Archive for carlos castaneda

THREEFOLD COERCION OF THE DREAM BLACK RAVEN TAROT

Posted in Art, Chaos Magic, Comics, Ghost, Goetia Girls, Goth Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tarot, Vampire, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , on April 16, 2019 by FAUSTUS CROW

The name of the Black Raven Tarot is derived from Dr. Johannes Faust’s grimoire, which is entitled the Threefold Coercion of Hell. Faust’s grimoire is also called the, ‘Cabalae nigrae, Magiae naturalis et innaturalis,’ which was first published in Passau during 1505.

The Cabalae nigrae, Magiae naturalis et innaturalis has been fused with the Goetia, which lists 72 spirits.

Faust’s grimoire is commonly known as The Black Raven, due to its title page, depicting a Raven inside of a circle holding a plant in its beak.

There are numerous other Faustian grimoires, which are purported to have been authored by Faust.

A later version of the Black Raven was published by Scheible, Stuttgart 1849. The classical Black Raven is renowned for its rich illustrations.

The Black Raven is usually considered to be a black-magic grimoire, whose contents cover the art of conjuring, coercing, binding and making obedient various spirits and demons, which of classical commonality are seen to be all male expressions of the Animus archetype.

The main motif of the Dr Johannes Faust’s book is the ‘Harrowing of Hell.’ The harrowing of Hell alludes to the descent of Christ into the underworld of Hell, which is re-enacted by the practitioner.

The descent is somewhat akin to Neo out of the Matrix films following the Eostre Easter bunny White Rabbit into Wonderland.

In White Rabbit Latin the harrowing of Hell is the, “Christi ad Inferos.”

The descent into the infernal realms originally referred to the trance experience of the Shaman, who harrowed the inner reality of the dream.

My version of the Black Raven is about the shamanic harrowing of the dream, which of a ‘threefold’ dream Yoga process is aligned with the ‘three,’ Nigredo, Albedo, and Rubedo states of inner Alchemy.

The Nigredo stage is equated with hypnagogic trance ingress into the dream. The Albedo is the inner (bio-photon) light of the dream, which specifically alludes to attaining a lucid dream. The Rubedo stage refers to hypnapompic egress out of the dream upon awakening.

As for the spirits, one can otherwise see them as dream characters, a practitioner will encounter within a lucid dream. The 72 spirits of the Goetia have been transformed into (Succubae) Succubi aspects of the Fallen Anima.

The 72 Succubi, which are depicted in the Tarot cards can be equated with what the author Carlos Castaneda termed as being Allies, a Shaman would call his ‘spirit (Genie) wives,’ from whom he derives his Tantric power or should I say, his magical inspiration.

Castaneda was taught the art of sorcery by his tutor Don Juan Matus who informed Castaneda that the Allies are an inorganic feminine intelligence.

Don Juan Matus communicated: “An “Ally”, he said, is a power a man can bring into his life to help him, advise him, and give him the strength necessary to perform acts, whether big or small, right or wrong. This Ally is necessary to enhance a man’s life, guide his acts, and further his knowledge. In fact, an ally is the indispensable aid to knowing.”

“Don Juan said this with great conviction and force. He seemed to choose his words carefully. He repeated the following sentence four times: “An Ally will make you see and understand things about which no human being could possibly enlighten you.”

The Allies a Hindu or a Tantric Tibetan Buddhist would know as Dakinis, a Japanese Buddhist would equate with Kitsune. The Ally has many names across numerous cultures. Whereas a mad surrealist Artist would know the Allies as Art Muses, he conjures up amidst his Triangle Of Art imagination unto an ensuing lucid dream, wherein the Black Raven Tarot Art Muses (Allies) can be conjured.

“The man who arrives at the doors of Artistic creation with none of the ‘madness’ of the Muses would be convinced that technical ability alone was enough to make an Artist… what that man creates by means of reason will pale before the Art of inspired beings.” – Plato

If you are interested in the Black Raven Tarot grimoire and the Tarot deck, please Click Here. 

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SHAMAN DREAM CARLOS CASTANEDA

Posted in Alien, Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 9, 2017 by FAUSTUS CROW

The Artwork depicts the anthropologist and author Carlos Castaneda as the sorcerer’s apprentice of his teacher, Don Juan Matus, which of a name is used by Castaneda to describe a Yaqui Mexican sorcerer in his series of shamanic orientated books on Nagualism.

Castaneda repeatedly indicated that ‘Juan Matus’ is a pseudonym that he had chosen to protect the true identity of his teacher into the ancient practices of Toltec sorcery, who is described as being a Native American of Yaqui/Yuma parentage.

Numerous scholars still debate whether Don Juan Matus was a real person, an allegorical figure, or an invention by Castaneda. However, Castaneda’s choice of a pseudonym is interesting.

For example, Matus is the Slavic form of the Latin personal name Matthaeus, which in English is Matthew and a reference to the Biblical Matthew who was initially considered to be a despised outcast due to him being a tax collector. In Hebrew, Matthew means, ‘gift of God.’

As for the name Don Juan, it refers to the legendary, fictional libertine and seducer of women, which is used as a common metaphor for a “womanizer” as well as being slang for hyper-sexuality.

Don Juan Matus was seen to be an outcast, due to him being a maligned sorcerer, who told Castaneda that a (sorcerer) man of knowledge needs to first win an Ally.

Matus described the Ally as being a feminine inorganic intelligence, which is encountered within the microcosmic domain of dreams he called the Nagual. The waking reality of the macrocosm is termed as being the Tonal.

In other words, the mythical reference to Don Juan refers to the sorcerer’s hyper sexuality being introverted into the (Nagual) dream, which empowers lucid dreaming, in order to ‘seduce’ an Ally.

The psychologist Carl Jung would term the Allies as being manifold aspects of the Anima, whose inner archetypal manifestations are personified intermediaries with the psychic powerhouse of the (Nagual) subconscious.

Don Juan Matus related to Castaneda: “An “Ally”, he said, is a power a man can bring into his life to help him, advise him, and give him the strength necessary to perform acts, whether big or small, right or wrong.

This Ally is necessary to enhance a man’s life, guide his acts, and further his knowledge. In fact, an Ally is the indispensable aid to knowing.

Don Juan said this with great conviction and force. He seemed to choose his words carefully. He repeated the following sentence four times:

“An Ally will make you see and understand things about which no human being could possibly enlighten you.” 

