Monday, March 18, 2013

Part 101 - The Sodomite Gateway - Come On With the Rain

In one final post dedicated to the featured scene of the 1952 musical, “Singin' in the Rain,” some amazing connections are highlighted that should remove any doubt that Gene really was pointing towards the window to honor Horus and symbolize the dawn of what Aliester Crowley called the Aeon of Horus.

When Gene is singing “Dancin in the rain, dah de dah.... I'm happy again”, he strikes a pose at 2:17, one we've seen before, at 1:45. He does this only twice, and it will be seen that this is, from one perspective, the choreographer's way of telling us to compare those scenes. The pose Gene strikes to link the two scenes is a “hat off and umbrella out” gesture that makes a statement about ritual sodomy and witchcraft.

If you use two monitors, you may find it helpful to open the video in one while you read this post in the other: "Singin' in the Rain" 1952 ~ Gene Kelly

If you're new to this series, welcome! You may want to start at the beginning to get the foundation for what's here. Series Links: The Sodomite Gateway The first post about this film was Part 94. If you want a little more help understanding symbolism, I recommend starting here as a starting point and working your way through the blog, which develops pretty effectively as a course of instruction.

As a necessary caveat, if you're a victim of ritual abuse who is still being delivered or you're easily offended by mature subjects and descriptive language, please move on.

The second time he strikes the pose in front of a very obvious Egyptian set. It's not the familiar pyramids of Giza but one that features obelisks. The earlier pose was struck in front of the Palm View Apts, where he cryptically names the featured location and reveals the symbol of the rain and its role in the Egyptian sodomite sex magick!

While striking the pose in front of the Apts he sings the line, “Come on with the rain.” Now, that's really kind of a peculiar expression, if you think about it. Oh, it sounds poetic when he sings it, sure, but if you understand about ancient Egypt and sex magick, the expression obfuscates the subtle naming of the city of ON (aka Heliopolis - The City of the Sun). This was where the sun was worshiped and where many significant obelisks and temples dedicated to the sun god were found. So, the drug store window set represents that ancient Pagan city. This is not the first occasion where the Lord has called an allusion to On to my attention.

The obelisk that stands at the Vatican in St Peter's Square is a prized artifact that formerly stood in On. I'm convinced that it's quite at home there, at the present day center of sun god worship. The demon gods of the idol probably inspired and directed the relocation effort.

I've learned a few things about Illuminati ceremonial connections over the years, and it would not surprise me if there was a binding supernaturalism behind the two obelisks in that Pharmacy display. There are two famous sets of obelisks and domes, at the Vatican and in Washington D. C. The obelisk from On was just featured during the global broadcasting of the receiving of the new Pope, who may become the biblical false prophet. The one in this nation's capitol is the world's largest and most famous example.

When Gene sings, “Come ON, with the rain,” he's performing a ritual invocation. Yes, really! This should become more apparent by the end of this post.

I mentioned a few posts back how this line contained a homonym reference to seminal fluid. Come = cum. Connect the dots. Cum ON, with the rain. The rain is the sun god's semen. Don's upturned face is happily welcoming this ritual baptism of sorts.

If there's any doubt remaining about the subject it should be dissolved with the following consideration. The “Come On” scene is set at the Palm View Apts. The technical name for the date palm is Phoenix dactylifera. Phoenix. The bird of legend that burns and rises from its ashes.

(From Investigation on the Origins of the Benben Stone: Was It An Iron Meteorite? © Robert G. Bauval 2002 - Published in Discussions in Egyptology, Volume 14, 1989)

“It is also often argued that the phoenix, a mythical bird which was said to appear at dawn perched on a pole extending from a Benben, was representative of the sun-god’s self-creating power (Breasted, p.72). But the phoenix’s cosmic identification was by no means exclusive to the sun. In the Middle Kingdom, for example, the phoenix was also said to be the soul of Osiris, as well as the moon and sometimes the ‘morning star’ i.e. Venus (Rundle Clark, p.246-9). The phoenix thus was symbolic of the rebirth at dawn not only of the sun-god but of cosmic beings in general. In The Book Of The Dead, Chapter 83 entitled ‘Spell For Becoming The Phoenix (Bennu) Bird’, the phoenix claims: “I am the seed corn of every god…” (Rundle Clark, p.249). His power of self-creation clearly symbolised the emerging (rebirth) of celestial bodies (gods) at dawn from the underworld, the tenebrous land of the dead below the horizon.”

