Lucifer lives on in music of the devilish Miley Cyrus

Miley Illuminati

As a musician, I have always looked to Mike Usinger for an honest editorial review on the big acts that play here [“ West desperate to be liked”, October 17-24]. No journalist south of the border would have the balls to write an honest piece calling Kanye out on his grotesque behaviour.

But I am writing in response to Angelica Poversky’s letter you published under the headline “Miley Cyrus is just seeking attention with her twerking”.

It is about time somebody threw the gauntlet down. I have spent the past 15 years doing critical research on the Illuminati in the music industry. Miley Cyrus is not just seeking attention. Dare to suspend all preconceived ideologies and connect the dots. The fact is that satanic ritual abuse and Luciferian worship is at the centre of everything she does.

So, please Vancouver, can we be honest and wake up?

> Joanne Fleming / Vancouver


Katy Perry’s “Dark Horse” 2014 Grammy Performance: An Illuminati Ritual


Black Magic

Katy Perry as Semiraums.

Katy Perry’s performance of “Dark Horse” at this year’s Grammys was indeed dark; it was dark, gloomy, ominous, and full of demons and horned beasts.   This song has nothing to do with love or  even sex, as it may seem to imply.  It’s a summoning.  A ritual to bring forth a spirit or demon from the other side.  And that’s no snow globe folks.   That’s a moon.

I recently published an article entitled, The Occult Meaning behind Katy Perry’s “Dark Horse“, where I wrote,

“The following lyrics, I believe, are spoken from the point of view of Semiramus, the first false goddess from Babylon. Today she has many names, over 5,000 to be exact, and one of them is Aphrodite. I imagine Katy Perry was told to write a hit song from the perspective of Semiramus that includes certain vocabulary.  Why not?  She does work for somebody after all.”

Although Semiramus has over 5,0000 names today, she was first and foremost known as the moon goddess.  It’s no wonder then, that Katy comes on stage inside a giant moon surrounded by demons and horned gods.

She is playing the part of Semiramus.  And what does she have to say?

So you wanna play with magic

Boy you should know what you’re fallin’ for

Baby do you dare to do this

Cause I’m comin’ at you like a dark horse

Pouring Potion:ritual

Here we have a couple of guys pouring out an orange, chalky substance around Katy as part of a ritual. Look at those scary beasts in the back. Like I said, this is not about love.

witch brooms

Witchcraft/Black Magic

In the aforementioned article, I suggested that Katy’s dark horse is actually the black horse of the apocalypse who brings global famine – the result of a perfect storm or perhaps the perfect storm itself.  And here’s that horse:

dark horse II

The Black Horse of the Apocalypse

“When the Lamb broke the third seal, I heard the third living being say, ‘Come!’ And I looked up and saw a black horse, and its rider was holding a pair of scales in his hand. And a voice from among the four living beings said, ‘A loaf of wheat bread or three loaves of barley for a day’s pay. And don’t waste the olive oil and wine’” (Revelation 6:5-6)

The rider of this black horse brings with him or her world-wide famine.  This could be caused by world war and economic collapse, both of which have been manipulated by the elite in the past. A food shortage that spans the globe is a perfect storm that would welcome a false savior, such as the Antichrist, as the solution for mankind.

Are you ready for
Ready for
A perfect storm
Perfect storm
Cause once you’re mine
Once you’re mine
There’s no goin’ back

The most obvious and oldest occult symbol in the performance is the Phoenix rising from the flames.  (Although a Mountain Flame reader pointed out at that this is the cross of the Knight’s Templar).  Here we see it on Katy’s shirt.  To my understanding, Lucifer and the Antichrist, though not one in the same, certainly work together.  One stands behind the other.

katy red cross looks like a bird

The Rising Phoenix/Lucifer

“The Phoenix … is believed to be a divine bird going back to Egypt … This Phoenix destroys itself in flames and then rises from the ashes. Most occultists believe that the Phoenix is a symbol of Lucifer who was cast down in flames and who they think will one day rise triumphant.” [Bill Schnoebelen, quoted by Dr. C. Burns, "Masonic and Occult Symbols Illustrated", p. 123]


katy immersed in fire again

Katy in the flames


Katy Perry Fire

and more fire symbolism.

