post, serpents were often closely associated with ley lines in mythology. In both Medieval Europe and ancient China great dragons were said to follow the course of these lines while in the Americas leys were said to be the domain of the cosmic serpents. Anthropologist Jeremy Narby adds:

"People who drink ayahuasca [a DMT containing drink -Recluse] see colorful and gigantic snakes more than any other vision -be it a Tukano Indian, an urbanized shaman, an anthropologist, or a wandering American poet...
"... I discovered that the serpent was associated just about everywhere with shamanic knowledge -even in regions where hallucinogens are not used and where snakes are unknown in the local environment. Mircea Eliade says that in Siberia the serpent occurs in shamanic ideology and in the shaman's costume among peoples where 'the reptile itself is unknown.'

"Then I learned that in an endless number of myths, a gigantic and terrifying serpent, or a dragon, guards the axis of knowledge, which is represented in the form of a ladder (or a vine, a cord, a tree...). I also learned that (cosmic)serpents abound in the creation myths of the world and that they are not only at the origin of knowledge, but of life itself.

"Snakes are omnipresent not only in the hallucinations, myths, and symbols of human beings in general, but also in their dreams. According to some studies, 'Manhattanites dream of them with the same frequency as Zulus.'"
(The Cosmic Serpent, pg. 113-114)

Symbols such as the ladder and the serpent are not the only thing handed down to us in twilight language. Another common manifestation are in rituals. The psychologist Carl Jung encountered one of the classic examples of how twilight language is used even by those with no concept of it, or reality in general:

"One day while making the rounds Jung found the young man standing at a window and staring up at the sun. The man was also moving his head from side to side in a curious manner. When Jung asked him what he was doing he explained that he was looking at the sun's penis, and when he moved his head from side to side, the sun's penis moved and caused the wind to blow.

"At the time Jung viewed the man's assertion as the product of a hallucination. But several years later he came across a translation of a two-thousand-year-old Persian religious text that changed his mind. The text consisted of a series of rituals and invocations designed to bring on visions. It described one of the visions and said that if the participant looked at the sun he would see a tube hanging down from it, and when the tube moved from side to side it would cause the wind to blow. Since circumstances made it extremely unlikely that the man had had contact with the text containing the ritual, Jung concluded that the man's vision was not simply a product of his unconscious mind, but had bubbled up from a deeper level, from the collective unconscious of the human race itself."
(The Holographic Universe, Michael Talbot, pg. 60)
As a side note, I can personally attest to the mysterious appearance of rituals at a subconscious level. For instance, I began making a 'fig sign' at a very, very young age with my thumb between middle and ring fingers and have continued, usually accidentally, into adulthood.

In my writing I wrote a short story years ago (which was somehow miraculously published) in which I would rather accurately describe what is known as a scapegoating ritual. This was back around 2002, years before I learned anything of occult workings.

But back to Jung. His theory of the collective unconscious is crucial to understanding the 'where' of twilight language. Jung defined it as:

"The collective unconscious is a part of the psyche which can be negatively distinguished from a personal unconscious by the fact that it does not, like the latter, owe its existence to personal experience and consequently is not a personal acquisition. While the personal unconscious is made up essentially of contents which have at one time been conscious but which have disappeared from consciousness through having been forgotten or repressed, the contents of the collective unconscious have never been in consciousness, and therefore have never been individually acquired, but owe their existence exclusively to heredity. Whereas the personal unconscious consists for the most part of complexes, the content of the collective unconscious is made up essentially of archetypes...