A Tibetan Buddhist practitioner of Tantric dream Yoga would call the Ally a Dakini, whereas a Surrealist Artist would otherwise conjure the Ally amidst the Triangle Of Art Imagination, to thence manifest within a lucid dream as an inspiring Succubus Art Muse.

The design was used in my Art books, Goetia Girls, which are available from Amazon under my author’s name, Faustus Crow.

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GHOST GIRLS OF EASTERN EUROPEAN SHAMANISM

Posted in Alien, Chaos Magic, Demon, Demonology, Ghost, Goetia Girls, Goth Girls, Love Magic, Lucid Dreaming, Occultism, Poltergeist, Sex Magic, Shamanism, Succubus, Tulpa Creation, Vampire, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 31, 2015 by FAUSTUS CROW

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Rusalki, ‘plural: Rusalka was perceived as a female Ghost, Water Nymph, Succubus or Mermaid of an Inorganic Feminine Intelligence, who often dwelled in a waterway.

According to most pre-Christian Slavic traditions of Eastern Europe, the Rusalki ghost girls were usually seen as being of an amphibious nature, which indicates reptilian characteristics.

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The Rusalki ghost girls primarily live at the bottom of torque whirlpools, which is somewhat reminiscent of what the Yaqui Sorcerer called Don Juan told the author Carlos Castaneda about the Inorganic Feminine Intelligence called the Allies, which also frequents whirlpools.

A salacious Rusalka was seen to stalk the depths of the humid night as a ghost, walking upon the river bank naked or to dance amidst the meadows sky-clad. Should a Rusalka see a handsome male, she would mercilessly hunt him down, fascinating her quarry with erotic songs filling his head.

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He would also be tormented by visions of the Rusalka ghost girl sensually dancing before him, so that to mesmerise her prey, leading him away towards the river floor, to live with her; that, or she to haunt his watery astral dreams wherever he goes, such as haunting Faustus Crow as Mephistophina.

There are are also Russian folktales concerning the Rusalki, which have parallels with the Germanic Nix, Irish Banshee and the Glaistig; but most especially in regards to the Hindu/Tantric female faerie sorceresses called Dakini’s, who are also known by the Tibetan Buddhist as Khadomah.

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Visual descriptions of the Rusalki reflect their environment, varying in form from region to region, wherein to find Rusalki of fertile areas such as in Belorussia manifesting as seductively beautiful naked maidens who live without men amidst them.

However, In Greater Russia, whose environment is much harsher, the Rusalki appear as lithe gymnastic Scythian Amazons of warrior predilection. But then, they are a fusion between the Valkyries of the (Rus) Vikings and the female spirits of Slavic elder lore.

While in the Ukraine they were often linked to water. In Northern Russia, the Rusalki manifest as hideous hags, who are very hairy wild-women; whereas others of this region describe the Rusalki as being sinfully wicked young ghost girls, who manifest as very attractive Ice maidens of carnally perverse wanton wiles, with wild dishevelled hair.

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One folklorist discovered tales, which described the Rusalki ghost girls as being similar to Vampires: “They were naked, wan, and cadaverous, like drowned corpses, and their eyes shone with evil green fire.” (Johnson, Kenneth. Slavic Sorcery: Shamanic Journey of Initiation. St. Paul, MN: Llewellyn Publications, 1998: page: 155)

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The Vampire aspect of the Rusalki ghost girls is very much like the nature of the Viking (Rus) Valkyries who, as death angels, are attracted to conflict; they can either protect a warrior from harm, or determine his fate in battle.

The Rusalki ghost girls are usually perceived as beautiful fish-women or as Mermaids who are commonly portrayed in Slavic folk-art and fairytales as stunningly seductive creatures, whose beauty is unrivalled by any mortal woman.

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Another folklorist related: “In her outward appearance, the Rusalka matched the natural beauty amid which she lived. Her fair tresses flowing in an eddying endless stream, her fine features framing her fathomless eyes; simply to see her was to ache with desire.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)

While other informants describe the Rusalki as: “their faces are pale like the moon, and they wear robes of mist or green leaves, or perhaps a white robe without a belt. Their hair is green, or brown, decorated with flowers” (Johnson 155). The ethereal beauty of the Rusalki can only be tarnished by the windows to their inner beings, which are as their spiral eyes, of gold flecked green flame, telling of their tragic beginnings.

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The Rusalki ghost girls are most commonly perceived to be the spirits of young women who have met their dire fate by drowning in deep waters, whether by accident, suicide or by malicious intent, or to have been murdered by their own mothers. However, the motif of ‘drowning’ may actually allude to trance Induction of which the feminine is most adept at. The Rusalki have since been transformed into aliens emanating from another dimension, or to have otherwise descended from the starry ocean of the cosmos as blond haired Vril Angels, who are mistakenly described as being Nordics extraterrestrials. But then as Tesla Muses, they did beat the Operation Paperclip ‘Nazi Assisted Space Agency’ to get into space.

“Belief in them is most widely spread among the Russian’s (the Christian practitioners of Dvoeverie), who hold that they are children who have died un-baptised, or have been drowned or suffocated, or else that they are girls and young wives who have met an unnatural death, or have been cursed by their parents” (Máchel, Jan. “Slavic Mythology” The Mythology of All Races. Vol. 3. Celtic & Slavic. Eds. Louis Herbert Gray and Consult. Ed. George Foot Moore. Boston: Marshall Jones Co., 1916: 13 vols: pages: 214-312.)

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These ghosts of drowned girls are perceived to spend some time in a purgatorial limbo state before becoming a Rusalki, as if to allude to an Initiatory period of training. During this time of Initiation the young Rusalki are known by the Russian as a Navki, or in Polish as Látawci Navki who are reputed to appear in the form of birds, which cry out wailing cries like forlorn infants. The Navki continuously comb the countryside in search of their former mothers, who would be quite shocked by what their daughters are becoming of a Pussy-Riot rebel generation. But what do you expect; there be a commonality of Playgirl Grimoires listing butch ‘Animus’ Angels and Demons; whereas Playboy Grimoires are not to be found of conjuring the ‘Anima’ manifestations of the Succubae Rusalka, such as the one time Succubus, named Astarte, who be otherwise known as Astaroth.

