by Micah Hanks
Him will I drag through life’s wild waste,
Through scenes of vapid dulness, where at last
Bewilder’d, he shall falter, and stick fast;
And, still to mock his greedy haste,
Viands and drink shall float his craving lips beyond–
Vainly he’ll seek refreshment, anguish-tost,
And were he not the devil’s by his bond,
Yet must his soul infallibly be lost!
–Mephistopheles, from Goethe’s Faust.
Rock ‘n’ roll… it is the long-held modern corruptor of the innocent, and the potential soul-catching menace of those not wary enough to recognize the dangers it hides in its lure of fame, sex, and grandeur.
There is, with little doubt, a long and treacherous history detailing the interplay between musical ties to the occult and the supernatural. But to trace the affair back to its modern roots, beginning in the rural Americas, there is perhaps no finer instance where the worlds of audible entertainment, and those worlds that lay beyond the physical, would collide than at an open crossroads somewhere near Clarksdale, Mississippi in the early 1930s. It was here, according to legend, that the famous singer of blues music, Robert Johnson, was believed to have sold his mortal soul to the Devil, in exchange for an unprecedented mastery of the guitar.
Soul-Selling at the Crossroads
Johnson’s origins, as well as his curious untimely demise, are shrouded not only in mystery, but also in conjecture, as it remains unclear precisely where the legend of the infamous “crossroads bargain” actually began. Some trace the legend back to Johnson himself, whose early life began around the areas of Hazelhurst and Robinsonville, Mississippi. His first marriage in 1929 to sixteen-year-old Virginia Travis would end in heartbreak, as the young bride died during childbirth shortly after the two were wed. According to blues researcher Robert McCormick, who tracked down surviving relatives of the young woman, it was a long-held belief in the family that her death had been punishment for Johnson’s choice in pursuing secular music, which many likened to the literal act of selling one’s soul to the Devil.
Johnson himself referenced “going down to the crossroads” in what became perhaps his most famous offering, “Crossroad Blues,” later performed by the likes of British guitarist Eric Clapton during his years with the seminal rock three-piece Cream. Though Johnson’s lyrics are void of any overt reference to a meeting at those crossroads with Satan, blues musician Son House would allegedly claim years later that this was, in fact, the location where the deal had been carried out.
Thus begun what Jimi Hendrix biographer Charles Shaar Murray would later call, “a long, long line of supernatural brag songs.” And in doing so, this single event cast a certain darkness over the scope of historic musicology in modern times, and an aberrant—if not ominous—cloud surrounding the beginnings of the rock ‘n’ roll music that would begin to emerge over the coming decades.
Erupting from the blues music that would serve as its underlying influence, the twelve-bar staples and themes that had been innovated by Johnson on acoustic guitar would later prove to be even more formidable when amplified through electric instruments produced by fine makers of quality instruments like the Gibson Guitar Company, as well as Leo Fender’s early designs for affordable, lightweight guitars with interchangeable necks and electronics. Thus, guitars such as the Straocaster and its twangy cousin, the Telecaster, would become staples among early blues musicians like Muddy Waters, and later innovators in the budding American rock scene like Buddy Holly. Others like Chuck Berry (himself remaining a Gibson man) would speed the tempo even further, transposing the devilish blues licks of his youth into a much faster paced genre, where twelve bars of yesterday’s blues could send a new generation of young listeners into frenzies with its hijacked delta rhythms and boppin’ downbeat. But arguably, no one amidst the early icons of rock ‘n’ roll that would emerge had more profound an impact on the genre than Elvis Presley, a man who would famously claim legendary status, not only as an American icon, but as the literal “King of Rock and Roll.”
The Birth of a King
From birth, Presley’s life had been riddled with strangeness, and perhaps more than the average country boy from Tupelo, Mississippi. Supposedly, the night baby Elvis was delivered, his doctor had claimed to see a strange light hovering off in the distance; such would become the very stuff of rock ‘n’ roll legend, with folklorists, musicologists, and even ufologists speculating on the nature of the unearthly visitation. While such stories are difficult to confirm, verified records do exist that pertain to the delivery of a stillborn identical twin brother, dubbed Jesse Garon Presley, a mere half hour before young Elvis came into the world. How different indeed the history of rock music might have been, had young Jesse managed to survive! And yet, despite his stillbirth, throughout Elvis’s life he would make references to this deceased twin, with some claiming that Presley could have maintained spectral contact with Jesse, who communicated from beyond the grave.