"... In addition to our immediate consciousness, which is of a thoroughly personal nature and which we believe to be the only empirical psyche (even if we tack on the personal unconscious as an appendix), there exists a second psychic system of a collective, universal, and impersonal nature which is identical in all individuals. This collective unconscious does not develop individually but is inherited. It consists of pre-existent forms, archetypes, which can only become conscious secondarily and which give definite form to certain psychic contents."
(The Archetypes and the Collective Unconscious, pg. 42-43)

Jung believed that this collective unconscious pre-dated both words and thought. It went al the way back to our most primitive origins and perhaps beyond:

"It is sufficient to know that there is not a single important idea or view that does not possess historical antecedents. Ultimately they are all founded on a primordial archetypal forms whose concreteness dates from a time when consciousness did not think, but only perceived. 'Thoughts' were objects of inner perception, not thought at all, but sensed as external phenomena -seen or heard, so to speak. Thought was essentially revelation, not invented but forced upon us or bringing conviction through its immediacy and actuality. Thinking of this kind precedes the primitive ego-consciousness, and the latter is more its object that its subject. But we ourselves have not yet climbed the last peak of consciousness, so we also have a pre-existent thinking, of which we are not aware so long as we are supported by traditional symbols -or, to put it in the language of dreams, so long as the father or the king is not dead."
(The Archetypes and the Collective Unconscious, pg.33)
Jung's theory of the collective unconscious and its development through signs and symbols is consistent with Jeremy Narby's findings concerning the twilight language traditions of shamans and other ancient traditions:

"...Nature talks in signs and, to understand its language, one has to pay attention to similarities in form. He had also said that the spirits of nature communicate with human beings in hallucinations and dreams -in other words, in mental images. The idea is common in 'pre-rational' traditions. For instance, Heraclitus said of the Pythian oracle (from the Greek puthon, 'serpent') that it 'neither declares nor conceals, but gives a sign.'"
(The Cosmic Serpent, pg. 96-97)

Among the most powerful symbols of the collective unconscious, as Jung alluded to above, are the archetypes. Of these, Jung states:

"Since for years I have been observing and investigating the products of the unconscious in the widest sense of the word, namely dreams, fantasies, visions, and delusions of the insane, I have not been able to avoid recognizing certain regularities, that is, types. There are types of situations and types of figures that repeat themselves frequently and have a corresponding meaning. I therefore employ the 'motif' to designate these repetitions. Thus there are not only typical dreams but typical motifs in dreams. These may, as we have said, be situations or figures. Among the latter there are human figures that can be arranged under a series of archetypes, the chief of them being, according to my suggestion, the shadow, the wise old man, the child (including the child hero), the mother ('Primordial Mother' and 'Earth Mother') as a supraordinate personality ('daemonic' because supraordinate), and her counterpart the maiden, and lastly the anima in man and the animus in woman."
(The Archetype and the Collective Unconscious, pg. 183)

Jung believed many extreme cases of mental illness were the result of possession by the these archetypes. He notes:

"The chief danger is that of succumbing to the fascinating influence of the archetypes, and that is most likely to happen when the archetypal figures, which are endowed with a certain autonomy anyway on account of their natural numinosity, will escape from conscious control altogether and become completely independent, thus producing the phenomena of possession. In the case of anima-possession for instance, the patient will want to change himself into a woman through self-castrtion, or he is afraid that something of the sort will be done to him by force."
(The Archetype and the Collective Unconscious, pg. 39)

Possession via the archetype is not merely a threat to the mentally unstable but to entire societies who can be induced to mass madness via archetype identification. Nazi Germany stands as a fine example of this in the modern era. But tyrants throughout history have used this technique. Anthropologist Joseph Campbell notes:

"The highest concern of all the mythologies, ceremonials, ethical systems, and social organization of the agriculturally based societies has been that of suppressing the manifestation of the individualism; and this has been generally achieved by compelling or persuading people to identify themselves not with their own interests, intuitions, or modes of experience, but with the archetypes of behavior and systems of sentiment developed and maintained in the public domain."
(Masks of God: Primitive Mythology, pg. 240)

All high civilizations were agrarian. Hunter-gatherers typically remained nomads. In general as a civilization becomes more advanced it becomes more consumed with stifling the individuality of its citizens for the sake of order. In the modern era this has been taken to a whole new level with the introduction of mass media. Now archetypes can constantly be transmitted from person to person through what are known as memes, which are defined as:

