Death and Dying in the Satanic Worldview
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The Bible of the Adversary
THE BIBLE OF THE ADVERSARY MICHAEL W. FORD 1 THE BIBLE OF THE ADVERSARY MICHAEL W. FORD 2 Dedicated to ARASKH Who brought the wisdom of Ahriman to Humanity, who recognized “As Above, So Below” 3 THE BIBLE OF THE ADVERSARY By Michael W. Ford Copyright © 2007 by Michael W. Ford All rights reserved. No part of this book, in part or in whole, may be reproduced, transmitted, or utilized, in any form or by any means electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission in writing from the publisher, except for brief quotations in critical articles, books and reviews. Illustrations by Various medieval sources and Gustave Dore. Sigils, Seals and Yatukih designs by Michael W. Ford Qlippothic Sigils illustrated by Michael W. Ford First edition 2007 Succubus Productions EBOOK EDITION 2009 Information: Succubus Productions PO Box 926344 Houston, TX 77292 USA Website: http://www.luciferianwitchcraft.com email: [email protected] 4 TABLE OF CONTENTS Introduction pg 6 The Adversarial Doctrine pg 8 THE BOOK OF ANDAR (fire) pg 9 Beginning Questions pg 10 The Precepts of Lucifer pg 13 Samaelian Diatribe pg 22 THE BOOK OF AKOMAN (Air) pg 27 Definitions of Magick pg 28 Luciferian Ideology pg 30 Luciferian Laws pg 40 Ahriman – Darkness embodied: Symbolism pg 52 Luciferian Religious Holidays pg 68 Liber Legion – Infernal Names pg 71 The Qlippoth – pg 96 Summoning Qlippothic Forces pg 112 Tiamat – the Primal Abyss pg 130 Drujo Demana – Book of Dead Names pg 134 THE BOOK OF TAROMAT (Earth) pg 145 Mastery of the Earth – Controlling your Destiny pg 146 Symbols and Meaning pg 160 Three Types of Luciferian Magick pg 174 Banishing Rituals and Preparation pg 176 THE BOOK OF ZAIRICH (Water) RITUAL MAGICK pg 186 Yatukih Sorcery – Way-i-vatar pg 187 Yatukih Ritual Steps pg 195 THE BOOK OF AZAL’UCEL (Spirit) pg 287 BIBLIOGRAPHY pg 316 GLOSSARY pg 317 5 INTRODUCTION To attempt to define a faith can be a difficult task. -
4.1.2 Chronology of False Religions/Heresies of Satan (App.)
The Need for Teaching the Eschatological Gospel of Both Comings of Jesus Christ in the 21st Century . 4.1.2 Chronology of False Religions/Heresies of Satan 0(app. 4,000 BC) 0 (app.) -- The Fall (Original Sin) of Humanity in the Garden of Eden (Gen 3) 75 (app.) -- Cain murders Abel and is cursed (Gen 4:1-16) 475 (app.) -- Lamech (descendent of Cain) murders 2 men & from his two wives (1st polygamist) & 4 kids came “human knowledge” vs. godly knowledge (Gen 4:20-24) 1,000 (3,000 BC) 1500 (app.) -- Angels marry women and procreate giants (Gen 6:1-8) 1656 (2344 BC) -- Flood wipes out sinful man on earth (only Noah & Family survive--Gen 7-8) 1757 (app.) -- Nimrod/Tower of Babel (Gen 11)—Nimrod & wife, Semiramis (from Ham, cursed son of Noah), establish Babylonian Mysteries Cults, Witchcraft/Pantheism (app.) = approximate Chronology of False Religions/Heresies of Satan (cont.) 2000 (2000 BC) 2000 (app.) -- Babylonian Mysteries Cult False Religion begins to spread over the entire earth (Becomes Baal and Ishtar/Ashteroth worship in Canaan) 2600-4400 -- Persians, Indians, Greeks, and Romans worship the god Mithras (1400 BC-400 AD) 2980 (app.) -- Sun god (Ra) and animal worship in Egypt (Egypt descended from Ham) 3,000 (1,000 BC) 3000 (app.) -- Sun worship and Animism established in India/Humanism in China 3278 (722 BC) -- Israel (Samaria) exiled to Assyria (resettled by Assyrian Mysteries cult/Judaism mixed races and religion, became the Samaritans) 3395 (605 BC) -- Beginning of Judah to exile in Babylon 3412 (588 BC) -- Taoism in China/Zoroastrianism -
The Satanic Rituals Anton Szandor Lavey