There is, at very least, a grain of truth to such stories. Writing for Contemporary Psychology, reviewer Alan C. Elms included the following in his critical analysis of Peter O. Whitmer’s The Inner Elvis: A Psychological Biography of Elvis Aaron Presley:
According to various members of his inner circle, stories of Elvis talking or listening to his dead twin were mostly invented by scriptwriters for the first television drama about Elvis, several years after his death. Whitmer’s main informant about Elvis’s supposed obsession with his twin was Larry Geller, Elvis’s sometime hairdresser and “spiritual adviser.” Geller has written or co-authored at least four books on Elvis, and over the past 20 years he has put a lot of words in the dead Elvis’s mouth. Perhaps Elvis really did become fascinated with his twin as he and Geller talked about mystic aspects of twinship. But Geller’s largely unverifiable reports constitute a slender foundation for the weighty structure Whitmer has erected upon them.
Despite the somewhat exaggerated nature of Geller’s claims regarding the spirit presence of Jesse Presley in his brother’s life and career, Elvis nonetheless exhibited classic behavior of the so-called “twinless twin,” as discussed in Whitmer’s psychological biography on Presley:
“The twinless twin wants to prove his uniqueness, to stand as an individual. Yet he is also powerfully pulled toward being reunited with the dead twin. . . . To win the mother’s love, he must grieve for the dead twin. Yet at the same time, to establish self-love and his own security, he must compete with the very person he is compelled to mourn.”
Thus, perhaps this inner, subconscious conflict between self, and the separation innate to his birth, had been what first spurred a decidedly unseasoned young Presley, at the mere age of eighteen, to enter the office of Sun Records in Memphis, Tennessee, and pronounce that he wanted to buy studio time. It was there, during the summer of 1953, that Presley would make history with his recorded version of Arthur Crudup’s “That’s Alright Mama,” which later aired on Dewey Phillips’ Red Hot and Blue radio show. The jangly strumming of the guitar, paired with the smacking of Bill Black’s upright bass and Scotty Moore’s electric guitar floating overtop, would become a sound that Sam Phillips, the brains behind the operation at Sun Records, would use to launch Presley into stardom the following year.
And yet, with the fame there had been a distinctly troubled nature—at times even tortured—that Elvis would maintain throughout his life; this, of course, would culminate in the deterioration of his health and eventual demise at Graceland, his famous home, in 1977. But throughout his early career especially, the raucous and energetic nature of his performances, as well as the overt sexuality he exuded as a young male rising to stardom in a liberated, post-war America of the 1950s, came with a price. His talents were decried by the puritanical attitudes of the upper class, and often shunned due to what many considered a vulgar or depraved display of untamed youth. Much like his predecessor Robert Johnson, what many perceived as a transparent association with corruption and the wicked influences of the Devil himself had become embodied in this young antihero, who went ahead, hips swiveling, as he danced across the airwaves and into the minds and hearts of a relentless young female audience.
Sympathy for the Devil
The rock ‘n’ roll sounds that Presley initiated would not only define Presley’s image and audible signature. If anything, Presley’s influence on the new genre of rock music would also serve as a catalyst for new sounds to come, and within a decade of his arrival on the American music scene, the sounds of loud electric guitars and up-tempo drum beats had crossed the great Atlantic, and were now reverberating back toward the States in the form of the British Invasion. Bands like The Beatles and The Rolling Stones had become both heroes and heartthrobs, in addition to garnering infamy as the new folk devils of the era, sprinkling the seeds of bad influence amidst the youth of the western world. Each of these famous British powerhouses would garner their own varieties of controversy in the realm of the wicked; The Beatles would capture the stern eye of the faithful in the aftermath of guitarist John Lennon’s admission that he and his mates may have grown to be “bigger than Jesus.” Not to be outdone, Mick Jagger and band mate Keith Richards (less renowned for the sort of subtlety Lennon and McCartney’s songwriting would exemplify), went on to release a studio album with the overtly controversial title Their Satanic Majesties Request, followed by Beggar’s Banquet featuring the unforgettable fictional pleas of the historic Lucifer himself in the song “Sympathy for the Devil.”
While one could speculate about the meaning behind the more esoteric compositions in the Beatles’ repertoire, The Stones seemed to prefer to lay it all out there; though in truth, neither party really seemed to take the idea of enrollment under any supposed “Satanic Majesties” very literally, Jagger and Richards preferring instead the mere shock value of associating their brand of popular rock music with overt references to demonology. Commenting on the public perception of The Stones as an evil force at work in the world, Richards told Rolling Stone Magazine in 1971 that,
“Before, we were just innocent kids out for a good time, they’re saying, ‘They’re evil, they’re evil.’ Oh, I’m evil, really? So that makes you start thinking about evil… What is evil? Half of it, I don’t know how much people think of Mick as the devil or as just a good rock performer or what? There are black magicians who think we are acting as unknown agents of Lucifer and others who think we are Lucifer. Everybody’s Lucifer.”