The young Navki ghost girls are usually seen to be rejected by the mother Church of Rome, whose patriarchs greatly fear them with deep dread, due to their malign reputation of jealously attacking those Christian women who are said to be close to the time of childbirth. Although this has more to do with attempting to stop a child from being brainwashed into the appropriated ancestral-self-identity of another people, whose cultural construct of a Abrahamic religion had been stolen by Rome.

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The initiatory period of wandering for these angry ghosts of the Navki lasts for seven long years, which seems to indicate an elder tradition of training young girls by some form of ancient matriarchal religion. The chosen girls were no doubt highly adept at trance (drowning) induction, who left their natural mothers in order to be trained. However, those of a Christian disposition perceive the Navki as begging anyone of the Abrahamic monotheist faiths, who will listen to their sad ghost tale, to baptize them. But if the Navki cannot find a Christian cultist to take pity on their wailing voices, to utter Biblical prayers, they are doomed to spend the rest of their days as Pagan (Succubae) Rusalki. As rebellious Pussy-Riot Rusalki, their predatory nature is to seek out Alpha males with one time Order Of The Dracul fast horses to that of Illuminati sports cars, both of which denote big Vatican wallets to suck dry.

It is those quiet spots out of the way ‘power-places’ along woodland brooks and rivers where the Rusalki are seen to live, who also deeply dwell within the bottom of still lakes and ponds, or under the continual turbulence of sharp rapids. There are certain times under stars, revolving as a Zodiac clock, when they eventually emerge from out of their underwater world. The Rusalki are then found to be sitting upon their shores near ‘spiral’ engraved standing stones. Or to be otherwise found perching within sanctified ritual world-trees of prayer offerings, wearing nothing but feathered cloaks, where the Rusalki attempt to, “attract young people by imitating the crying of infants or laughing, giggling, and clapping their hands.” (Máchel: 253).

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Many of the Eastern European folk stories describe the Rusalki realm of their underwater Harem abode as, “a place of entrancing beauty, its vast marbled chambers hung with crystal chandeliers, its walls and floors set with gold and precious stones.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)

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But as beautiful as these underwater dream Harems of trance realm be, the amphibious Rusalki between and betwixt realities yearn to return to the land when summer approaches whereby, “the waters are warmed by the rays of the life-giving light, they have to return to the trees, the houses of the dead.” (Johnson: 155).

The Rusalki ghost girls were believed to be at their most sexually dangerous during the Rusalye, Rusaliia ‘Rusalki Week’ of early June for at this time, they to have left their watery uterine depths so that to seductively swing upon branches of sacred Birch of forest and Willow trees, near waters at night, chanting out their hypnotic Spell-formulae. The honouring of the Rusalki’s sacred tree is usually that of the Birch.

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The Slavic peoples of pre-Christian Eastern Europe used to believe that trees are highly evolved beings, which are far more connected to humans than other plants and animals. This belief is not too dissimilar to the ancient Celtic perspective of sacred trees. The Birch tree is one of the primary holy trees of the Siberian Shaman, which is perceived to be the ‘World-Tree.’ The Birch tree, in particular, is seen as being, “the locus for the coming together of the living and the dead, the communion of animal, plant and human life.” (Hubbs, Joanna. Mother Russia: The Feminine Myth in Russian Culture. Bloomington: Indiana UP, 1988: page: 33).

During Rusalki Week of partying, Birch Trees are usually decorated with flowers and other offerings such as prayer bundles, where they stand naturally, or branches of the tree may be brought into the home to be made into birch-garlands. Other village communities have been known to send young men into their local forest to fell a Birch, “which the girls dressed in women’s robes decorated with bright ribbons and pieces of cloth.” (Johnson: 157).

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The Birch tree was then duly carried into the village, while songs were sung over it and the arrival of the Birch into the village was heralded by a ritual meal. This sacred effigy of the Birch was then erected in a specially made ritual house at the centre of the village, where she presided over the week’s festivities as a deity. This ritual is reminiscent of another Russian deity and powerful Sorceress called Baba-Yaga of a similar type to that of the Scottish Highlands, Cailleacch Bheur, whose nature is akin to Hindu Kali who lives in a ‘hut’, which stands on Bird legs amidst a Birch tree forest; whereby the Rusalki are as her faerie sorceresses.

Swimming during this week was strictly forbidden especially to for pubescent young girls and boys just entering maturity, lest Mermaids would drag the girls down to the river floor to make like themselves; while the boys are seduced by wet dream torments. Some folklorists have noted that the word Rusalka originally referred to the dances of girls at Whitsuntide. The word is conjectured to have been derived from the Greek, and that of ‘Rosalia’, the Latin term for Whitsuntide week, which originally meant ‘the festival of Roses’.

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The Rusalki ghost girls are seen to spend their time combing their long luxurious braided hair, where their power to be, playing amongst themselves, dancing circles to lure female seekers to their little deaths, drowning into trance so that to initiate them into their arcane pre-Christian mysteries, while the men they to seduce.

The Rusalki are also known for being spinners of webs, who hang the results of their labours within sacred trees, or to draw spirals upon banks near flowing waters, where anyone passing should be wary of stepping upon. The Rusalki are also known for being the spinners of ‘time’ and that of your fate, who possess the power to affect the lives of local inhabitants, they, “decided who died and who would be reborn, who prospered and who perished, who married and who would be barren.” (Hubbs: 33).

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The Amphibious natured Navki and Rusalki ghost girls are in essence a folktale memory of ancient priestesses of a matriarchal Religion, who were adept at trance (drowning) Induction. The Rusalki were very likely female Shamans due to their close proximity with other North-Central Asian Shamanistic traditions such as those found in Siberia. The coming of Christianity could not handle the elder focus upon a ‘feminine Inorganic Intelligence;’ but most especially in regards to the predatory sexual orientation of an alternate Grimoire listing Succubae, which made the Christian priests to go around Cross-legged, fearing that their manhood would be enticed into a deep moist Slavic maw, forever hungering of an all female Goetia.

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GHOST QUEEN, LADY DATURA

Posted in Chaos Magic, Demonology, Devil, Ghost, Lucid Dreaming, Occultism, Poltergeist, Shamanism, Sorcery, Succubus, Witchcraft, Zombies with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 22, 2015 by FAUSTUS CROW

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The Native American Chumash of the Southern coastal regions of California speak of a ghost woman called Momoy, who can either manifest as a very old crone looking like a Witch, or to otherwise appear as a ravishingly beautiful sorceress, of an ethereal appearance, whose visionary manifestation is that of a most wanton Succubus.