"A meme (pronounced meem is a contagious idea that replicates like a virus, passing from mind to mind. 'Memes function the same way genes and viruses do, propagating through communication networks and face-to-face contact between people'... 'Memetics,' a field of study, postulates that the meme is the basic unit of cultural evolution. Examples of memes include melodies, icons, fashion statements and phrases.' "
(The Copycat Effect, Loren Coleman, pg. 254)
This means that the barrage of twilight language with its archetypes, symbols and numbers, is constantly working its ritual magick upon us not just through our entertainment but through our day-to-day encounters with other people that infected by the memes. Thusly even those that attempt to escape from the conditioning of mass media by abstaining from it are still subjected to it in their day to day interactions.

This is why this blog focuses so much on serial killers, spree shootings, and the like. While I do believe a very few of these events are deliberately orchestrated by the Cryptocracy in most cases there is no need for such trickery. The endless flow of twilight language the mass media baths us in wrecks havoc on the angry and unstable among us and sending them into rampages. In many cases the mass media is amplified by other aspects of the twilight language such as locations and dates. Certain areas of the Earth naturally attract negativity as do certain days in the year. Fused with ritualistic symbolism and archetypes of the modern media countless are brought to the brink and many past it. Loren Coleman, writing of the work of meme researcher Paul Marsden, adds:

"Marseden had become a firm convert to the meme. He feels that 'mind viruses spread through a Darwinian process of imitation. We know for example that if a suicide is reported in the mass media, the suicide rate will rise in the following month. A few people with poor immunity to this mind virus will become infected and display similarly symptoms to the original victim -they will commit suicide.' Furthermore, writes Marseden, 'the amount of violence seen on US television screens correlates positively with US homicides. We know as well that suicide victims following publicized suicide story will more likely than not resemble the reported victim.

"The point is that the copycat effect is real. Social scientists know it exists and are working hard at conceptualizing it in the framework of new theories about its rise and spread. Advertisers know that it works and use it as an accepted way to market their products. And the media knows it is real, too, using it to focus on the next epidemic, the next death story, or the next threat -and unconsciously triggering the next event they will be reporting on."
(The Copycat Effect, pgs. 254-255)

Michael A Hoffman gets to the bottom line:

"Ritual murder is mind control. It's not always earth compensation for sacrilegious tampering. It can be ceremonial, possessing a liturgy that uses twilight language to imprint the Group Mind, the entity that is formed psychically when large numbers of people are intently focused on the same object, image or symbol...

"Some people assume that I believe that all these developments are part of a microscopically orchestrated 'masterplan' devised by invincible Freemasons. But the cryptocrats are just highly informed weathermen possessed of extraordinary daring. They had a sense of what direction the wind of time, the 'spirit of the age' would take, but that doesn't mean they control the wind, or that they are the wind.

"...A substantial portion of the power of secret societies comes from hitching a ride on coincidence. In your opening statement you said that it remains to be seen whether the occult connections I study 'are deliberate or merely coincidental.'

"To me it's the same thing. Ritual cannot rely exclusively on human machination to obtain the full effect."
(Secret Societies and Psychological Warfare, pgs. 128-130)

There's not much I can add. The simple reality is that dates, locations, symbols, archetypes, and ritualized situations effect us all on a daily basis regardless of how unaware we may be of them. Ignorance of twilight language on the part of the American public have been devastating. We're the most heavily medicated people on Earth. Despite this random acts of insanity, ranging anywhere from road rage to school shootings, are a daily issue we all confront. Our national image is of some champion of 'democracy,' though this 'democracy' always seems to be imposed at the barrel of a gun.

I am not generally one to promote mass conformity but I daresay that if there's one thing we all should agree on, it's that we must learn as much about this twilight language as we possibly can for our own sanity, if nothing else. If there are actually any readers out there, I would love to read their views on this phenomenon.