While the obvious influence that blues music played in the formation of rock ‘n’ roll had been apparent in rock bands from England, a truly curious instance of multicultural influences being infused into the soulful creation of rock music came into fruition with the arrival of Jimi Hendrix and his three-piece group, The Jimi Hendrix Experience, in the latter part of 1966. Interestingly, Hendrix had only seen rudimentary success in the United States, and would not manage to break through into the greater pop market until traveling to England, and under the oversight of Animals bassist Chaz Chandler, would begin sitting in with groups like Eric Clapton’s group, Cream, in addition to performing a handful of showcases with Noel Redding, actually a reluctant guitarist who had been repositioned on bass, and the obviously jazz-influenced drummer Mitch Mitchell. Soon would follow the release of the group’s first hit, a recording of Billy Robert’s modern “traditional” classic, “Hey Joe,” which had become a popular cover song performed by artists of the era such as The Byrds and, in years that followed, many others, once Hendrix had further popularized the tune. Despite his background playing as a sideman in groups supporting names like Little Richard and Curtis Knight, one Hendrix became the front man of his own group, many of his more memorable performances featured renditions of songs such as “Like a Rolling Stone,” which he played seamlessly before an excited audience at the famous Monterrey Pop Festival, providing a stateside homecoming, of sorts, for Hendrix. The guitarist would also go on to perform and record such Dylan classics as “All Along the Watchtower,” coloring his renditions of the folk singer’s material with his own unique and innovative—if not at times grungy and artistically undisciplined—guitar style.
But the odd dichotomy underlying James Marshall Hendrix, or Johnny Allen Hendrix, as he was dubbed at birth, is indeed far more curious than merely his song selection. Hendrix, whose paternal grandparents had been a blend of American white, African, and Cherokee Indian, would also lend cultural elements that, over time, would suffuse the budding guitarist’s desires, interests, and even spirituality. Overt references to voodoo practices would emerge in Hendrix’s darker blues renditions, most notably the famous “Voodoo Chile (slight return),” where a collection of supernatural taunts are issued throughout:
If I don’t meet you no more in this world,
I’ll meet you in the next one, so don’t be late.
It was alleged by conga player Kwasi Dzidzornu, who performed alongside Hendrix in later band formations and studio recordings, that many of Hendrix’s rhythms were identical to those he had heard his father perform at home in Ghana, West Africa, during voodoo rituals. Biographer David Henderson wrote in his book ‘Scuse Me While I Kiss The Sky that, “The way Jimi danced to the rhythms of his playing reminded him of the ceremonial dances to the rhythms his father played to Oxun, the god of thunder and lightening,” in a ritual ceremony called Voodooshi.
There were also legends stemming from the Cherokee side, which alleged that if a child’s name were changed early after his birth, that his soul would also be split in half. Though more superstitious in nature than the obvious traces to tribal dance emanating from Hendrix’s recorded music, Hendrix himself often claimed that he felt a second soul resided within him, and that at times he had great difficulty in abiding alongside with this presumed spirit occupant. “[Jimi] believed that he was possessed by some spirit,” his friend Alan Douglas would later claim. “I got to believe it myself, and that is what we had to deal with all the time. And he was very humble about discussing it with people because he didn’t want people to feel he was being pretentious and so on, but he really believed it and he was wrestling with it constantly”. Much the same, Hendrix’s one-time girlfriend Lithofayne Pridgeon, whom he met while living in Harlem, New York, said that Hendrix, “used to always talk about some devil. Something was in him, and he didn’t have any control over it. He didn’t know what made him act the way he acted, and what made him say the things he said, and songs and different things like that just come out of him… It seems like, to me, he was so tormented and so torn apart and he really was obsessed with something really evil.”
And whatever torment may have been working behind the scenes throughout Hendrix’s life, spiritual or otherwise, it would eventually assist in his early demise, much the likes of Elvis Presley, and perhaps most famously, other members of that clandestine collection of rock idols known informally as the “27 Club.” This “club” consists of rock performers who have met early deaths at the age of twenty-seven, and with a startling consistency; not only had Hendrix’s early predecessor, Robert Johnson, also died at the age of 27, but many of the psychedelic guitarist’s contemporaries met similar fates, including Rolling Stones guitarist Brian Jones, as well as singers Jim Morrison and Janis Joplin. This curious trend would not resolve with the hippie generation, however; other artists in decades to follow, including Nirvana singer and guitarist Kurt Cobain and, more recently, singer Amy Winehouse, would meet similar untimely fates.