Momoy is the spirit of the Datura flower, specifically Datura meteliodes, but this name is actually a synonym of Datura inoxia, which is a Mexican plant, whose flower is narrower than its Datura stramonium counterpart, having ten teeth at its flower rim rather than five. In the US, it is sometimes called ‘Western Jimson weed’ because of its resemblance to Datura stramonium.

The Datura family is known for its potent hallucinogenic properties, which includes Datura stramonium; wherefore Momoy can be very dangerous indeed to the unwary, who has an intriguing link with the author Carlos Castaneda, whom spoke of partaking of Datura.

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Most people commonly associate Castaneda’s experiences of altered states of consciousness being induced by the scared plant, Peyote; but the principle plant he partook of was Datura, which played the primary role in his early experiences into other realities, being his famous and most often cited experience of shapeshifting into a Crow.

The connection with Momoy becomes far more apparent when Castaneda mentions that his Yaqui teacher into Toltec sorcery, Don Juan Matus, was not too fond of Datura, which he otherwise called Yerba del Diablo, the ‘Devil’s Weed.’ In the Castaneda’s narrative Don Juan Matus claimed that its nature was not unlike that of a most seductive woman, who is a powerful sorceress.

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Don Juan Matus related: “She (Datura) is as powerful as the best of ‘Allies,’ but there is something I personally don’t like about her. She distorts men. She gives them a taste of power too soon without fortifying their hearts and makes them domineering and unpredictable. She makes them weak in the middle of their great power.” 

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Datura inoxia, is considered to be the ‘younger sister’ of Datura stramonium by the Mixe tribe of Oaxaca in Mexico, who believe the stramonium plant houses a spirit called Ta:gamih, meaning, ‘Grandmother.’ She is usually called upon when divining cures.

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During a ritual the male practitioners  partake of 3×9= ‘twenty-seven’ seeds (note: twenty-seven reduces down to nine) and women use 3×7= ‘twenty-one’ seeds. In Mexico the Catholic church believes the plant was created by their Devil, and like Mephistopheles it entices people to make pacts with its spirit.

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Whereby you have the alternate name, Yerba del Diablo. Although, since the natives consider Datura to be feminine of quality you could alternatively see it as being a female version of Mephistopheles to otherwise name as Mephistophina.

You can thereby determine that Momoy has to be treated with great respect, which requires that the practitioner knows the correct proportions and careful ritualistic use of her powerful plant, otherwise she will most assuredly kill an unwary dabbler.

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It is said that if you drink the bathwater of Momoy, being that, of a tea made from the root of her plant it will enable a practitioner to contact a personal dream (Ally) helper, from whom requests can be made, as well as seeing ghosts. The dream (Ally) can be prior determined of a meditated upon two-dimensional image, in order to direct the conjured Datura visions of its three-dimensional manifestation.

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But, the subconscious will generate its own visionary material, which will formulate of intricate associative correspondences, like that of a tortuous dream. So, the practitioner has to be very careful about the imagery he chooses to meditate upon of a prior ritual.

In other words, his beliefs will determine the nature of the Datura visions, more so those underlying beliefs and forgotten memories, he is totally unaware of; whereupon it is a case of, “know thyself, first.”

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That is why, as her Chumash tale relates, Momoy would not let her grandson drink of her essence, since ‘he did not know of the proper use of her power and its dosage,’ which of an overdose can lead to hellish insanity and his eventual demise.

The name of Momoy can also be found in the ancient tradition of the Bocon zone in the Merida State of Venezuela. However, Momoy is otherwise seen as small ghosts called Momoys, which are commonly depicted looking like bearded gnomes, wearing phallic hats, or in the same shape as the Datura flower. Although the image of the gnome depicts the shaman partaking of Datura, not the spirit its self. The gnome like figure is very likely derived from a European influence, since the natives do not have beards.

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The Momoy shamans are seen to be adept at contacting the feminine spirits living at the bottom of the lagoons, of similarity to what Don Juan Matus communicated about the inorganic feminine intelligence of the Allies, being associated with waterholes. The duty of the Momoy shamans is to look after the natural environment by interacting with the spirits, whose domain is the watery amniotic realm of uterine dreams.

The problem is that Momoy has since been taken out of her ritualistic context for mundane recreational use, whose unwary users should look into why Datura is called Jimson weed, or Jamestown weed in the US. The name stems from the town of Jamestown, Virginia, where British soldiers became drugged with it while attempting to suppress Bacon’s Rebellion.

They are reported to have spent eleven days going literally insane. You can thereby gather that Momoy should ‘Not’ be taken by those who are mentally unstable; for she can trigger off schizophrenia in those who are susceptible.

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Anglophone settlers in California often called Datura, ‘Indian whiskey’ because of its intoxicating ritual use by many tribes, which gave rise to the name, ‘Sacred Datura.’ Other common names include ‘Indian Apple’ and ‘Nightshade,’ (not to be confused with Solanum) Devil’s Trumpet, Stinkweed, Locoweed,  Pricklyburr, Devil’s Cucumber, Hell’s Bells, as well as Thorn Apple. The commonality of the names warn of an inherent danger that Datura can induce madness in the uninitiated; although, madness is often aligned with genius; suffice to say, lady Datura is quite crazy.

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The Tongva tribe call it Manit. Mexicans call stramonium and inoxia, Tolguacha, or Toloache, whose power will enable a practitioner to enter into the surrealist realities of their deep subconscious, which can be a cathartic experience.

The Maya of the Yucatan use the ‘Mehen xtoh-k’uh,’, in the same way as Datura inoxia. It has a long tradition of being used for conducting prophecies and oracles (similar to Brugmansia sanguinea). The Aztecs also used Thorn Apple, which they called Mixitl.

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Momoy has been partaken of by other aboriginal Americans across the Americas, such as the Algonquin, Cherokee, Marie Galente, and Luiseño, who also used this hallucinogenic plant in sacred ceremonies.

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The Canadian ethnobotanist Wade Davis, who authored the Serpent And The Rainbow, investigated the superb Haitian synthesis of African, Native American and European elder lore, which is called Vodou. Davis identified the usage of Datura stramonium, called ‘Concombre Zombi,’ as being a central ingredient for the concoction of a powder, Vodou priests use to create the Zombies, who are ruled over by Baron Samedhi, whose feminine counterpart is (Momoy) Maman Brigitte.