The Rites of Lucifer On the altar of the Devil up is down, pleasure is pain, darkness is light, slavery is freedom, and madness is sanity. The Satanic ritual cham- ber is die ideal setting for the entertainment of unspoken thoughts or a veritable palace of perversity. Now one of the Devil's most devoted disciples gives a detailed account of all the traditional Satanic rituals. Here are the actual texts of such forbidden rites as the Black Mass and Satanic Baptisms for both adults and children. The Satanic Rituals Anton Szandor LaVey The ultimate effect of shielding men from the effects of folly is to fill the world with fools. -Herbert Spencer - CONTENTS - INTRODUCTION 11 CONCERNING THE RITUALS 15 THE ORIGINAL PSYCHODRAMA-Le Messe Noir 31 L'AIR EPAIS-The Ceremony of the Stifling Air 54 THE SEVENTH SATANIC STATEMENT- Das Tierdrama 76 THE LAW OF THE TRAPEZOID-Die elektrischen Vorspiele 106 NIGHT ON BALD MOUNTAIN-Homage to Tchort 131 PILGRIMS OF THE AGE OF FIRE- The Statement of Shaitan 151 THE METAPHYSICS OF LOVECRAFT- The Ceremony of the Nine Angles and The Call to Cthulhu 173 THE SATANIC BAPTISMS-Adult Rite and Children's Ceremony 203 THE UNKNOWN KNOWN 219 The Satanic Rituals INTRODUCTION The rituals contained herein represent a degree of candor not usually found in a magical curriculum. They all have one thing in common-homage to the elements truly representative of the other side. The Devil and his works have long assumed many forms. Until recently, to Catholics, Protestants were devils. To Protes- tants, Catholics were devils. -
Transgressive Representations: Satanic Ritual Abuse, Thee Temple Ov Psychick Youth, and First Transmission Danielle Kirby
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Transgressive Representations: Satanic Ritual Abuse, Thee Temple ov Psychick Youth, and First Transmission Danielle Kirby Introduction Articulating the acceptable and unacceptable limits of representation is an unquestionably fraught undertaking. In this issue, Norman Simms astutely states that when it comes to the artistic the very notion of representation suffers “epistemological and aesthetic problems,” limited by the fact that art and literature are “in essence duplicitous, acts of imitation and products of deceit.”1 Late Western modernity provides ample illustration of the often-contentious nature of representation, with recent events supplying a surfeit of examples where normative limits of representation have been uncomfortably transgressed, often generating public outcry and claims of wrongdoing. This article explores one such instance, the 1992 broadcast of an episode of the Channel 4 programme Dispatches, entitled „Beyond Belief,‟ in the United Kingdom. Now, twenty years after the fact, this episode and its broader context provide a fascinating, if disturbing, view into an extraordinary, though somewhat predictable, series of events. Taking the inherent ambiguity posed by the notion of the limits of representation as a starting point, this article will address the incident through a framework of transgression, seeking to articulate some of the varying ways in which such limits were breached, exceeded, and redefined. Beyond Belief On 19 February 1992, the UK television programme Dispatches aired an episode entitled „Beyond Belief.‟2 The episode purported to provide evidence Danielle Kirby is a Lecturer in the School of Media and Communication at RMIT University. -
Satanism in Finland Satanism in Finland
474 Hjelm Chapter 59 Satanism in Finland Satanism in Finland Titus Hjelm Satanism entered the Finnish public consciousness in the mid-1980s. Per- haps not surprisingly, the first people who were interested in and concerned about Satanism were Pentecostalist Christians, namely the Finnish preacher/ prophet Leo Meller. Meller’s book Rock (1986) “exposed” the “satanic” content of contemporary rock and Heavy Metal music, very much in line with the con- temporary discussions in the USA. Although little discussed in the mainstream media at the time, Meller’s role set an example for later religious commenta- tors who posed and were received as experts on Satanism. Whereas the public attention generated by Meller and others denouncing the “satanic” popular culture of the times was regarded more or less sceptically or even with mild amusement in the media, Satanism acquired a more sinister image in the early 1990s with the church burnings and homicides connected to Satanists in Norway. Mainstream newspapers discussed the possibility of satanic cults in Finland and some murders were linked − no matter how tenu- ously − to an allegedly satanic motivation (Hjelm 2005a). The reality of Satanism was finally “proven” in the public eye when some people, namely the Finnish rock singer Kauko Röyhkä, publicly professed to be practising Satanists. Finnish Satanism in the Early 1990s Some anti-Satanist commentators (such as the abovementioned Leo Meller) have suggested that satanic ritual groups existed in Finland already in the 1970s, but this allegation hardly stands the test of critical scrutiny. There may, however, have been magical/occult groups or individuals in Finland at that time, but there is no knowledge of explicitly satanic involvement by any of these. -