Humanity’s first powerful empire to spring up after the great flood was Babylon.  It was here that Satan, along with Nimrod (sun god) and his wife Semiramus (moon goddess) established their mystery occult religion.  Performances such as these symbolize the attempt to bring back this Satanic system on a global scale.  But first they need a perfect storm.  And to them, global war, economic collapse and famine is the perfect storm these unhappy, possessed, bat shit crazy people intend to unleash on our planet.

J Cole – Villuminati

J Cole - Villuminati

It’s way darker this time

Sometimes I brag like Hov
Born sinner, the opposite of a winner
Sometimes I brag like Hov
Born sinner, the opposite of a winner
Sometimes I brag like Hov
Born sinner, the opposite of a winner
Sometimes I brag like Hov
Now I’m in the limelight cause I rhyme tight
Time to get paid, blow up like the World Trade

[Verse 1]
Sometimes I brag like Hov
Sometimes I’m real like Pac
Sometimes I focus on the flow to show the skills I got
Sometimes I focus on the dough
Look at these bills I got
This is a message for some rappers trying to steal my spot
You niggas famous on the internet
I’m real life hot
Homie, get your weight up
Fake niggas get sprayed up
My verbal AK slay faggots
And I don’t mean no disrespect whenever I say faggot, okay faggot
Don’t be so sensitive
If you want to get fucked in the ass
That’s between you and whoever else’s dick it is
Pause, maybe that line was too far
Just a little joke to show how homophobic you are
And who can blame ya
Boy Meets World
I’m trying to find a new Topanga
And bang her out, no hanging out
My pops was club hopping back when Rick James was out
And all I get is Trinidad James
Wait a minute that’s strange
Sip a bit of champagne, say fuck
If the hoes like it
I love it nigga nigga nigga
Used to watch Rap City Big Tigga Tigga
Rap nerd even copped Rah Digga Digga
Pac had a nigga saying fuck Jigga, fuck Biggie
I was only like eleven so forgive me
A decade later I be all up in the city
Trying to get Hov to fuck with me
With a burned CD full of jams that was up in my hand
When he said he didn’t want it
It was, fuck him again
One day, he gon’ regret playing me
Little did I know
In a year he’d be fucking paying me
What could you say to me
I beat the odds like Vegas
I used to rap about haters before niggas was hating me
Now they hate to see a young Black man with a college degree
Fucking all these little models for free
Pardon me


[Verse 2]
I’m the prince of the city
I studied Machiavelli
You niggas couldn’t blow with C4 strapped to your belly
I snuck up out the parks where niggas be living heartless
And cannot tell the difference between Iraqi, Israeli
And so I’m wondering really
What could you actually tell me
I’m tryna keep my homie from throwing crack in the skully
So, back with this pen to give back for my sins
Took a black president to tell the Japanese sorry
But who the fuck gon’ tell my niggas sorry
Never seen his pops cause he’s sorry
Fuck the education
Would ask for reparations
But I’m probably just gon’ go and buy Ferraris, vroom
Please forgive him
According to the preacher man he needs Jesus in him
But the Devil run the T.V. so the demons in him
I’m in trouble
Did a deal with the Devil, now I’m pleading with him
Like give me my soul

My nigga
I ain’t ever letting you go again
I ain’t ever letting go
I ain’t ever letting you go again
Please give me my soul
I ain’t ever letting go
I ain’t ever letting you go again
Please give me my soul
I ain’t ever letting go
But the Devil don’t play fair

I’m bout to go and join the Illuminati
Fuck everybody
I’m bout to go and join the Illuminati
Fuck everybody
I’m bout to go and join the Illuminati
Fuck everybody
I’m bout to go and join the Illuminati