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The ingredient of the Zombie powder may actually be derived from another plant, which is colloquially known as Burundanga, or ‘The Devil’s Breath,’ in South America. Datura and the Devil’s Breath both contain the chemical called scopolamine. But the Devil’s Breath is far more potent, which is derived from a particular type of tree common to South America, called the ‘Borrachero’ tree, loosely translated as, the ‘get-you-drunk’ tree.

Like the Zombie powder, scopolamine can be blown into the face of a passer-by on the street, and within minutes, that person is under the drug’s effect; scopolamine is odourless and tasteless. The Nazi regime as well as the CIA used scopolamine as part of their interrogations, with the hope of using it like a truth serum. But it was untrustworthy due to the ensuing hallucinations it induced. You can then fathom that the Nazi scientists and in turn the CIA’s appropriation of the Nazi discoveries, were well aware of the Zombie powder, long before Davis investigated the ancient practices of Vodou.

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As for the use of Datura, it is also known of in Africa, such as Ethiopia, whose Debtrawoch (lay priests), use Datura stramonium to ‘open the mind’ to be more receptive to learning, and creative imaginative thinking, since it enables the practitioner to access hypnagogic trance; whereby to then dream, while awake.

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However, should the dream be a nightmare, the practitioner will not be free of its horrors, until the affects of Datura have subsided. The common name ‘Datura’ originates from the ancient Sanskrit word, Dhatura, meaning plant, which was used in ancient India, where the plant is considered to be particularly sacred.

Datura is believed to be the sacred plant of the Hindu God Shiva Nataraja; for via its use Shiva (the [shaman] Lord of Yoga) was therefore able to contact Kali, who is the (Momoy) queen of ghosts, the mother of the dead. (Shiva can be equated with the Vodou Loa, Baron Samedhi; whereby (Momoy) Maman Brigitte equates with Kali.)

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In the old world of Europe, Datura was associated with Witch ‘flying ointments’ (Castaneda flying as a Crow into [eternal recurrence] eternity) and various hex (hexagram/sexagram) rituals for the conjuring of spirits.

The seeds were also used as a narcotic ingredient in ritual beer. Gypsies used Datura ritually to banish as well as to attract ghosts, who are said to have known of the Thorn Apple for such ‘ritual’ practices, they were not conducted lightly; Datura is not to be partaken of for a bit of escapist fun; as mentioned prior, she is a dangerous lady.

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On the night of the 30th of November Gypsies would place the seeds of Thorn Apple outdoors; the next day they would then throw them into a fire. If the seeds cracked loudly, then the winter would be hard and dry.

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The seeds were also used for shamanistic divination rites; such as those conducted by Lapp shamans, which involved the placement of nine to twenty-one seeds upon a marked animal skin of a drum. The skin was then beaten so that the seeds would be vibrated to jump around and, depending on the position of the seeds (on or between the marked lines upon the drum skin) it was then divined, whether a sick person (man/9 or woman/21) would be cured or not.

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The number of the seeds is curious, which is similar to the dosage of the Mixe ritual for a man and a woman. But then Datura was originally brought to Mexico by the European colonists, some of whom no doubt remembered their pre-Christian (Momoy) heritage, since there is a similarity of ritualistic usage between cultures.

But, then again, Datura may have entered the new world long before the Conquistadors ever st foot in the Americas; whereas the oriental species was brought to Europe by the Scythian’s and later by the Tarot reading Gypsies.

The plant is widely distributed throughout Eurasia, the Caspian Sea, Mexico, and the North American East coastal region. Overall, it does appear that Momoy has travelled far and wide as a ghost, housed within a plant, which be as her hallucinogenic body, her dangerous flesh.

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HORROR ACTRESS OF PSYCHOMAGIC

Posted in Art, Chaos Magic, Film, Goetia Girls, Lucid Dreaming, Sex Magic, Shamanism, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on June 4, 2015 by FAUSTUS CROW

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The Twenty-Second Succubus archetype of the Fallen Anima is Ipos, otherwise called Iposi. She is a Great Countess and a Mighty Princess and appears in the visionary form of a most beautiful and noble Woman.

She will speak of her ‘Lioness’ Objective, her ‘Goose’ of an Obstacle and that of her Hares ‘Method’ in regards to her Acting, for she is an Actress who can make her Director of a conjurer witty and bold.

But only when she to ride and be ridden by him upon the Casting Couch within those most Erotic lucid dreams she will induce after evoking her Succubus archetype of the Fallen Anima. She also knows of all things Past, Present and to come of Futures beckoning back. She Governs over Thirty-Six Legions of Anima archetypes likened to herself of Actresses.

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When a heterosexual male practitioner conjures Iposi, he can assume the alternate persona of a famous Actor within a lucid dream, which Iposi will empower. Those of other sexual orientations will change the gender of the archetype as required, who will note that the classical Playgirl grimoire depiction of Ipos is an archetype of the deified Animus made as a God and and a Devil.

What is required in order to achieve the assumption of an alternate persona is that you have to see yourself as a famous Actor, strutting the stage of life, between the entrance of birth, and the exit of death. This is engaged in of a prior active imagination exercise. You are essentially engaging in visualising yourself via your third eye of a camera, Acting within an inner film you are in turn directing as its Director.

Whereupon you first construct your character to Act out, by researching those successful Actors who you admire, in regards to their Acting abilities corresponding to your seven planetary sphere Chakras of emotional armoured seals to unseal, to thereby assume, as an archetype, ruling over one of the ten Cabbalistic domains.

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Iposi will then weave a corresponding lucid dream around you, which will then reflect back the assumption of your character, to Act out, with whom she is intimately engaged. Should your lucid dreams be intense enough, the dream experiences will then imprint your subconscious mind, and in turn your nervous system.

Your nervous system cannot tell the difference between a real or a vividly imagined experience; wherefore, an intensely experienced conjuration of the Succubus Iposi within a lucid dream will imprint your nervous system, whereby awakening your own Acting skills to come to conscious fruition.

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You can likewise utilise the character of a Director to assume, if you prefer; wherefore you see yourself directing a big budget movie, which in essence, is that of your own life story to thereby transform by your psycho-magic conjuration of Iposi.