Contemporary Esotericism
CHAPTER 10 HIDDEN KNOWLEDGE, HIDDEN POWERS ESOTERICISM AND CONSPIRACY CULTURE Asbjørn Dyrendal !e relation between esotericism and conspiracy theory takes many forms. However, the scholarly literature has focused mainly on conspiracy theories about esoteric societies. !is is understandable. Lea"ng through the literature of conspiracy culture one may often be struck by the prominence given to eso- teric societies in these alternative versions of history. Many websites of con- spiracy theory pay an enormous amount of attention to “occult” groups, some imaginary, others well known. Seemingly small and powerless societies like the Ordo Templi Orientis may be presented as the polar opposite. Societies long defunct according to academic historiography may be presented as driv- ing forces in history, the crowning example being the Bavarian secret society Illuminati, theories about which have grown only more expansive since the order’s demise in the 1780s.1 Such theories are often viewed as quaint expressions of fundamentalist out- rage against unorthodox and largely unknown expressions of religion. !ey may, however, be related to more than fundamentalisms and become anything but quaint. Both recently, such as during the Satanism scare, and more dis- tantly, in the aftermath of the French Revolution,2 conspiratorial versions of history and society have acquired prominence. In such cases fear and outrage may reach the level of moral panic. !ese occasions of collective action have “mainstreamed” certain theories for a limited period of time, and have sparked both public and academic interest in conspiracy theories about esoteric soci- eties. !is is why we know so much, relatively speaking, about them. -
Handbook of Religious Beliefs and Practices
STATE OF WASHINGTON DEPARTMENT OF CORRECTIONS HANDBOOK OF RELIGIOUS BELIEFS AND PRACTICES 1987 FIRST REVISION 1995 SECOND REVISION 2004 THIRD REVISION 2011 FOURTH REVISION 2012 FIFTH REVISION 2013 HANDBOOK OF RELIGIOUS BELIEFS AND PRACTICES INTRODUCTION The Department of Corrections acknowledges the inherent and constitutionally protected rights of incarcerated offenders to believe, express and exercise the religion of their choice. It is our intention that religious programs will promote positive values and moral practices to foster healthy relationships, especially within the families of those under our jurisdiction and within the communities to which they are returning. As a Department, we commit to providing religious as well as cultural opportunities for offenders within available resources, while maintaining facility security, safety, health and orderly operations. The Department will not endorse any religious faith or cultural group, but we will ensure that religious programming is consistent with the provisions of federal and state statutes, and will work hard with the Religious, Cultural and Faith Communities to ensure that the needs of the incarcerated community are fairly met. This desk manual has been prepared for use by chaplains, administrators and other staff of the Washington State Department of Corrections. It is not meant to be an exhaustive study of all religions. It does provide a brief background of most religions having participants housed in Washington prisons. This manual is intended to provide general guidelines, and define practice and procedure for Washington State Department of Corrections institutions. It is intended to be used in conjunction with Department policy. While it does not confer theological expertise, it will, provide correctional workers with the information necessary to respond too many of the religious concerns commonly encountered. -
The Satanic Bible Anton Szandor Lavey
