Unakceptable_views (@Unakceptabke_views)

**DAVID BOWIE WAS A SATANIST - a CROWYITE** He certainly played his part in the demise of the Western World. I used to like him… KABBALAH is at the foundation of all of this …. “I'm closer to the Golden Dawn. Immersed in Crowley's uniform of imagery.” In the 1976 song 'Station to Station' he mentioned the occult doorways to other plans of reality when he described how to travel down the Cabalistic Tree of Life from Kether to Malkuth that is from Godhead to Earth. >On 25 November, 1995, he finally admitted that in 1976 "My overriding interest was in cabbala and Crowleyism. That whole dark and rather fearsome never–world of the wrong side of the brain. ... And more recently, [in 1995 he stated] I've been interested in the Gnostics". >Odd John" by Olaf Stapledon (1936) is a novel about a coming race of superhumans who aim to supplant humanity but end up causing the downfall of their utopian settlement on an island. "Odd John" is responsible for coining the term "Homo superior". • • • • • **Bowie: 'Oh! You Pretty Things' (1971)** I think about a world to come Where the books were found by the Golden Ones Let me make it plain You gotta make way for the Homo Superior Look at your children See their faces in golden rays Don't kid yourself they belong to you They're the start of a coming race. Homo Sapiens have outgrown their use All the strangers came today And it looks as though they're here to stay. In the early 1970s there were as many occult bookstores around as health food shops. Sci–fi writers like Kurt Vonnegut and Robert A. Heinlein's novels were read alongside G.I. Gurdjieff or Madame Blavatsky, the co–founder of Theosophy, an organization that established Yoga and other Eastern imports in the minds of the hungry and curious. Robert Charroux and Erich von Däniken wrote about gods coming from the skies. Alvin and Heidi Toffler thought about a "Future Shock" in 1970 and the astronomer J. Allen Hynek undertook "The UFO Experience: A Scientific Inquiry" in his 1972 publication. • • • • • Regardless of whether they were full of factual inaccuracies (fake news, conspiracy theories, charlatanry), or were poorly documented and lousily researched: >the dawning of the Age of Aquarius was the kickoff for the dawning of post–modernism and one drew inspiration from whatever one found that tasted of the occult. "For the Shadow Man is really you / Look in his eyes and see your reflection / Look to the stars and see his eyes / He'll show you tomorrow" ('Shadow Man', 1970) Similarly to Manicheism, in which tradition man possesses a heavenly alter ego — we find in judaism — the concept that humans have an Angelic self, a sort of astral body: >a personal Angel and Star, a Self–Daemon entirely in harmony with the nature of their individual being. This guardian Angel is the angelic and essential form of the person himself. >This heavenly vestment grows by means of good deeds and clothes the person for his homecoming to the Upper World. Bowie: "The idea that one doesn't have to exist purely on one defined set of ethics and values, that you can investigate other areas and other avenues of perception and try and apply them to everyday life. • • • • • **Famous keywords — "In the shadow I'll clip your wings"** Bowie's keywords Aleister Crowley and the Golden Dawn show us where to dig deeper to understand his symbolism. The Golden Dawn was a magical secret society, a crowning glory of the occult revival which flourished at the end of the 19th century **and taught a unique blend of jewish mysticism** (called Cabbala or Kabbalah, also to be found in Bowie's symbolism), astral travel, magic, yoga (also practiced by Bowie) and how to communicate with angels and demons. For this latter communion it was first necessary to empty the mind, to make room for the unknown to enter — something that bears a strong resemblance to Bowie's 'cut–up' method of writing lyrics. >”I've always felt like a vehicle for something else but then I've never really sorted out what that was.” • • • • • The Cabbala combines several factors: the analytical and linguistic aspects of it have certainly proved of interest to the erudite side of Bowie's character, while another part of him has been drawn to the meditative Cabbala, where one immerses oneself in the Divine attributes of words and numbers to ascend spiritually. There is also a physical way of Cabbalistic working, the 'Ecstatic Cabbala', which involves exercises in breathing and movement, as well as chanting and singing. The unleashed creativity resulting from the visions of cabbalists, as well as the act of documenting these visions, imbues the experience with a heightened sense of reality and sanctity. It is as if an alchemical process takes place, transforming both the writer and the text itself, giving rise to a world that extends beyond the confines of our own. This remarkable feat of visibility, brimming with intricate details of the trance–induced imagery, represents an experimental endeavor where multiple perspectives converge and leap from one point to another, weaving together fragmented sensory impressions. • • • • • It is worth noting, however, that practitioners of occult traditions do not seem to conform to the conventional notion of a coherent or unified identity, as commonly understood in traditional concepts of personality. The elusive moment of experiencing visions gives rise to a transformative function of perception, an expanded seeing that encompasses the entire realm of knowledge. This expanded visual perception becomes increasingly intricate, branching out in countless directions. The absence of precise definition within these profound experiences, such as the lack of a singular emphasis on a symbol–bearer, allows for new comparisons between signs and symbols to emerge. This, in turn, paves the way for the exploration of new codes, rhetorical devices, and the pursuit of novel structural frameworks. >The visions serve as extensions of human consciousness, facilitating a state of gnosis. Through interpretation, a heightened level of reflection emerges, not attributable to any specific author, and it transcends the need for constant repetition in a theatrical production. • • • • • Instead, it serves as a metaphor for the continuous pursuit of enlightenment strategies. In the rôle of an image curator immersed in trance experiences, this particular kind of occultist (cabbalist) harkens back to the ancient notion of creation through idealistic aesthetics. >The notion of authorship is suspended in a materialistic sense, reminiscent of the concepts embraced by figures like Marcel Duchamp or Andy Warhol, who boldly fashioned themselves as artist–as–star. […] **In a similar vein, the