Iposi will inform her Director of a conjurer in depth about the Stanislavski ‘system’ approach to Acting, which the author Carlos Castaneda otherwise termed as the ‘stalking’ procedures of a sorcerer, whereby Iposi fuses the two approaches together of exercise.

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The term of stalking is used in various different ways in Castaneda’s work. Castaneda uses stalking in reference to the warrior’s virtues as a sorcerer who has consummate forbearance and timing, which is a prerequisite for an Actor playing the part of an archetype.

Whereby you have the meaning of ‘Waiting for the Opening,’ which is implied by Castaneda’s understanding of stalking. This becomes quite clear within the context of confronting those ‘Petty Tyrants’ of your life to overcome; whether it be that of negative situations within society, to that of individuals who cause you grievance.

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The ensuing adversity facilitates the evolution of your personality and character,  if you become aware of its existence, betwixt and between the Ida and Pingala nerve channels of your Autonomic Nervous System.

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Stalking implies far more than a hunter’s skill and patience in relation to any external situation. The same, or similar approach can be taken towards that of the Internal predator of an addiction. You can deliberately irritate this part of yourself by not giving into its habits and demands. Your ‘predator’s mind’ becomes quite obvious under stress, whereby you stalk your own self in order to transform of symbolic alchemy.

Stalking is also used to describe Death, which constantly ‘stalks’ your awareness. Death as a predator stalks humanity, setting it up, and keeping all stressed, of highly reactive mode, whereby you are faced with constant new crises in order to stay one step ahead, which elicits a predictable emotional reaction from your animal self, stalked by a predator.

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The only release is to be within the ‘eternal moment’ to perceive death as your advisor, like that of a martial artist who is thereby not afraid of entering the stage of life’s gladiatorial arena in front of a mortal audience.

The Stanislavski ‘system’ of pre-Castaneda Sstalking procedures was developed by Constantin Stanislavski, a Russian Actor, Director, and Theatre administrator at the Moscow Art Theatre founded in 1897, around the same time that Karl Marx’s, Das Kapital was published, which made the workers to dance, the aristocracy to fear.

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Stanislavski’s system is the result of many years of intensive research, observations, and efforts to determine how a human being can control in their performance the most intangible and uncontrollable aspects of human behaviour, such as emotions, and artistic inspiration.

The most influential Acting teachers in America, including Lee Strasberg, Stella Adler, Harold Clurman, Robert Lewis, Sanford Meisner and Uta Hagen have all traced their pedigrees back to Stanislavsky, his theories, and that of his numerous disciples who ‘stalk’ their own selves upon a mirroring synchronicity.

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MEN IN BLACK SIRIUS TIME TRAVEL

Posted in Alien, Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 30, 2015 by FAUSTUS CROW

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Many of the supposed close encounter contacts with aliens, prior to the late Hippie era 1970’s did not mention Sirius, until the book, entitled, The Sirius Mystery was published by St Martin’s press during 1976, authored by Robert K. G. Temple.

When to read Temple’s book, you might conclude that his surname is somewhat apt. Of a curious aside, 1976 reduces down, of numerology, to the notorious number twenty-three, and thence to the number five of pentagram, whose traditional colour association is red.

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It just so happens, that Johnny Sands, a country-western singer living in Las Vegas, saw in the sandy desert one fateful night, a 60-foot craft at about 1000 feet altitude, shaped like the Goodyear blimp, with portholes around the circumference on the 29th of January 1976.

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The object appeared to land upon the desert sand; Sands then saw two humanoid figures approaching him, the author Carlos Castaneda would term as being shapeshifter, Allies, whose inorganic feminine intelligence frequents the (Da’at) desert between worlds. Sands related that he, froze, he wanted to move, but he couldn’t, as if he had lost his ‘John’ the ‘Baptist’ head. The figures came near him, to about three feet away. Sands believes that the humanoids came from Sirius, since they had amphibious fish gills.

As for Temple’s 1976 book about ‘Silver Star Sirius,’ of the thirteenth Cabbalistic path of Gimel, it presents the now common ancient alien hypothesis that the Dogon people of Mali, in West Africa, were in contact with humanoid amphibians from the Sirius star-system, the Dogon call, Nommo.

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However, the Dogon iconography depicts the amphibious Nommo with phallic heads, who represent ancestral shamans, whom were highly adept at inducing trance. The Nommo are emulated by human specialists who seek to attain an amphibious state of hypnagogic trance, betwixt and between the binary star pylons of, (land/macrocosm) waking and (water/microcosm) sleeping. It is via this altered state of amphibious consciousness that the Nommo adepts are enabled to remote view far off places, such as the Sirius star system, around which the Dogon say there is a planet of (mermaids) women.

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The planet of women represents the inner space of the ‘microcosmic’ dream, which is symbolically equated with the watery womb. The womb of the dream is accessed via the hypnagogic state of trance, which is symbolically represented as a star-gate, since the ascendancy of Sirius marks out the best time to attain trance ingress into the watery domain of the dream, in league with the gravitational pull of the Moon.

This inner stargate is seen as the vagina, into which the Nommo adept, trance ‘Slides’ into as a ‘phallus‘, whose ejaculation is his disembodied spirit; the dream then births the shamans symbolised desire as a manifest (sign, portent, omen) synchronicity.

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Temple’s extraterrestrial theory was heavily based on his interpretation of the work of the Christian ethnographers Marcel Griaule and Germaine Dieterlen. A substantial bulk of The Sirius Mystery consists of comparative linguistic and mythological scholarship, pointing out resemblances among Dogon, Egyptian and Sumerian beliefs and symbols, as well as Greek and Arab myths. But it is used to translate the Judaeo-Christian paradigm into the realm of science fiction, as well as being externalised of a hard-technological perspective. The shamanic aspect is invariably left out of the equation, which is due to misunderstanding, as well as habitually distrusting the psychic component pervading the numerous myths.

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This isn’t to say, that when the symbolism is otherwise interpreted from a shamanic perspective it then discounts contact with another form of intelligence. Far from it, since there is evidence that remote viewing is possible via trance, and from within lucid dreams, and that the ability enables an individual to access information throughout space and time, which is essentially a natural form of time travel.