Called “The Black Pope” by many of his followers, Anton LaVey began the road to High Priesthood of the Church of Satan when he was only 16 years old and an organ player in a carnival: “On Saturday night I would see men lusting after half‐naked girls dancing at the carnival, and on Sunday morning when I was playing the organ for tent‐show evangelists at the other end of the carnival lot, I would see these same men sitting in the pews with their wives and children, asking God to forgive them and purge them of carnal desires. And the next Saturday night they’d be back at the carnival or some other place of indulgence. “I knew then that the Christian Church thrives on hypocrisy, and that man’s carnal nature will out!” From that time early in his life his path was clear. Finally, on the last night of April, 1966– Walpurgisnacht, the most important festival of the believers in witchcraft–LaVey shaved his head in the tradition of ancient executioners and announced the formation of The Church Of Satan. He had seen the need for a church that would recapture man’s body and his carnal desires as objects of celebration. “Since worship of fleshly things produces pleasure,” he said, “there would then be a temple of glorious indulgence. .” The Satanic Bible Anton Szandor LaVey For Diane Dedications To: Bernadino Logara, who knew the value of money Karl Haushofer, a teacher without a classroom Rasputin, who knew the magic of a child Sir Basil Zaharoff, a gentleman Cagliostro, a rogue Barnabas Saul, the link with Mount Lalesh Ragnar Redbeard, whose might is right William Mortensen, who looked . -
The Devil's Music
religions Article The Devil’s Music: Satanism and Christian Rhetoric in the Lyrics of the Swedish Heavy Metal Band Ghost P.C.J.M. (Jarell) Paulissen Department of Biblical Sciences and Church History, Tilburg School of Catholic Theology, P.O. Box 90153, 5000 LE Tilburg, The Netherlands; [email protected] Abstract: This paper is an inquiry into a contemporary heavy metal band from Sweden called Ghost. Ghost released its first studio album in 2010 and, while there is some discussion as to what their genre is exactly, they immediately became a rising star in the metal scene. Yet what is of particular interest from a storytelling point of view, especially with regard to theological answers to philosophical questions in popular culture, is that the band presents itself as a satanic version of the Catholic Church through their stage act and lyrics. This made me curious whether they are trying to convey a message and, if yes, what that message might be. For the present paper, I have focused on the latter by performing a non-exhaustive textual analysis of the lyrics in a selection of songs from each of the four studio albums released so far. Ghost turns Christian liturgy on its head by utilizing devout language that is normally reserved for God and Christ to describe Satan and the Antichrist, a strategy I have called the ”satanification” of Christian doctrine, and in doing so their songs evoke imagery of a satanic faith community at prayer. The band then uses this radical inversion of traditional Christian themes to criticize certain elements of society, especially those aspects they associate with organized religion. -
The Baphomet a Discourse Analysis of the Symbol in Three Contexts
UPPSALA UNIVERSITY Department of Theology History of Religions and Social Sciences of Religion C2, 15 credits Spring 2013 Supervisor: Eva Hellman The Baphomet A discourse analysis of the symbol in three contexts by Carl Karlson-Weimann Abstract This essay examines how the Baphomet symbol is understood in three different contexts. Firstly, the understanding of the Baphomet is analysed in the book Dogme et Rituel de la Haute Magie, written by the French 19th century occultist Éliphas Lévi. Secondly, I analyse the symbol in The Satanic Bible by Anton Szandor LaVey, the person responsible for having introduced Satanism to modernity. Thirdly, the Baphomet as understood in contemporary metal music culture is analysed. Ultimately, I find the Baphomet to be viewed as a symbol associated with Satan, but in very different ways. The reason to why these differences exist I find to be partially explained by the