In fact, the latter of these artists, the young Amy Winehouse, may have even foreseen her death at this unlucky age. As reported in 2008 at the website inquisitr.com, Alex Haines, the former personal assistant to the civilly disobedient singer, had noted:
“It was my job to look after her. But it was impossible. I thought she wouldn’t survive the year with all the drugs and self-harming. Cutting herself was her favorite pastime… She’d keep taking drugs until she passed out. I reckon she spent £3,500 a week on them…. She reckoned she would join the 27 Club of rock stars who died at that age. She told me, ‘I have a feeling I’m gonna die young’.”
Sadly, in the case of the late Amy Winehouse, it is difficult to determine whether her foreboding belief that she would join that ill-fated regimen may have been more a case of self-fulfilling prophecy, rather than being the result of any valid premonition.
“I Think of Demons”
During the same years Jimi Hendrix would reach the crest of fame, a young American rock singer had been working with equal passion—if not quite the same degree of efficiency—at laying his own foundations within the growing new sub-genre of “psychedelic rock” which, curiously had begun to form something of a hub around central Texas. Roger Kynard Erickson, who, like Hendrix and many others, adopted the more edgy sounding “Roky Erickson” as his onstage name, would become a founding member of the seminal psychedelic group, The Thirteenth Floor Elevators, producing regional the likes of the bittersweet breakup song, “You’re Gonna Miss Me,” and later on, the more adventurous and rollicking, “Slip Inside This House.”
Similar in some fashion to Hendrix, Erickson would also claim to be a vessel to various forms of nonhuman “intelligence,” beginning in the late 1960s when he was diagnosed with paranoid schizophrenia. Erickson would spend time under psychiatric observation and hospitalization, where he had been an off and on subject of involuntary electroconvulsive shock-therapy practices that were still in use at the time.
Erickson, who maintained a lifelong fascination with extraterrestrial life, had been born only eleven days after a New Mexico rancher named Mac Brazel began claiming that a strange “flying disc” had landed on his property near Roswell, New Mexico. The story would later make national headlines, and decades after the fact, would become one of the most widely debated conspiracies in the history of ufology. Erikson, rather than becoming a UFO buff the likes of Stanton Friedman and others who pursued the Roswell mystery, would instead begin to claim in his early 30’s that, quite literally, a “Martian” had taken possession of his body, and that other “humans” were attacking him psychically. In 1980, Erickson told journalists:
I’ve gone through three changes. I thought I was a Christian, and then I was with the Devil, where I signed my soul to the Devil… and then the third one, where I know who I am. I feel like I’m a monster. I feel like I know I’m the robe of many colors spoke of in the Bible; in other words, a demon, a gremlin, a goblin, a vampire, a ghost, and [an] alien, with a brain about this big.”
The Song Remains Occult
Any foray into the history of magical and supernatural interactions within the world of rock music would have to take a decidedly darker turn with the inclusion of Jimmy Page, the famous guitarist and compositional genius behind the hard rock super group Led Zeppelin. While the band, on the whole, incorporated a variety of elements from Celtic and pre-Christian mythologies into their music and associated imagery, it was Page’s specific fascination with the occultist Aleister Crowley that garnered so much infamy throughout the band’s career.
Crowley’s history is as strange and sordid, if not more so even, than the typical rock star of today; the history of his study into the realms of black magick and taboo sexual rituals has been popularized in modern times, particularly in reference to study of the unexplained and, of all things, UFO phenomenon. For instance, it is widely held by many UFO researchers who incorporate study of alien abduction into the mythos surrounding unidentified flying objects that Crowley, sometime in the 1920s while living in New York, may have actually stumbled onto the existence of the so-called alien “grays” during an elaborate magical ritual known as “The Amalantrah Working.” The story, framed in its briefest particulars, involved Crowley working with an assistant named Roddie Minor, with whom he managed to elicit contact through some variety of dimensional gateway. This being, according to some ufologists, is said to represent the occupants of various UFO craft reported over the last several decades.
Whether or not Crowley and his brand of occultism could be linked to the history of ufology in any definitive way, we do know that Page’s fascination stemmed from Crowley’s writings and general charisma; the guitarist would go on to pursue an elaborate collection of Crowley’s writings and, at one time, even the infamous Boleskin House, Crowley’s former residence that stood along the dismal South-Eastern shores of Scotland’s famous Loch Ness, believed to be the home of a mystery beast of truly monstrous proportions. The Boleskin House according to Page, was the location of a truly terrifying apparition: the ghost of a “severed head” that would occasionally be seen within. Crowley, who owned the house up until 1913, also claimed the place to be a sort of “Mecca” for the spiritual philosophy of Thelema. By all accounts, the esoteric connections to the darkened corridors of famed Boleskin House and its curious residents are many.