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You might consider time travel to be impossible. However, at the quantum level, which can be accessed via dreams, time can move in both directions, this occurs because the fabric of space is expanding faster than the speed of light; wherefore, time is also very likely flowing backwards.

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In other words, what Temple communicates about the Dogon’s ancient knowledge about Sirius could have otherwise been accessed from the future, the Dogon describe as a planet of women, when their shamans consciously accessed the quantum reality of the dream as trance adept Nommo.

You could equate the planet of women with a future time period around the wheel of the Zodiac pointing out the ages of precession, which of a wobble was symbolised in ancient times as a five pointed Star (Pentagram) atop of the Earth’s (World Tree) axis-mundi.

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It is from the planet of women, the Dogon say, human souls emanate; somewhat akin to the consciousness of individuals being downloaded into a (Maya) Matrix (Beehive) of an ancestor simulation.

It is very likely that a time travel technology will be eventually devised, whose hard technology will be based upon what a shaman can do naturally via trance and dreaming in the future.

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Whereby the technology will involve what could be construed as being a psychic component. But then the sensory experience of space and time is indivisible to your consciousness.

Such a time control technology will enable your descendants to either send a signal (Philip K. Dick’s Pink Beam) back into the past, in order to ‘spin’ the electron dreams of an ancestor, or that of physically travelling into the far distant past in a time machine, looking like a UFO, a Hindu would call a Vimana.

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The time travellers will not reveal their true identities or origin, who will play surrealist games with their respective contacts. If a time traveller reveals the truth, it could lead to all sorts of problems.

For example, the minions of the military industrial complex wouldn’t think twice about appropriating the technology of the time traveller, let alone dissecting him or her, even though the time traveller is your future kin.

Although, at times, they will engage in communicating information in a highly symbolic fashion, which may not be understood by their contact at the time of the encounter, since the symbolic codes have been engineered to be later understood by others.

The underlying reasoning of the surreal games is the manipulation of society via its myths, which is basically, social engineering in order to engineer alternate realities. The time travellers will have the ability to ‘Slide’ between the engineered realities via controlled time-slips.

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Should a time technology actually exist apart from what a shaman can do naturally, then the future civilisation of the time travellers is presently all around you, which of varying time-lines would probably require being policed, by what you could term as being Men In Black.

But don’ forget, there will also be Women In Black too, who, as Queen Bees, they drive around in their time travelling shiny black Cadillac’s looking like ghostly Vampira, having the surrealist humour of Elvira.

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BARBARELLA UFO SPACE CHICK ASTAROTH

Posted in Alien, Art, Chaos Magic, Comics, Discordianism, Extraterrestrial, Film, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 12, 2015 by FAUSTUS CROW

Jane Fonda stars in Roger Vadim's futuristic space adventure 'Barbarella'. The story is based on the comic strip created by Jean Claude Forest, 6th July 1967. Costumes by Paco Rabanne.

The 29th Succubus archetype of the Fallen Anima, listed in the Goetia is named Astaroth (also Ashtaroth, Astarot and Asteroth).

The name of this spirit was originally derived from the Mesopotamian sex Goddess called Astarte, whose name means, Queen Of Heaven.

She is essentially an interstellar space chick. However, the closeted Playgirl grimoires list her as being a male Demon suffering from a bad case of halitosis, which is somewhat laughable.

This is even more hilarious when to realise that the all male gender focus of the grimoires is to do with the deification of the Animus.

Many women will point out, most men think with their dicks; wherefore, should men create a religion, they would have a fixation on a (Anima) sex goddess, along with having Playgirl grimoires listing (Succubi) Succubae.

Instead, you have a monotheistic focus upon the deified Animus, made as a patriarchal God and a Devil, along with grimoires listing Incubi Angels and Demons, which is essentially the creation of women.

Anyway, Astaroth (Ashtaroth) evolved into becoming Ashtar, of Star Command. Ashtar (sometimes called Ashtar Sheran) is the name given to an extraterrestrial being or group of beings, some people claim to have channelled through their addled brains since the Roswell incident. The Roswell incident was a probable cover up of an appropriated Valkyrie flying wing.

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The flying wing was the first WWII stealth jet fighter the Germans had developed. The CIA probably hid the Nazi stealth jet fighter behind an engineered mystique about UFO’s, which in turn influenced George Adamski’s Californian visitations from eugenic Nordic aliens. You also have UFO contactee George Van Tassel who was the first to claim that he had received a brain zap message, from Ashtar during 1952.

Curiously, you also have a supposed message from Ashtar Star Command, which interrupted a British TV broadcast during November 26th, 1977.

There have been other such channellings from busy Ashtar down the years, since 1952, who is usually described as being an Animus Chippendale hunk, looking like an Aryan Christ. This has led to the butch Ashtar movement being studied by academics as a prominent form of Gnostic Christian UFO religion.

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Astaroth has been featured in a couple of films, although, mostly of the horror variety. One of these horror flicks was the stylish Hammer House of Horror movie: To The Devil A Daughter, which was loosely based upon a novel by Dennis Wheatley. The film features a group of practicing Satanists who have prepared the principle character named, Catherine to become the hot-star avatar of Astaroth upon her eighteenth birthday. However, it makes far more sense when Astaroth is seen to be Astarte, since sex is considered to be the first sin.

Although the first sin should be that of, ignorance. But, in order to avert the sin of ignorance, so that you can avoid being controlled by a tyrant, who uses ignorance as a tool of Animus mind-control, you have to then taste of the Anima tree of knowledge, to see why sex was considered to be a sin; or if you are shamanically predisposed, to partake of Peyote.

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Alas, you might just find yourself being cast out of your Animus fixated Eden (Edom), by one of the 72 ‘Shemhamphorasch’ Fusion Centres, if you ask too many informed questions; more so if you nibble on Peyote.

You might just figure that sex was castigated as being the first sin in order to distract the populace from seeing that the Animus fixated religion has an underlying sexual orientation.

Newspeak Edom was originally a city situated in ancient Sumeria. Edom was followed by UR and then Babylon. The city of Babylon ended up being buried under war torn Baghdad in Iraq. It is from UR, Abraham had first stemmed. It is where Astarte was prior known as the Anima sex goddess, Ishtar. Hence you have Ashtar, before the habitual closeted sex change into an Abrahamic Animus fixation.