Thursday, October 21, 2010

New World Airport -The New World? II

Much has been written on the Denver International Airport, most of it likely BS. I am hesitant to enter the fray yet its bizarre symbolism and possible Old World location fit in so well with the correlations I've been trying to make in regards to modern structures and the ancient occultic 'science' of ley lines that I feel it warrants mentioning. This will mark the second installment in my "New World?" series, the first of which can be read here.

I myself have personally been through the DIA on several occasions while briefly living in Colorado Springs but at the time I knew nothing of the occultic arts that I know, though I certainly heard the ample rumors floating around about the place. At the time I chalked them up to yuppie/phony Christian Focus on the Family clique that dominated the military-industrial complex around the Denver/Colorado Springs area. But knowing the things I know now, I must reconsider much perception of the entire time I spent there. Colorado Springs, with Garden of the Gods, NORAD and its historic links to Tesla, among other things, probably warrants its own post. The DIA will certainly provide enough fodder for this installment, so to it.

As previously alluded to, much of the information on the DIA is not entirely reliable so we must tread with caution. In regards to its Old World connections, we'll start with latitude, which is 39' 51'. According to Robert Temple in The Sirius Mystery, numerous shrines in antiquity were located between the 31' 30' N through 39' 30' latitude. Included between these degrees is the infamous 33rd degree North latitude which I've written more on here. In general points at or between the 31' 30' and 39' 30' seem to be lightening rods for Masonic ritual workings and shrines. The DIA is ever so slightly outside of 39' 30' North degree, but perhaps there is something significant attached to the DIA, but located slightly south of the actual airport that falls within the 'mystery parallels.'

Another common claim about the DIA is that its built upon an Indian burial ground. This has been hotly debated amongst the various factions. One view holds:

Denver International Airport, built in 1995 and residing only 20 minutes east of downtown, is on sacred Indian burial ground, and it now appears the city is considering a $1 billion facelift of the airport, including the construction of more facilities.

Albeit, if the voices of protest aren't speaking loudly enough, the spirits most certainly are. Pass through any one of the concourses at DIA — especially Terminal A — and one will detect the subtle, familiar sounds of American Indian flute. The high harmonies play on a continual loop, serenading frequent fliers from camouflaged speakers behind glass cases displaying old Indian trinkets and blouses.

These flute tunes aren't there to pay homage to the plains Indians who once inhabited the area. Nor do they play to create a "Welcome to the West" ambiance for airport patrons on layover to Seattle. No. The Indian flute plays to pause the pranks and creepy occurrences that sweep the facility.

Other opinions note:

Rumors that the new airport was built atop a Native American burial ground have circulated for years, though copious archaeological research has never found any evidence to support them. What's more, a group of Indians already blessed the airport in a religious ceremony eight years before. But Allrunner, a volunteer member of the city's "DIA Spiritual Resolution Committee," says it was best not to take any chances. Allrunner, who is part Cheyenne, succeeded in convincing representatives of the Montana Cheyenne to come to DIA and calm the Indian ghosts in a nighttime ritual conducted on Easter weekend.

The prior article sited  goes on to note that public funds were actually spent to perform some kind of exorcism on the facility. This would of course be far from the outrageous cost of the facility. The initial cost of construction was a mere $1.7 billion, yet by the time the airport was finished cost had added up to $4.8 billion. While the state-of-the-art automated baggage system that never actually worked is a common whipping boy for $3.1 billion discrepancy, there are numerous other curious features that Vigilant Citizen notes:
  • Different contractors have been hired for different parts of the airport. They’ve all been fired after their job was done. This lead observers to believe that it was a strategy to make sure nobody had the full scope of the project.
  • 110 million cubic yards of earth have been moved, way more than usually required. This arose suspicion of construction taking place underground.
  • 5300 miles of fiber optics were installed for communications (USA coast to coast is 3000 miles in comparison).
  • Fueling system that can pump 1000 gallons of jet fuel per minute. This amount is totally absurd for a commercial airport.
  • Granite imported from all over the world even if the project was already grossly over budget.
  • Construction of a huge tunnel system (trucks can circulate in them) and underground trains. Most of those aren’t used at the moment.
This has led many to speculate that some kind of vast underground base was constructed beneath the facility. As outrageous as this may seem, the Denver area would be a logical choice for such a facility. Colorado's legendary altitude provides miles upon miles of sheer rock covering for any such base, which would make it possible of surviving virtually any kind of apocalypse. That's why the NORAD base is built just a little ways south in Colorado Springs. Further, the vast military presence that already exists in the area, in terms of both bases and defense contractors, makes it an idea rallying point for VIP looking to avoid any kind of putsch.