[Verse 3]
These next three bars is dedicated to the retards
Keep on asking me about the Illuminati
Is you stupid nigga
Young Black millionaire
Old White billionaires
I’m sure that they can do without me
And I ain’t really into sacrificing human bodies
Couple more A’s I would have been a summa cuma laude
Beyonce told me that she want to cop the blue Bugatti
That shit is more than what I’m worth
I think she knew it probably
Well this is awkward, awkward
Want to know what else is really awkward, awkward
When niggas buy rings for bitches I had flings with
I’m praying I don’t see them at the Oscars, Oscars


Re-adjustin’ my target audience
Cause it’s obvious
I’ve gone astray
Losing my way like Timberlake
Produced by Timbaland on that goddamn FutureSex/LoveSounds
What’s playing in my mind
Just the sound of my whole career
Crashing burning
The thing that I mostly fear
Was on track for the first two years
Until I let the Devil steer
Now what have we here
Mask my tears, but I


Allow me to re-introduce myself
My name is Cole
My nigga
Born sinner, the opposite of a winner
Sometimes I brag like Hov

The Illuminati and the last message of Kubrick

Kubrick Illuminati

I read that he died 666 years before the beginning of the twenty-first century! What a master like him wouldn’t do to amaze us a last time! And who chose such a date?

The death of Stanley Kubrick surprised anyone as his movies had done before; it was labelled the end of the odyssey in France, and soon burst off conspiracy theories about his death, his involvement with the hidden powers, even with the false American conquest of space (in an ironic TV movie directed by William Karel). Since Spartacus and Lolita, thanks to his old foe Kirk Douglas may be, Kubrick had always achieved to fascinate the public by his controversial subjects: power, violence and sex, fake and useless apprenticing, then mind programming and mind control mainly: for what men prefer to be machines?

If you observe the Shining better than you did, you can watch porno pics on the office walls, as well than sex magazines on Nicholson’s tables. This was the deal with Kubrick; private jokes and the winks he did to himself and his invisible friends. This gives his work a great dimension of what Umberto eco has labelled opera aperta, the open work. But the works are open since we have no moral standards to evaluate them; any Christian knew in the middle age there four levels literal, symbolical, allegorical…) of interpretation to understand any poem (think of Dante) or any column in a cathedral). Once we renounce the moral rules of spirituality, we are prepared for the murders: for the world happens to be divided between those who dig and those who hold the gun; between Thracian slaves and their roman masters, Irish peasants and their English masters, sex-slaves and their modern slave-handlers, to put it in a modern way.

Their feet run to evil, and they make haste to shed innocent blood: their thoughts [are] thoughts of iniquity; wasting and destruction [are] in their paths.

The orgy scene in Eyes Wide Shut was of course very controversial: is it (think of recurrent French scandals which prevented DSK to become president there) a hint to the bad manners of the elite? Is it not obvious, too banal? Hasn’t the critic become to well-used to that kind of ceremony to denounce it? Is it like Halloween, isn’t it? Who is able in Spain to really explain the recent death of three youngsters during a nocturne and devilish festivity? Yet it speaks of sacrifice and of amusement, like Eyes Wide Shut. We have been used to think like the devil, and the media industry, of morality as a sign of stupidity; and if it was the contrary? and if it was the exact opposite? if our sins blinded our minds, if our lack of ethics meant an enormous dumbness? Read the prophets:

For our transgressions are multiplied before thee, and our sins testify against us: for our transgressions [are] with us; and [as for] our iniquities, we know them…

The greatness of last Kubrick films lies in their moralities; Shining (dealing with Indian genocide, racism, alcoholism and sexism), Full metal jacket (wars and mind programming), and Eyes Wide Shut (just a dream in Schnitzler’s short story) alludes to the main interrogations of our time: why are the masses to dumb? Whey don’t they understand what they see? In this testament, Kubrick clearly unveils some truths (or aletheia, the unveiling in Greek) and so mocks other attitudes: the vain stroll of Cruise downtown echoes our blindness. He will hang around for nothing, just to get dream-like sensations, then a fake explanation by his mentor and world-master Ziegler (constructor, in German). Read Isaiah, who gives us some light to understand Kubrick:

Who [is] blind, but my servant? or deaf, as my messenger [that] I sent? who [is] blind as [he that is] perfect, and blind as the LORD’S servant? {42:20} Seeing many things, but thou observest not; opening the ears, but he heareth not.