“It is known that a sacred pillar was worshipped at Heliopolis before the Benben (Edwards, p.24). The phallic symbolism of a pillar is of course obvious, and its association to the phallus of Atum seems almost a certainty, for in the Pyramid Texts we read: “Atum is he who once came into being, who masturbated in On (Heliopolis). He took his phallus in his grasp that he might create orgasm by means of it…” (pyr. 1248); “O Atum-khoprer (as the Beetle or rising sun), you became high on the heights (pillar/mound?), you rose as the Benben stone in the Mansion Of The Phoenix in On…” (pyr. 1652). H. Frankfort suggested that the combination of the Benben with a pillar -later stylised perhaps into an obelisk with a Benbenet- may thus represent the semen or seed being ejaculated from a cosmic phallus associated to Atum (Frankfort, p.153,380 & note 26). Later, this fetish was probably considered sacred to Ra or Atum-Ra. In the Pyramid Texts, it is said: “O Ra, make the womb of Nut pregnant with the seed of the spirit which is in her”. (pyr. 990). “Pressure is in your womb, O Nut, through the seed of the god which is in you; it is I [the king] who am the seed of the god which is in you…” (pyr. 1416-7). “…the king is an imperishable star, son of the sky-goddess…” (pyr. 1469). “The king was fashioned by his father Atum…” (pyr.1466). “O Ra-Atum, this king comes to you, an imperishable spirit (star?)…your son comes to you, this king comes to you” (pyr.152). Judging from these passages, it is evident that Nut was imagined to be the mother of the king in his star form, the latter sired by Ra/Atum. A pillar surging skywards atop of which is placed a fetish representing a star-seed and offered to the sky-goddess for gestation in her womb, very much appears to be the intended symbolic function of the Pillar/Benben combined fetish at Heliopolis. In consideration of the above, it is indeed significant to note that the word ‘Benben’ means ‘to copulate’ (to seed a womb?) when followed by the determinative of an erect phallus ejaculating semen (Wallis Budge, p.217). Several words containing the root ‘Ben’ also have sexual meanings (Baines, Orientalia 39, 1970, p.389-395).”

Bauval's observations about the reproductive aspects suggest why the scenes at the Palm View Apts and Pharmacy are connected for us by Gene in the striking of the same pose before them both. When we consider the lines Gene sings during the poses and link the Egyptian set with On, the matter is plain. Honor is being given where honor is due. When Gene points up towards the window with the symbol of the Horus sun-anus signifying the dawn of the Aeon of Horus, he's identifying and serving his gods. When he's singing, “Come On with the rain,” he's invoking the gods of On, calling on their help. The phenomenon of Singin' in the Rain doesn't happen without help, from above or below. The show is more than superficial stage magic. The symbols are ritualistic and there is a substance of supernaturalism.

Now, when Gene dances during the umbrella programming scene at the Pharmacy, the rainwater pouring out of the drain spout is rather comically brought to our attention. At 3:11, after dancing across the Pharmacy to the Bookstore, he turns back, making a show of avoiding the stream. After performing the umbrella programming ritual, he returns back to the stream and takes obvious pleasure in standing under it (3:28). There is meaning in this, of course, and we've been educated in the symbols well enough by now to recognize this as Gene, being sodomized by the gods, possibly by proxy.

The stream of seminal fluid pours over both objects that have been signaling his anus, the open umbrella and the hat. This pictures his receiving a reward for his services rendered as the handler-programmer, acknowledged as a token of their love, and it strengthens his own programming and the binding ties with his gods and their agents. Read the testimony of the windows flanking him, the signal grid of alters with plus signs featured, which are for the acts of sodomy with both Horus and Hermes, the two featured by Dr John Dee in his Monas Hieroglyphica. Consider how the steps flanking him form a pyramid (at 3:14), and that the downspout overhead is the source of the milky illuminating water, in keeping with what Bauval presents about the Benben capstone.

For further validation, this is the point where Gene spins off in a very symbolic loop. Watch the sequence and pay attention to how the big band's musical climax attends the ritual climax. We're being told this is a big deal. This routine is telling us some key things, beyond even what I already described when I showed how this binds together the bookstore and pharmacy programming scenes. Gene extends the open umbrella and twirls around as the rain continues to fall on his hat, expressing ecstasy as he dances over to frame two objects in the set. As I illustrate in this pair of screenshots, he first frames the fire hydrant and then the lamp pole.

From one perspective, the fire hydrant is a phallic symbol, an object from which water literally pours forth like a gusher. The lamp is an object that literally illuminates him in the scene. By Gene's framing of these symbols with his open umbrella, he connects these symbols of ritual sodomy, his anus, a phallus and the illuminating light. From another perspective, the fire hydrant is a Herma, the phallic idol that had been set at the intersections of roads and borders to honor Hermes. The lamp is the sun and the sun god Horus. With this routine, Gene is giving honor to the sodomizing gods Hermes and Horus, who are responsible for his ecstasy. This is worship!

Gene did his own choreography for this and other films. Some claim he was a high level programmer, which would explain his expert knowledge of the matter and his ability to execute the scene so exactly. I find it interesting that his name can be interpreted as a concise expression of the Devil's great hijacking scheme. Gene Kelly. Gene ~ genetic material. The meaning of the name “Kelly” is 'War; strife; bright-headed'. How fitting!

He knew things, as has been illustrated at length. Here's one final demonstration, where he forms a triangle with his arm and rotates it around, superimposing it over the Mahout girl's bottom.

That's the anal triangle, presented while he wields the phallic umbrella in yet another layer of ritual sodomy. Note, he's touching his SOLAR plexus. Right.

He's rotating counter-clockwise, which corresponds like engaged gears to the clockwise casting of the magick circle inside the display case, within which the high priestess kneels. He is perhaps ritually making a Triangle of Solomon (Part 1 - "I, Pet Goat II" - Golden Magick Circle) for an invocation to enhance their spells.

I believe the impact of the magickal work that is the Occult musical on the culture of the Western world has been substantial. Consider the sum total of what Hollywood has produced and the current state of the world. Consider the arts and music industries itself, and the impact. There is a large sense in which this defines the culture. Soon, the programmed agents of chaos are going to be triggered, an antiBride to counter the Bride as antichrist counters Christ. A substitution work is in play and strong delusion blinds the mind to such a thing. If we're still acting out the programming, retaining the scripted values and behaviors, we're in real trouble. I so appreciate how the Lord Y'shua has granted us the favor to see what has been done, and to choose to honor Him.

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