initial mystery surrounding the Baphomet. The understanding of the Baphomet depends also on the role of Satan in each context. Due to Satan representing different things in the three different contexts, so does the Baphomet. Keywords: Baphomet, Western esotericism, Satanism, occulture, discourse theory, Éliphas Lévi, Anton Szandor LaVey, metal music, culture, religion Table of contents 1 Introduction.....................................................................................................................................1 1.1 Introductory remarks and purpose statement.....................................................................1 -
The Proliferation of Post-Modern Religiosity in the Late Sixties
MARCO TOTI The Proliferation of Post-Modern Religiosity in the Late Sixties The Case of ‘The Process Church of the Final Judgement’: from Psychoanalysis as Therapy to Psychoanalysis as Theology he sixties may be considered as a true turning point in the history of the West. It may be correctly stated that the counterculture ‘revo- Tlution’,1 which has characterized Western civilization since the sixties, gave rise to further (and crucial, especially from a religious perspec- tive) acceleration of what has been called ‘post-modernity’,2 the most important character of which is the revaluation of the ‘religious’ and the detachment of the category of ‘sacred’—the divinity being generally considered as ‘impersonal’ and in terms of ‘energy’—from traditional religions. The student rebellion first took root in the 1950s, when signs in literature, the cinema, comics, the theatre and music all bore witness in some embryonic way to the ‘end of innocence’ and the beginning of a new age in the US (especially in light of the fact that these products of new mass culture were meant for the younger generation, as well as of the irresolvable conflict between young people and adults). It was at that point that the cultural hero took on the form of a defeated rebel, amid deeply-rooted nostalgia over the certainty that something essen- tial had been lost—a ‘primordial America’, to which one feels attracted with infantile amazement, not exactly knowing how to find it again if not by means of a search for intensity, purity, immediacy and meaning (not ‘happiness’, which the American dream had already guaranteed in the public imagination in previous years). -
Lucifer Over Luxor: Archaeology, Egyptology, and Occultism in Kenneth Anger’S Magick Lantern Cycle
Doyle White, E 2016 Lucifer Over Luxor: Archaeology, Egyptology, and Occultism in Kenneth Anger’s Magick Lantern Cycle. Present Pasts, 7(1): 2, pp. 1–10, DOI: http://dx.doi.org/10.5334/pp.73 RESEARCH PAPER Lucifer Over Luxor: Archaeology, Egyptology, and Occultism in Kenneth Anger’s Magick Lantern Cycle Ethan Doyle White* One of the great figureheads of American experimental cinema, Kenneth Anger (b.1927), is internationally renowned for his pioneering work, recognisable for its blend of homoerotica, popular and classical music, and dark, symbolist imagery. A follower of Thelema, the religion of infamous British occultist Aleister Crowley (1875–1947), Anger’s work is imbued with occult themes and undercurrents rarely comprehen- sible to the non-initiated viewer. In exploring these esoteric ideas, Anger makes use of archaeology and heritage in his short filmsEaux d’Artifice (1953) and Inauguration of the Pleasure Dome (1954–66), as well as in the lost films The Love That Whirls (1949) and Thelema Abbey (1955), which utilize such disparate elements as Aztec human sacrifice and putative Renaissance Satanism. However, this theme only reaches its apex in Lucifer Rising (1980), an exploration of Thelemic theology filmed at such sites as Avebury, Luxor, and Karnak, which reflects and propagates the Thelemic view of the past—an ‘alternative archaeology’ rooted in Crowley’s own fascination with Egyptomania. This paper seeks to explore Anger’s use of the past and place it in its proper context of twentieth-century Western esotericism. Kenneth Anger (b.1927) is one of the foremost figures of through the transformation of individual consciousness American experimental cinema, an artist who produced via artistic mediums (Hughes 2011: 12).