Fro Isaiah this would be the decline of the west, fifty years after the ritual death of Kennedy: the decline of the intelligence and the decline of the moral, labelled conspiracy theories and bigotry. Compare Spartacus to Eyes Wide Shut: in the movie Kirk Douglas (still alive) is moral and intelligent. An amoral human being is not intelligent at all. Cruise who doesn’t understand he participates in a black ritual (they’re just having fun, don’t hey?) and in a murder, who doesn’t understand his wife’s needs and who stand like a zombie, a living-dead in his daily and nightly live, illustrates wonderfully this scheme: the average man of the modernity is a jerk because he has no moral standards. He needs a spiritual father, yet he just meets cynical masters: he basically behaves like a dead soul, to put it like Gogol.

We wait for light, but behold obscurity; for brightness, [but] we walk in darkness. {59:10} We grope for the wall like the blind, and we grope as if [we had] no eyes: we stumble at noonday as in the night; [we are] in desolate places as dead [men.

I wonder if Kubrick has that presentiment: in a world full of provocative challenges, it is impossible to make anybody understand a moral message. We have been educated to consider nothing badly; this is what western relativism considers its best achievement, this is what Christ names being slow of heart (Luke, 24, 25). And of course we have now no possibility to create a real realm of the soul, or any work of art of ambition. This would be labelled boring, out of fashion. Welcome so to the kingdom of the willingly blind.

Nicolas Bonnal

Ciara Wears Golden Dawn Jacket

Ciara Golden Dawn

Ciara wears a Golden Dawn Jacket.

On her coat there are the terms “equilibrium”, “mercy” and “temperance” all phrases used in the practice of occult magic in the Hermetic order and the name of the Greek goddess Sophrosyne.

Tree of Life Kabbalah

In Kabbalah the pillar on the right is called the pillar of Mercy. The Pillar on the center is equilibrium (sometimes mildness). The pillar on the left is called severity. Ciara is telling us she is not severe but merciful.

Temperance Tarot

Temperance and Gluttony.

Gluttony is not being able to control yourself – whether it is eating, drinking too much or allowing yourself to be guided by what you feel.

Tarot 14 in the Golden Dawn is Temperance. Temperance (Sophrosyne in Greek is defined as “moderation in action, thought, or feeling; restraint.”) Temperance is the cardinal virtue concerned with the control of the desire for pleasure, both physical and spiritual.

The Golden Dawn was a British magical order active from 1888 to about 1910. The organization was short-lived due to “politics” and “power struggles” within the order. Even though the Golden Dawn was active for less than 25 years, many of its teachings still guide magical practices worldwide. Their readings and rituals remain a strong influence today among followers of the Golden Dawn.

Members S.L. Mathers and A.E. Waite of the Golden Dawn, wrote guides to the Tarot’s use and correspondences. Golden Dawn rituals sometimes included the Tarot as a meditative and divinatory aid. Other teachings furthered astrological, symbolic and kabbalistic correspondences of the Tarot.

n 1909 the Rider-Waite Tarot was published. Both A.E. Waite and Pamela Colman Smith, each being a Golden Dawn member, created this most popular of all Tarot decks.

Suspicious Overdoses: Corey Monteith

Corey Monteith Illuminati

Cory Monteith, the star of Fox TV series ‘Glee’, died on the same day the Bohemian Grovers conducted their ‘Cremation of Care’ ritual. He died on 7/13/13 at the age of 31 (13 backwards). His remains were cremated. Did Corey Monteith get a hot dose of heroin from the Bohemian Grove? Was Corey their human cremation of care?

Cory followed the Illuminati on twitter. Could he have been a ritual sacrifice by Randy Quaid’s “star wackers”?