However, despite his fascination with Crowley and the occult, Page would repeatedly deny having any personal involvement with devil worship or satanic ritual throughout his career, particularly following the death of fellow band mate Robert Plant’s son, Karac, in 1977. Despite criticisms for his “dabbling” in the occult, to borrow the demeaning accusation once launched against the guitarist by director Kenneth Anger, Page nonetheless continued to defend his interest in Aleister Crowley, discussing the matter in the British Sound newspaper the following year:
I feel Aleister Crowley is a misunderstood genius of the 20th century. Because his whole thing was liberation of the person, of the entity, and that restrictions would foul you up, lead to frustration which leads to violence, crime, mental breakdown, depending on what sort of makeup you have underneath. The further this age we’re in now gets into technology and alienation, a lot of the points he’s made seem to manifest themselves all down the line.
And maybe, taking Page’s summation of Crowley at its face, there is indeed merit to this perspective. We live in a culture where our own inner monsters lash out in senseless attacks the likes of school shootings, intent on destroying innocents for no apparent purpose other than the glory of being remembered for something—for anything, really—and with little discrimination regarding whether that memory is forever rooted in violence or hatred. Whereas, Page might have argued, Crowley’s famous channeled work, The Book of The Law, famously expressed that one should “Do what thou wilt, and that shall be the whole of the law,” further stating that, “Love is the law, love under will. Nor let the fools mistake love; for there are love and love. There is the dove, and there is the serpent. Choose ye well! He, my prophet, hath chosen, knowing the law of the fortress, and the great mystery of the House of God.” Arguably, many of us today could stand to gain from making more careful life choices, and no doubt, from working to incorporate a bit more love into those decisions as well.
The story of magical and occult underpinnings within the history of rock music continues laboriously onward, and far more could still be said of the subject than could be allowed here. Within the context of roots and symbols, as well as the forlorn archetypes that bed themselves within the complex substructure of artistic expression through music itself, this grand, emergent vision only seems to convey more clearly with time that, despite the fear and wickedness many have tried to associate with music—especially the raw primal energy exerted through rock ‘n’roll—the innate expression of our world’s mysteries through the craft of song is indeed truly beautiful. It is only natural to fear what we don’t understand, and as our musicological study of occult influence in rock shows, there have indeed been more than a few times where the circumstances have seemed more “alien” than anything innate to the known senses; and hence, people reject this expression, or worse, they chase after it, in an attempt to thwart the beast as it emerges… all the while mistaking the mere artistic rendering for being the monster itself.
Indeed, those things relegated to the world of song are often far too alien, or even dangerous, for us to exist alongside within the context of the everyday, and thus they become immortalized in the non-terrestrial starscape that is the limitless potential of music and song. How fitting, then, that the lyrics of David Bowie’s “Starman,” where the singer himself “channeled” an alien known as Ziggy Stardust, come suddenly to mind, ambling forth from the subspace of famous rock quips and quotes:
There’s a starman waiting in the sky
He’d like to come and meet us,
But he thinks he’d blow our minds
And that, as Bowie’s alien character surmised, is what musical expression is really all about to begin with; making that connection, even at the risk of blowing a few minds, and doing so while conveying the similar promise of an artistic medium through which our inner devils can be allowed to rollick and play, rather than be stifled. The fear of “blowing one’s mind” is far less threatening, after all, than the actualization of those negativities; the very things we often find in rock music, and even more so, the very sorts of things we don’t wish to have to abide by in the real and waking world.
ACDC concert image by vacacionesbulgaria.com, via Wikimedia Commons. Jimmy Page image by Dina Regine via Wikimedia Commons. Roky Erickson image by Ron Baker via Wikimedia Commons. All other images public domain.
Dark Horoscope: What Kind Of Demon Are You According To Your Zodiac Sign?
It turns out that in the horoscope you can find out what kind of demon you are by your zodiac sign. Yes, according to esotericists, each of us has our own dark side, which obeys a certain representative of the underworld. And by the way, it doesn’t always hurt us. Sometimes the demon’s patronage even helps.
If you want to know what kind of demon you are by your zodiac sign , then look for yourself in the list below. By the way, the dark horoscope begins unconventionally with Capricorn.