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Another movie, which mentions Astaroth; though briefly, is the innovative horror film: Ghoulies. The Ghoulies film features one of those very rare cinematic moments, in which a genuine ritual magic conjuration is featured, right out of the Goetia. So, if you want to conjure up Astaroth as a hot space chick Succubus, said film may lend inspiration to your ritualistic Performance Art when conjuring up a female archetype of the Fallen Anima.

Astaroth, who was originally Astarte, can be easily equated with the sexy science fiction Anima character of Barbarella. Her character has since become iconic; but only because she has been based upon the archetypal influence of Venus.

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The artist Jean-Claude Forest first conjured up the character of Barbarella, for serialization in the French magazine V-Magazine, back in the Hippy spring of 1962. During 1964, Eric Losfeld later published Forest’s strips as a stand-alone book, under the title Barbarella. The stand-alone version caused a public scandal, due to its perceived politically incorrect sexuality, which became known as the first ‘adult’ comic-book.

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During 1968, Barbarella was translated into a French-Italian science fiction film, directed by Roger Vadim, The film starred Jane Fonda as Barbarella, who verily became an Astarte sex symbol.

Jane Fonda loves the fact that lots of little boys secretly whacked off their priapic meat during the 60’s, when to have ritualistically focused their sexual awakenings upon Anima images of sexy Barbarella: “I like the fact that boys of a ‘certain age’ of that time had their first fantasies from watching me in that movie. A lot of them told me about it,” Fonda said. “They still do from time to time. And now they’re grown up. I think that’s pretty cool.”

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There are still lots of boys of a ‘certain age’ who continue having the hots for Barbarella Fonda, whenever there is a rerun of her Astaroth movie. Another fact concerning Astaroth, I mean, Astarte, apart from being a sexy Tantra space chick from seventh heaven, she’s also into consciousness expansion, which can involve partaking of power plants, such as the aforementioned Peyote.

Fonda may have read the shamanic works of the author Carlos Castaneda who spoke extensively about Peyote. It just so happens that Barbarella Fonda is into the shamanic use of Peyote:  “It’s pretty wild. You throw up a lot,” she to have said. Well, as Castaneda communicated, you have to purge yourself of the inner crap before you can transform your leaden internal-dialogue into gold.

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Barbarella Fonda also related what she likes about Peyote: “Well, you have visions,” she explained. “It’s not my drug of choice; I’ve never had any profound visions, but many of my friends have. You see incredible shapes and colours and patterns, and sometimes you have cosmic breakthroughs. I haven’t.”

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There was going to be a movie remake of Babarella. The most serious planning of this began, back in early 2008. The Barbarella remake would have been produced and released by Universal Studios, with one-time James Bond screenwriters Neal Purvis and Robert Wade penning the script, and Dino and Martha De Laurentiis heading as producers.

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‘Sin’ City, director Robert Rodriguez was slated  for the director of Barbarella. Early candidates for the role of Barbarella were actresses Erica Durance of the WB’s Smallville, Sienna Miller, and Rodriguez’s Grindhouse Amazon star, Rose McGowan.

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Amazon McGowan was eventually confirmed for Barbarella as the new grindhouse sex symbol out of ‘sin’ heaven. Alas, Universal Studios eventually backed out of the movie, probably because it was far too… adult. If you have a politically correct Disney version, it will certainly be no longer Barbarella, more like a non-binary Barba-gorilla having a beard!

Although some news sources speculated that it was due to studio executives doubting McGowan’s Astaroth ability to carry a big budget Ishtar movie, and that the studio had slashed the Ashtar budget, after learning of McGowan winning the Astarte role.

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It was far more likely to do with the Hollywood’s swing towards Laurel Canyon gender politics, whose Mind-Control proponents see Anima Barbarella as being sexist.

Anyway, Astaroth, I mean Astarte or Ashtar, Ishtar; sorry, I mean Barbarella was also slated to be a TV series by Online retailer Amazon. The Amazon version was going to use the directing talents of ‘Drive’ director Nicolas Winding-Refn’s to direct Barbarella. The project was apparently in the pipeline for some time. But it is likely that the extremist feminists who secretly read 50 Shades Of Animus Grey castrated Amazon’s burgeoning studio to not get involved.

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A script for the series had already been penned by Neal Purvis and Robert Wade, who to have originally worked upon the prior defunct movie remake. Both of whom had written a raft of the Bond films, including Casino Royale and Skyfall. However on this insane Earth, their writing talents have been hijacked by social engineers, which has led to James Bond being transformed into a sexless butch woman.

Upon an alternate Earth, in another parallel universe, if you was to find yourself being faced by a minority of deranged individuals screaming at people that James Bond should be transformed into a sexless butch woman, they will see the screamers as being absolutely nuts. This will be very much the case concerning an alternate Hollywood whose studios are well aware that heterosexual women, in particular, become sopping wet when to fantasise about their bad-boy Animus James Bond. It has always been the female audience who have determined whether a male character becomes financially lucrative or not.

The heterosexual male audience, in particular, naturally gravitates towards those male role-models who are sexually attractive to women. But then it is women who have determined the male role-models in accordance with their Animus.

Wherefore when the female and male audience who dish out their hard earned shekels for expensive movies, whose studio budgets could run a small country for a year, find the Hollywood media-machine is fucking around with their heads with illogical gender politics, they will invariably not watch the inane gender-bender propaganda, which is obviously designed to divide a conquer the sexes.

Why is the highly controlled Hollywood media-machine engaging its self in gender politics, to go broke? Well, Hollywood is the propaganda arm of the Military Industrial Complex. The subversively engineered gender politics is a subversive PsyOps means to distract the populace from anti-war protesting about the bloody conflicts in the Oily Middle East, whose wars lead to the mass migrations of fleeing peoples, which could potentially spiral out of control into WWIII.

It is the Oil companies who run the Military Industrial Complex, whose greed is polluting the Earth; whence their greedy corporations ignore climate change, and the ensuing mass extinction events of various insects and plants, etc, which will only get worse. When to look beyond the illogical gender politics to see the bigger picture, you will then have some idea as to who is behind the bank-rolling of gender-bender propaganda movies, along with weaponsing screaming minorities since false flag event of 9/11.

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So, as you look back at a Military Industrial Complex false flag Gulf Of Tonkin incident, which triggered off the Vietnam war, one may derive some rebellious inspiration from sexy Barbarella Astarte, whose Anima mantra is, “Make Love, Not War!”

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