Personally I think Jesse Ventura is a disinformation agent but there's some decent information in this video on the underground base theories surrounding the DIA, though I urge all of you to take it with a huge grain of salt.

What really fascinates me about the DIA is its bizarre symbolism in its artwork and design. It almost literally appears to be some kind of Masonic temple. For starters, the runways are built in the shape of a swastika.

Leading up to the airport are a series of occult sculptures. One of them is a giant blue horse with blazing red eyes.

It's sculpture, Luis Jimenez, was killed while building the thing:

Mr. Jimenez was killed working on the sculpture. In 2006, while he was hoisting pieces of the mustang for final assembly in his New Mexico studio, the horse's massive torso swung out of control and crushed the 65-year-old artist. Mr. Jimenez's widow and children helped finish the sculpture, and it was installed last February at the airport, at a cost to the city of $650,000.

All kinds of bizarre explanations abound on the Internet concerning this piece, especially in regards to its relation to the pale horse of the Book of Revelations. I had generally dismissed these claims as I've seen little evidence that horse would be blue, but the Pale Horse of the Apocalypse would be in keeping with the next sculpture that was erected.

This is Anubis, the Egyptian god of the dead. This Fox Article states:

DENVER - As if a 30-foot tall blue horse with glowing red eyes wasn't startling enough, travelers at Denver International Airport are now being greeted by a new Behemoth.

On Wednesday, workers erected a 26-foot tall, seven-ton replica of Anubis, the Egyptian god of the dead, adjacent to the main terminal. The statue is here to promote the upcoming King Tut exhibit at the Denver Art Museum.

According to one web site, Anubis is the "jackal-god of mummification," and "assisted in the rites by which a dead man was admitted to the underworld."

Inside the airport is a section known as the Great Hall, which is what Masons refer to their meeting halls as. And within the Great Hall is a Masonic capstone that's not to be opened until 2094 and featuring an interesting engraving.

As you can see above, this capstone was dedicated by the 'New World Airport Commission,' an organization that does not exist. Thusly this seems to be some kind of refer to the Masonic New World Order that this airport seemingly celebrates. This is elaborately displayed by the murals below.

Much has been written on the murals of Denver International Airport so I will refrain from extensive commentary as there's not much I can add other writers haven't already beaten to death. So, here they are:

The above piece is entitled "Peace and Harmony with Nature." This is a rather odd title given that it depicts some kind of apocalypse. Perhaps peace and harmony once humanity have been liquidated?

The next piece is a two parter called "Children of the World Dream of Peace." Here's the first part:

Here's the second part:

It's interesting to note the Nazi-like is holding a Shriner-style sword, known as a scimitar, as he pierces the dove of peace. All in all a lovely piece for an airport that's runways are in the shape of a swastika.

And now our third piece, which is apparently also known as "Peace and Harmony with Nature":

Here we seemingly catch a glimpse of the 'New Order' that the Denver Airport celebrates, an order that comes only after mass genocide.

Monday, October 18, 2010

Going Postal Goes to Little Egypt

A potential spree shooting broke out at a Post Office in Henning, Tennessee today leaving two female Postal Workers dead and he small town of barely a thousand residents in tatters. MSNBC reports:

Two post office workers were killed Monday in a shooting at a post office in West Tennessee during a possible robbery attempt, authorities said.