Capricorn – demon Dagdarion
It is believed that Capricorn is the most demonic sign of the zodiac due to its external resemblance to the appearance of Satan or Baphomet. Dagdarion, on the other hand, may look like a toothy fish, a satyr or a devil. This is a demon of coldness and indifference. He gives Capricorn strength of character and the ability to resist other people’s emotions, helps to reach career heights and find useful contacts. But from a negative point of view, Dagdarion can make Capricorns into insensitive, proud, arrogant, calculating manipulative people.
Aquarius – the demon Bechemiron
Bechemiron is not one, but many demons, similar to hippos, can also take the form of a cat, dog, wolf or fox. Such a patron demon brings clairvoyance, prophetic dreams and strong intuition to his charges. However, he can also plunge a person into groundless fantasies and illusions. Therefore, it is so important for Aquarius not to lose touch with reality.
Pisces – demon Neshemiron
Neshemiron looks like a skeleton entwined with snakes, or a mermaid. It helps Pisces to better understand themselves and feel other people. Empty dreams, irresponsibility and spinelessness are the vices with which Neshemiron endows his wards. A person can waste his whole life, being lazy and considering himself an underestimated society.
Aries – demon Byriron
Byriron is the creation of Samael, the prince of the fallen angels. This is a child of fire, who has an active, cruel and fearless character. What is the use of it for Aries? It raises their fighting spirit and endows them with determination, helps them become a leader, an insightful and firm person. But the patronage of Byriron makes Aries too aggressive, power-hungry and despotic. Therefore, spiritual practices, yoga and meditation are recommended for representatives of this sign in order to learn how to pacify a storm of emotions in themselves. In addition, Byriron makes Aries show cowardice and “hide in the bushes” when it would be necessary to express their opinion.
Taurus – demon Adimiron
Adimiron is a creature in the form of a half-lizard, half-lion. This demon endows Taurus with a strong-willed and unyielding character. It is believed that the lion’s part of the body of Adimiron gives his wards physical strength, and the part of the reptile’s body – a “cold head”, rationality and concentration. However, in addition to such gifts, this demon can make Taurus very stubborn, withdrawn and greedy individuals. Therefore, it is very important for them not to cling to the material world.
Gemini – the demon Celladimiron
Celladimiron is a Cerberus-like entity. He gives Gemini the ability to easily and quickly adapt to changing external conditions and circumstances. However, the dark side of Celladimiron’s patronage is the inability to find oneself and one’s place in life. Representatives of this sign run the risk of losing their true self, so they should engage in self-knowledge.
Cancer – demon Shehiriron
Shehiriron is a spirit of water, similar to a demonic reptile, insect, mollusk or crustacean with a human face. The most important gift that Cancers have in store from this spirit is the ability to make all their dreams and fantasies come true. But along with them, empty chores, obsessive thoughts, fears and phobias come into the life of Cancers. Sometimes representatives of this sign suffer from insomnia more often than others.
Lion – demon Shelhabiron
Shelhabiron is a werewolf-like fire spirit. It gives Leo the endurance and the ability to deal with very difficult and responsible tasks, as well as creativity. But on the dark side, Leos can be vicious, ruthless, heartless, and aggressive. Therefore, it is important for representatives of this sign to mobilize their own resources and direct all their internal forces in the right direction.
Virgo – demon Cefariron
According to the description, Cefariron is a half-living and half-dead entity. She helps Virgo see the truth, be an honest and impartial person, and also not pay much attention to public opinion. But all this, in turn, can make the representatives of this sign of people depressed and indifferent to the joys of life. Therefore, they are encouraged to practice positive thinking and not forget to devote time to what they like.
Libra – demon Obiriron
Obiriron is a demonic spirit similar to a golem or a leprechaun. It helps Libra find inner stability. Obiriron has power over time and can give as much of it as needed so that Libra can achieve what they want. However, because of this, the representatives of this sign relax and stop doing anything, thinking that everything will work out by itself. Therefore, the main advice for Libra is not to be lazy.
Scorpio – demon Neheshithiron
Neheshithiron is a demon that looks like a devil insect with a human head. From Scorpios, he makes aggressive and strong personalities. He also helps the representatives of this sign to transform and evolve. It is important for Scorpios to listen to their heart and go through life their own way, because otherwise Neheshitiron, wanting to return a person to his own path, may begin to destroy his life.