Mozart & Masons Blow the Magic Flute

By Sam Feliciano

Mozart the Mason


Vienna in the 18th century was a meeting place for great thinkers and artists alike. The enlightenment was well underway by the 1780s, and there was a new hope for the future of mankind. Also called the “Age of Reason”, the “Enlightenment” was typified by a new attitude where reason was seen as the source of authority. Even in mainstream historical records, the influence of speculative freemasonry on the Enlightenment is tangible. This was also complemented in freemasonry by a new spirit of freedom blossoming in the lodges all throughout the known globe. Individuality and rebellion was rampant, even in the universities. To quote the Catholic encyclopedia:

“After the founding of the Bavarian Academy of Science at Munich in 1759, an anti-ecclesiastical tendency sprang up at Ingolstadt [university] and found an ardent supporter in Joseph Adam, Baron of Ickstatt, whom the elector had placed at the head of the university. Plans, moreover, were set on foot to have the university of the third centenary the Society of Jesus… suppressed, but some of the ex-Jesuits retained their professorships for a while longer. A movement was inaugurated in 1772 by Adam Weishaupt, professor of canon law, with a view to securing the triumph of the rationalistic “enlightenment” in Church and State by means of the secret society of “Illuminati”, which he founded.” [1.]

In 1774, Adam Weishaupt started bringing his ideas to the lodges of freemasonry. Allegedly, Weishaupt was unimpressed and resolved to start a new secret society within freemasonry, which would most effectively realize the illuminist goals. Through secrecy, the new order could “at all times be precisely adapted to the needs of the age and local conditions.”

Weishaupt held a professorship at Ingolstadt University during the Enlightenment, and is described by his contemporaries as a rather antagonistic fellow, more interested in theory and thought than action. This description is reflected in the history as well, for it took the addition of prominent freemason Freiherr von Knigge in 1780 for the Illuminati to make any real progress. Although Weishaupt MAY have started the Illuminati, in truth it was in concept only. Knigge was easily it’s true father; developing the degrees of the Illuminati, and ultimately being responsible for the majority of it’s promotion. Within two years of Knigge’s influence, the Illuminati’s membership grew swiftly to 500 members.

In 1782, Knigge and Weishaupt proudly proclaimed their “Illuminated

Freemasonry” to be the only “pure” freemasonry. Soon thereafter, the addition of Johann “Amelius” Bode, gained the new order credibility. The movement quickly became the newest, coolest, most exclusive secret society around. This Illuminati fever spread throughout the world, gaining footholds in Sweden, Denmark, Hungary, Russia, Poland, Austria, and France. The order’s number grew to approximately 2000 at its peak, enticing many of the most prominent members of the “enlightenment” to illuminism, such as Goethe, Herder, and Nicolai. All was not well within the inner circle, however. Returning to the Catholic Encyclopedia:

“…But in 1783 dissensions arose between Knigge and Weishaupt, which resulted in the final withdrawal of the former on 1 July, 1784. Knigge could no longer endure Weishaupt’s pedantic domineering, which frequently assumed offensive forms. He accused Weishaupt of “Jesuitism”, and suspected him of being “a Jesuit in disguise” (Nachtr., I, 129). ‘And was I’, he adds, ‘to labour under his banner for mankind, to lead men under the yoke of so stiff-necked a fellow?–Never!’

“Moreover, in 1783 the anarchistic tendencies of the order provoked public denunciations which led, in 1784, to interference on the part of the Bavarian Government. As the activity of the Illuminati still continued, four successive enactments were issued against them (22 June, 1784; 2 March, and 16 August, 1785; and 16 August, 1787), in the last of which recruiting for the order as forbidden under penalty of death. These measures put an end to the corporate existence of the order in Bavaria, and, as a result of the publication, in 1786, of its degrees and of other documents concerning it–for the most part of a rather compromising nature–its further extension outside Bavaria became impossible. The spread of the spirit of the Illuminati, which coincided substantially with the general teachings of the ‘enlightenment’, especially that of France, was rather accelerated than retarded by the persecution in Bavaria.” [2.]