The Lauderdale County Sheriff's Department said two female employees were killed around 8:30 a.m local time in what may have been a robbery at the Henning post office...

One man said his sister-in-law told him the shooting happened during a robbery attempt. The sister-in-law, a postal service employee, was assigned to the Henning office Monday but escaped unharmed...

Yulanda Burns, an inspector with the U.S. Postal Inspection Service in Atlanta, said it was too early to determine a motive. The FBI and the Tennessee Bureau of Investigation are helping  investigate.

Henning, about 45 miles northeast of Memphis, is best known as having been the hometown of "Roots" author Alex Haley.
Even if these murders prove to be the result of a robbery, this is a remarkably violent crime for this type of community. Or at least it would appear so. Yet when I observe Henning through the vision of 'twilight language', the hidden meanings of dates, locations, symbols, etc, all kinds of red flags go off.

For starters Henning seems to be located amidst America's 'Little Egypt' section which primarily encompasses southern Illinois, but also parts of north-western Tennessee and a few other areas in neighboring states. Of course Egypt was hugely important to the ancient Mystery Schools as well as the Freemasons and other secret societies of the modern era. Some believed Egypt to be the actual birthplace of the Mysteries rather than just the Hermetic studies from which alchemy derives. Many of the ancient Egyptian cities for which these teachings derived such as Memphis, and Thebes, are well represented in America's Little Egypt.

Henning is located almost directly south of Cairo, IL between Cairo and Memphis, TN. I'm note sure if this is significant in anyway, but it is interesting. Memphis, TN, in general seems to be a lightening rod for odd happenings. Like several major US cities it has a vast underground tunnel system that was built prior to the 20th century. The generally given explanation is that they were quickly erected during the Civil War for some unknown military purpose, but the scale and quality of the work tends to discredit this explanation. Prior to the arrival of Europeans the area was inhabited by the mound-building 'Mississippi culture' and featured some kind of Cahokia-like temple around Memphis. Apparently someone felt the area was significant.

However, there a far more oddities about Henning than simply its location between Cairo and Memphis. For one it's situated on the southeastern edge of the New Madrid Seismic Zone, which has produced some of the most powerful earthquakes along the central-eastern US. Further, the New Madrid has long puzzled scientist by its general lack of land movement despite causing extremely violent quakes for this area of the country. Geological oddities are thusly well represented.

Henning also has a long, checkered history of death.

The Battle of Fort Pillow was fought here during the Civil War and resulted in a Confederate victory. This led to the massacre of nearly 200 black Federal troops after they had surrendered. The tradition continues to this day with the presence of the West Tennessee State Penitentiary, complete with its own death row facility.  Increasingly I am finding that death row facilities are built in or around areas with geographical significance to occultists. I have already written briefly on this topic here and here.

In general Henning seems to be an area amidst many negative forces, which intern have been kept well fed over the years by the various cults that operate out of the Little Egypt area. Were the shooters of those two poor postal workers performing some kind of Masonic ritual?

Almost surely not. They probably had no idea whatsoever of the things I've mentioned in this post. Yet the forces that inhabit these areas of negativity need not the awareness of potential pawns to have an effect. As Dr. Loren Coleman, whose written extensively on spree shootings and the copycat effect, notes:

But two elements of this "twilight language" are becoming rather clearer as we examine this whole arena. The copycat effect can work through the power and pull over vulnerable and angry human beings through specific locations where these incidents happen as well as the timing of them. Place and time, location and dates, milieu and moment are hiding in plain sight.
The Copycat Effect, pg. 237-238
In other words areas of great negativity can push already unstable individuals over the edge, especially if they're exposed to them for extended periods of time. Sadly, the tragedy in Henning today seems to highlight this. As Robyn Hitchcock once sang, "Ah, we all get messed up by forces that we just don't understand."