Sagittarius – demon Nahashiron
And the last demon according to the sign of the zodiac is the patron saint of Sagittarius, Nakhashiron. It is a demon that looks like a reptile with a dog’s head. He helps Sagittarius to deal with the disadvantages of their character and become a strong and whole person. Nakhashiron provides the representatives of this sign with continuous movement towards the goal, giving them energy for transformation. The negative influence of the demon is reflected in the fact that a person can not withstand such a rapid development and get sick. Therefore, Sagittarius needs to streamline their lives as much as possible so as not to waste energy in vain.
Christian writer recorded the voice of Satan?
This week, foolishly, apparently, one author claimed to have recorded the real voice of Satan. To promote the new book, Christian author Roderick Millington published a track … of the devil himself, supposedly saying, “Come into the fire, come to me.”
The electronic voice phenomenon has been the subject of controversy in the world of paranormal research for many years. Television shows such as Ghostbusters have publicly showcased the results of EVH, often manipulating frequencies to “reveal” a free voice shouting from the great beyond.
Whether you believe in the paranormal or not, Millington’s “Voice of Satan” recording will make you raise an eyebrow.
“I confess right away that until recently I was one of the cynics who laughed at those who believe in the devil,” the author begins. “Then I heard his voice and everything changed.” He continues: “As I sat at my desk trying to figure out what Satan might have spoken to me directly, after a while my breath came back, my mind became clearer and I knew what I had to do. This book is the result. “
This book is titled “The Devil’s Playground” and contains 21 supposed recordings of EVP demons along with Satan himself. However, you don’t need to buy a book to hear Satan’s voice! All you have to do is click here and scroll down to the “Come on fire, come to me” web player.
Rock and metal have a rich history of audio files, with religious leaders striving to find feedback and subliminal messages hidden in songs.
Led Zeppelin was accused of hiding the message “He’ll give you 666” in the song, and Judas Priest and Ozzy Osbourne were put on trial after fans died.
No group was found guilty of a crime.
Hollywood studios are built on the blood of babies – Mel Gibson
American film actor Mel Gibson criticizes both Hollywood and the morals of the American establishment – tough and unusual. Essentially, he blames a significant portion of the American elite for ritual Satanism. (before that, a similar terrible confession was made by another famous American actor Jim Carrey).
For this, he was blacklisted by the leadership of the US “creative world” in 2006. Since then, the actor has been working outside the system.
Gibson appeared in the prime time of the British BBC channel, in the Graham Norton show, on Friday January 19, where he answered guests’ questions:
He said key players in the movie business “get their kicks from destroying the sanctuary of children” as they “thrive on breaking every God-given taboo known to man.”
“These people follow their own religion and use it for moral guidance. It’s not the sort of religious teachings you folks would ever hear about. They perform sacred rituals that are sick and totally at odds with the moral fabric that binds most patriotic Americans. The worst part: It’s an open secret in Hollywood and everyone wants in on it.”
He explained how he had been blacklisted by Hollywood’s controlling oligarchs in 2006 for voicing his opinions about the industry that clashed with their liberal agenda.
He said that since then he has been “working outside of the system” which has given him a fresh perspective, saying:
“It’s difficult to comprehend, I know, and I’m sorry that I am the one to break this to you, but Hollywood is an institutionalized pedophile ring. They use and abuse kids for their own sick ‘spiritual beliefs,’ if you can even call them that. I don’t fully understand it myself, but they harvest these kids for their energy and feast on their blood. They don’t do it mercifully either, they scare the sh*t out of them before they sacrifice them. The more innocent the child, the more terrified they are, the more they thrive on it,” said the Braveheart star.
What does that mean? They aren’t doing this as some form of artistic expression, they are harvesting the blood of children and eating their flesh because they think it gives them some sort of ‘life force.’
“If the child was mentally and physically suffering when they died, then it gives them ‘extra life force. I don’t understand why they do that, but that’s what they do. Most of us have a moral compass that guides us through life, right? These people don’t have that, or if they do, it’s pointing in the opposite direction.”
Gibson, who has spent the last 30 years working inside and outside of the Hollywood regime, says that the industry’s hierarchy “thrives on abuse, pain, torture, stress, and suffering.
According to Gibson, the desire to inflict such abuse isn’t limited to just the elite, but only “those at the top of the food chain can afford such a ‘luxury,’” although, it’s a “goal for most people in the industry.”
According to Gibson, this perversion isn’t just the latest fad but has been a deep-threaded culture in Hollywood for generations, and is something popular among both men and women.
This happened “in the green room behind the curtains” immediately after the show:
Jennifer Lopez Desperately calls to Fellow SATANISTS as she Breaks Down Emotionally:
Can anyone believe him?