Although Elector Karl Theodore famously made Illuminati membership illegal, it seems that Knigge and Bode were already trying to neutralize Weishaupt, and ideally make the Illuminati even more exclusive and secretive. By making the promotion of Illuminati illegal, Karl Theodore may have unintentionally (or even possibly intentionally) done the Illuminati one of the best favors a secret organization could ever ask for, easily making them stronger. This is especially true when considering that the Illuminati was already a worldwide organization, and the state of Bavaria was ultimately only one state in one country; Germany.


As was outlined earlier, most of the main movers and shakers of the enlightenment period were usually affiliated with freemasonry, or the Illuminati, or both. Because of the animosity brewing against secret societies in Munich, many members went out of their way to cover up their connections to the order.

The public paranoia being paramount to fear, being discovered as a current or former member of the illuminati could potentially spell trouble. As a result, many members burned records of their affiliation with freemasonry and Illuminati.

One such famous freemason of the enlightenment who covered up his connection to the order was Wolfgang Amadeus Mozart. Although Mozart was absolutely surrounded by freemasons and illuminati members most of his later life, Mozart never openly admitted his involvement in the Masonry. This search is further complicated because when the animosity toward the Illuminati was brewing in Munich, it seems that Mozart’s family covered up and burned much of the corroborating evidence from his own personal files.

How then do we know that he was a freemason? Despite no personal records of his admittance, there is a bounty of evidence within the lodge available. As early as 1783, both Wolfgang and his father Leopold were Visiting Members of the “Eclectic Lodge” in Salzburg. At the time, there were also two other active Illuminati lodges in Salzburg; the “Apollo” and “Knowledge” lodges. A few years after, we have his initiation into the lodge “Zur Wohltatigkeit” (charity) on Dec 14, 1784 in their own records. It seems he had been suggested on December 5, and was #20 in the lodge register. A few weeks later, Mozart was passed to his second degree at “Zur wahren Eintracht” (true harmony) lodge on the following Jan 7, 1785 (at the request of his mother lodge “Zur Wohltatigkeit”). Another curiosity appears in the records as well. Apparently, Haydn was also initiated into this lodge the following meeting. [3.]

Soon after his initiation in 1784, Mozart even makes a special request that his father be admitted shortly thereafter. The lodges oblige, and Leopold is initiated. According to Nettl, this was an attempt on Wolgang’s part to bring them closer. Mozart’s relationship with his father had been dwindling ever since Wolfgang’s marriage to Constanze Weber. Ultimately, their common bond through freemasonry did not change his father’s disapproval.


Although Mozart struggled with his health throughout his life, the conditions surrounding his death are mysterious at best, and famously alive with rumor. In 1791, despite being able to conduct the premier on Sep. 30 of what proved to be his final Opera, The Magic Flute, Mozart’s health plummeted shortly thereafter.

On Dec. 5th 1791, at 1am, Mozart died. In Niemetschek’s biography, he describes Mozart’s feelings about his illness as related by his wife, Constanze:

“On his return to Vienna, his indisposition increased visibly and made him gloomily depressed. His wife was truly distressed over this. One day when she was driving in the Prater with him, to give him a little distraction and amusement, and they were sitting by themselves, Mozart began to speak of death, and declared that he was writing the Requiem for himself. Tears came to the eyes of the sensitive man: ‘I feel definitely,’ he continued, ‘that I will not last much longer; I am sure I have been poisoned. I cannot rid myself of this idea.’” [4.]

The tragedy of Mozart’s death was that his career was only just stabilizing. Although he was famous, Mozart struggled financially for most of his life. In his final year, the commissions of wealthy noblemen implied that Mozart was on the brink of financial security. As well, Mozart’s new (and final) Opera, The Magic Flute, was starting to gain popularity throughout Europe.

The Academy Award winning film “Amadeus” [5.] makes the claim that Salieri killed Mozart out of jealousy over his talent. I find this an interesting theory to emerge in the mainstream, mainly because Salieri was one of Mozart’s only five friends to actually attend his funeral, along with family. Also, his body was buried in a mass grave (very unbecoming of a Mason) at the behest of his friend Baron Gottfried van Swieten. Not to mention, Salieri has no known Masonic connections.