cabbalist reorganizes pre–existing creations derived from trance–induced visions, effectively melding old traditions into a new and cohesive whole**. Similar to surrealism, occultism seeks to disrupt the dominance of rational philosophy and logic, as exemplified by Descartes. The surrealists expressed their vehement disdain for bourgeois society through acts of provocative protest. • • • • • Occultism, in turn, is rooted in the belief in a higher reality fostered through various forms of association, such as the cabbala, **and a steadfast faith in the potency of dream and trance–induced images**. >It places great importance on the unrestricted flow of words, liberated from the constraints of intellect. Within the subculture of the occultist, a multitude of voices, colors, and materials must be embraced and experienced. The euphoria derived from these abundant images and voices shapes their identity and reflection. **Like any utopian ideology, occultism derives its power from an inherent yearning for a boundless world, encapsulating both the desire to master one's own reality and the longing to break free from its shackles**. >Gnosis, in its essence, demands the dismantling of structure from life itself. • • • • • Aleister Crowley was born in England in 1875, into a wealthy and religious family at the height of the Victorian era. In 1898 he joined the Hermetic Order of the Golden Dawn. In Egypt in 1904, Crowley penned an occult poem heralding the dawning of a New Aeon, which would be governed by the Law of "Do What Thou Wilt" (as can be found in Bowie’s 'After All', 1970). After the death of one of his students, Crowley’s life took a turn for the worse. His reputation in the British press as "The Wickedest Man in the World" was now, more than ever, working against him. Crowley’s later years were overshadowed by poor health, drug addiction and a desperate hunt for money. Crowley expanded the limits of the Golden Dawn by advocating the identifying of oneself with various gods (called Assumption of god Forms), >union with those gods (angels and demons) during orgasm and / or consumption of mingled male and female sexual fluids. [they also eat feces and make cakes called “light cakes] • • • • • Crowley's key maxim was "Do what Thou Wilt", which (among many other interpretations) with the Greek word Thelema which stands for Will. [copied from John Dee and then the Hellfire Club] >In the Crowleyan world, 'Thelema' refers to sex magick (which Crowley spelled 'Magick' to distinguish it from the purely ceremonial variety). >It involves reaching illumination during sexual intercourse through techniques that focus sexual energies on a wish, a magical seal, a lamen — those mystical projections embodying desires, such as the pursuit of silencing the neighbor's cacophonous pet. He styled himself as master of de–essentialization and de–authentification: >"I don't necessarily know what I'm talking about in my writing. All I try to do in my writing is assemble points that interest me and puzzle through it, and that becomes a song and other people who listen to that song must take what they can get from it and see if information that they've assembled fits in with anything I've assembled and what do we do now?" he told journalists. • • • • • **One of Crowley's sexmagical instructions is a treatise about the creative organ's divinity**: the vital fluid is a vehicle of immortality. The Matter is the original primitive material substance semi–spiritual, immortal and containing in itself the archetypes of all form and possessing the double potency of attracting to itself individual spirits and also particles of gross Matter to form their temporary envelope on this plane (the gnostic Rotten Place). Another technique unveiled to the "pupil" is that **masturbating on a sigil of a demon or meditating upon the image of a phallus would bring power or communication with a (or one's own) divine being / Super Ego**. >There are heterosexual intercourse sex techniques where the sexual secrets are sucked out of the vagina and when not consumed (when considered holy) put on a sigil to attract this or that demon to fulfill the pertinent wish / order. • • • • • Crowley played around with different sexmagical methods. [there are homosexual rites as well] One of his secrets is the adoration of the idol Baphomet of the old Templars. >The magician and his mate "copulate continuously" until impregnation results: a homunculus. In the most secret teachings, one identifies oneself with an ejaculating penis. >The blood (or excrements) from anal intercourse attracts the spirits / demons while the sperm keeps them alive. Crowley's main tools to achieve illumination remained: spermophagy, coprophagy, urolagnia and algolagnia. "Then I ran across a monster who was sleeping by a tree / And I looked and frowned and the monster was me" **In 1971, Bowie stated that he wanted music to be "tarted up, made into a prostitute, a parody of itself. ... It should be the clown, the Pierrot medium**". [John **Mendelssohn**: "David Bowie: Pantomime Rock?", in 'Rolling Stone', 1 April 1971]. • • • • • While spending his time gazing into crystal balls and communicating with the spirit–world through a Ouija board, Bowie developed a shadow–persona / alter ego of an **androgynous messiah–figure who would shape the music scene of the 1970s**. >He questioned the accepted romantic notions of sincerity, truth and authenticity, including the assumed identity and sympathy between musician and audience, particularly where sexuality and pop / rock music running counter to everything deemed natural was concerned. This undoubtedly fed Bowie's desires for folie de grandeur and an aesthetic of excess, both of which could be used to re–create the self as a manufactured object **and would mean the replacement of God as the creator**. […] **Style and fashion served as the guise of a fleeting new character, something donned for a record, a photoshoot, or a stage show**. • • • • • Talking about Bowie and his music sometimes became much more interesting than the actual music itself.Pop music went postmodern, with fragments ruling. The nature of Glam or Glitter Rock was its obsession with surfaces and mutability: >the ever–changeable me and you, the transitory nature of identity and gender — these were glam's truest, most basic subjects. A concept that offered less of a ready–made identity and more a 'critique of identity' itself. >Bowie: "I do not feel that there is anything remotely glorious about being either male or female. I was merely playing on the idea of the colonisation of a gender." >Iman: "Is it better to be one or the other?" Bowie: "That is, in my opinion, an absurd question."” https://www.parareligion.ch/bowie.htm