Most likely you can. In his revelation, Gibson publicly declared an epidemic of parasites that control Hollywood and personally participate in child sacrifices and pedophilia:
“every studio in Hollywood is bought and paid for with the blood of innocent children,” he said, adding: “The most valuable currency in Hollywood is it’s the blood of infants … key players in the movie business get adrenaline from this process and enjoy breaking the bans. ”
“They have a blatant disregard for ordinary people. Destroying people’s lives is just a game for them – the more they can hurt, the better the sensations. Children are just food for them. They revel in pain and fear, and the younger, the better. ”
And then comes the phrase, which should be emphasized: “These people follow their religion and use it for moral guidance.” What religion in human society justifies cannibalism and human sacrifice? This question should be asked by each of us.
– Sure! But not only him. Let us recall the cases of ritual killings, which are widely known.
“They perform sacred rituals that ordinary people will cause bouts of nausea, and are completely in conflict with the morality that binds most patriotic Americans. The worst thing about all this is that it’s an open secret in Hollywood and everyone wants to get involved. ” (A very timely documentary was filmed on this very difficult topic. ]]>Galina Tsareva’s film entitled Octopus ]]>– ed.)
“It’s hard to understand, I know, and I’m sorry that I’m the one who opened your eyes, but Hollywood is the deadly legalized patrimony of pedophiles. They use kids to realize their scary sick fantasies. They take these children because of their energy and are saturated with their blood. They don’t do it mercifully, they first put them in a state of horror before sacrificing them. ”
“The more innocent a child, the better for them. What does it mean? They do not do this as some form of artistic expression: they simply drink the blood of children and eat their flesh, because they think that it gives them some kind of “vitality”. “The more a child suffers mentally and physically when he dies, the more he gives them extra vitality.” (These satanic rituals are designed to “feed” the demons with psychic energy, and those nonhumans who perform them drink blood that is saturated as a result of the child’s inhuman suffering with ADRENOCHROME – a powerful drug that, in addition to “coming”, also gives a powerful “rejuvenation” of the body – .)
“Hollywood is saturated with innocent children’s blood. There have always been indications of pedophilia and cannibalism, but for many years they have been unprovable, mysterious, or symbolic. I have been familiar with this practice since the beginning of the 2000s, and I would be in serious danger if I ever talk about it. I do not mean only my career, I mean that my life will be in jeopardy, the life of my family will be in danger. I can talk about it only now, when these people, industry leaders, are already dead now. ”
“Children are like“ premium currency ”and have a higher value than anything you can think of. They literally trade these children as currency for services, roles in films, kickbacks … ”
According to Gibson, these terrible crimes (pedophilia, infanticide, cannibalism and ritual sacrifices) did not appear in recent years, they have ancient and not American roots. “If you investigate this phenomenon, you will find hidden facts in the shadow of any gloomy era in history. These dark, multidimensional occult practices have been used in secret societies for hundreds of years. Hollywood uses this for social programming and mind control, and their message is projected into the psyche of the American people … ”
In what a famous American actor said, the rituals of a satanic human sacrifice are clearly described. It is also indicated that many people know about the existence of the secret structure of Satanists in Hollywood – but they are silent! Meanwhile, the occult powers of Hollywood are using their vast resources “for social programming and controlling the consciousness of the American people.” I must say, very successfully used.
The key question is whether the Trump administration and the FBI will then initiate an investigation into the testimony of Hollywood ritual killings, or will the US authorities blame it on Gibson’s creative extravagance?
We also note that on the sites that published material exposing Mel Gibson, there are many other creepy publications.
For example, Sylvester Stallone bluntly accuses Barack Obama of being a former U.S. secret homosexual, stating: “I have nothing against homosexuals, but I am against any lies” (Sylvester Stallone: ’Pathetic’ Obama Is’ Closet Homosexual Living A lie ‘)
Jim Carrey’s article talks about the practice of ritual cannibalism in Hollywood for Christian Christmas (Jim Carrey: Hollywood Elites ‘Eat Whole Babies’ For Christmas). The author writes that criminal perverts are trying to distort and pervert the soul of the American people and change the whole world.
Adrenochrome: Evil Drug Of The Super Elite, Harvested From Terrorized Children:
Pizzagate, Spirit Cooking, Occult And Beyond:
Katy Perry’s New Video Suggestive Of Cannibalism And Pedophile Lingo:
Pizzagate: Pedophilia, Child Sex Trafficking & Those Who Participate:
Materials about secret societies, humanoid mutants
About how the development of sex robots is being conducted so that perverts can conceive children with predefined properties (Sex Robots To ‘Give Birth’ After Sex With Humans Using Genetic Engineering).
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