What I do find suspicious is the seeming absence of the fraternity as soon as Mozart fell ill, especially when considering Mozart’s Masonic involvement toward the end of his life. Although his Masonic attendance seems to have diminished in the records, Mozart was still was very close with many prominent masons right up until his illness. Many of Mozart’s closest friends, as well as librettists and financiers were prominent masons. For example, freemason Lorenzo da Ponte wrote the libretto to 3 of Mozart’s works, including Don Giovanni and the Marriage of Figaro, both plays very rich in Masonic symbology.

In fact, when one views Mozart’s work following his initiation in 1984, all of it carries prominent Masonic symbology, and strong undertones of Luciferian philosophy. In George Bernard Shaw’s “Man and Superman”, he famously interprets Don Giovanni as a story of a Satanic being who challenges God.

Mozart’s final play, the Magic Flute, is certainly one of Mozart’s most Masonic. Many historians and critics have tried to break down the symbolism of this play as a metaphor for the enlightenment movement. Even by their own admission, these interpretations are incomplete. For anyone familiar with the mystery religion, however, the meaning is clear. If you read into the deeper symbolism and how it relates to Masonic philosophy, a darker story emerges. To be sure, the Magic Flute is an allegory referencing the accomplishment of the soul by the initiate of the mysteries, and the crowning of Lucifer as king over the wild superstitions of the human mind.


The Magic Flute’s main character, Tamino, is symbolic of human consciousness, or the initiate. The story opens with Tamino being pursued by a serpent (the intellect/ divine wisdom). The Queen of the Night (the reigning monarchy/ G-D) and her three women (superstition, fear, and ignorance/ the church, the state, and the mob) come and kill the serpent. Tamino awakens and finds the snake dead, and meets a feathered man named Papageno (the body). Papageno quickly claims to Tamino that he saved him from the serpent. The three women then appear and lock Papageno’s mouth for the lie, explaining that they and the Queen of the Night rescued Tamino.

The Queen of the Night (G-d) then commissions Tamino to kill her adversary, Sarastro (Lucifer), who has taken her daughter, Pamina (the soul), captive in his castle. The Queen claims that Tamino must kill Sarastro to win the hand of her daughter. The three ladies give Tamino a magic flute (the creative force/ the penis of Osiris), remove the lock from Papageno’s mouth, and give him magic bells (the receptive force/ feminine) to protect him. Papageno is then ordered to quest with Tamino to rescue her daughter. Three spirits (the trinity) then guide them to Sarastro’s temple, where they will find and rescue Pamina.

Papageno goes ahead of Tamino to find Pamina. At Sarastro’s temple, Papageno finds a black man named Monostatos (Satan/ the persistent question of uncertainty) who is holding Pamina captive. She is told of Tamino’s quest, and eagerly awaits her rescue. When Tamino gets to the temple, there are three entrances. He is turned away from two of them, but when he arrives the third entrance, he finds a priest. This priest then explains to Tamino that Sarastro is benevolent, and not evil, as he had been led to believe. Tamino tries his magic flute, and Papageno plays his pipes in response, leading Tamino to Pamina.

When Tamino and Pamina meet, Monostatos and his followers take them captive, but then Papageno is able to enchant them with his magic bells and save the young couple. When Sarastros arrives, Tamino asks Pamina what to do, and Pamina tells Tamino to tell the truth. As it turns out, Sarastros is sympathetic to the young couple, and rebukes Monostatos for his lustful intentions with Pamina. The couple is then led to the Temple of Ordeal, where a complete Masonic ritual takes place, overseen by the priests of the Temple of Isis and Osiris.


I will not break down the symbology of the second act of the Magic Flute or you, only because I want you to go and investigate it for yourself. I assure you; it will be enough to put your jaw on the floor. There is no question about the Masonic influence on the Magic Flute [6.]. However, in light of this, if there is any question as to whether or not the Masonic fraternity is a Luciferian religion, please take the Magic Flute into consideration. We may never know who killed Mozart, or why. Still, I submit the timing of Mozart’s death to this play as a curious coincidence.

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