Decoding Fandango as the Crossing of the Abyss

The popular website for movie tickets, trailers and reviews has an interesting logo. There's a white letter F for Fandango, but study it for a moment and you'll find another one hidden in the orange.

The double F makes sense when you identify the Occult symbolism. F is the 6th letter, and 66 is the number signaling the abyss. When the name appears next to the logo, the F of Fandango adds a third F and therefore a third 6 in series. 666. The number identified with the beast and his mark in Revelation 13:18.

Here's an excerpt from FreemanTV - Mark of the Beast.

“Qliphoth/Qlippoth Lit. "shells" (singular: qliphah). Shades of the dead whose names appear in the books of Dyzan or Thoth, or the Book of the Law (AL). They may contain formulae of magical powers. ...The Qliphoth are separation or "excrement" or negative representations of Divinity: Samael, Beelzbub, Lillith. In Kabbalistic magic, the Qliphoth are represented by the number 66 which in Hebrew would be VV; in English 66 is OX or FF. ”

FF. Fandango. There are other letter combinations and visual cues that may be signalling the Qliphoth and the abyss, like the common, “of,” and FX as in, special effects. The common pricing of merchandise at 99 cents does more than make the price seem lower. Flip it.

The logo is retro, picturing a traditional ticket used at movie theaters. Movie tickets are issued to those who use them to gain access to the theater, obviously. The generic labeling was, Admit One. Admit one to the darkened theater in a sea of people, to the abyss. This requires the assistance of those who can cross over, like Anubis, Hermes or Mercury. The psychopomp has access, the visa, the ticket to the abyss. You have to pay the ferryman.

“"Crossing the Abyss" is regarded as a perilous operation, and the most important work of the magician's career. Success confers graduation into the degree of Magister Templi, or "Master of the Temple."”

Abyss (Thelema) - Wikipedia

The Fandango logo ticket represents the ritual initiation of a magician, who seeks a ticket to cross the abyss. The logo's tilted F nested together with a hidden F presents a crossing metaphor.

Here, Taylor Swift presents the crossing of the abyss. Showing V or 6 on each hand, she crosses them in this image from her music video for the song, “22.”

The show, Fringe, was all about crossing over between space-time dimensions. The brand imagery for the Fringe Division in the alternate universe featured the mirrored F of the 66, the abyss.

The logo serves the Fandango name well. The word derives from the lyrics of a classic rock song from 1967, Procol Harum's “A Whiter Shade of Pale.” As the song begins, we hear, “We skipped the light fandango - Turned cartwheels cross the floor...” Turning cartwheels cross the floor presents OX or circle cross imagery. The rotations provide the circles. The body presents the X form, plus there's the cross of “cross the floor.” The move is called a cartwheel because it emulates a turning spoked wheel. Interpreted according to letter value, the X and O of the form present 6 (24 or 2+4) and 6 (15 or 1+5). 66. It's clever, very clever. The XO signals the mark of the beast and magically establishes of the celestial throne of the goddess as the god Nodens flashes lightning from the abyss. Fandango naturally imports that reference from the song lyric with their name, and by embedding the double F in their logo they signal us that this is done with knowledge and intent, and yet, this is far more than the sending of a signal. It's the evidence of magick ritual. Theurgy.

The ticket shape presents a square with cutouts of 2 half circles. It's a squared Circle, which you would make with a square and compass, of course. Ritual sodomy illumination. The song lyric referenced by Fandango will validate that reference, which I'll explain more about shortly.

The word, Fandango, has more notable history behind it, in the movie ticket website and in the Procol Harum song. Skipping the light fandango alludes to an expression that was made very popular in the 1890s, tripping the light fantastic. “This expression became popular from the American song "Sidewalks of New York" (melody and text by Charles B. Lawlor and James W. Blake) in 1894. Part of the chorus: "Boys and girls together, me and Mamie O'Rourke / Tripped the light fantastic / On the sidewalks of New York."” (Trip the light fantastic (phrase) - Wikipedia) It was popularly understood from the time of the gay 90s to indicate the gaiety of dancing, but the expression derives from the more more ancient past, from medieval times, and that's where more meaning is found.

To skip the light fandango and to trip the light fantastic means more than just to dance gaily about. The 17th century works of Shakespeare and Milton are referenced, and going back further to the 14th century, of Chaucer. The literature, which I'll touch upon shortly, is about the gods and goddesses, even those specifically of the underworld, in Pagan and Catholic (also Pagan) versions. The underworld is a lower realm also known as the abyss. The language and contexts from these sources behind, fandango, speak very loudly to me of stargate transiting, not of any natural form of dancing. Any dancing involved has to do with the spiral dance of the ancient and current goddess religions and the practice of witchcraft.

The language and contexts evoked by the word, fandango, speak of spells that evoke and engage demonic entities to deceive and to do the bidding of the magician. There is in this activity the celebration of the graduation of the magician in the crossing of the abyss. In the case of the lyrics of the ballad that names, fandango, that most definitely factors in as it's really about Illuminati programming, trauma-based mind control, the dissociation and installation of the Legion of demons brought about through ritual sodomy. Some would call it psychedelic, and while entheogens or hallucinogenic drugs are often used in such programming rituals, the song's significance should not be diminished by such dismissive labeling because it really is about more than a casual recreational experimentation.

Here's the lyrics of the most direct source of Fandango's brand identity. Procol Harum's, A Whiter Shade Of Pale.

We skipped the light fandango
Turned cartwheels cross the floor
I was feeling kinda seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
The waiter brought a tray

[Chorus]
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale

She said, there is no reason
And the truth is plain to see.
But I wandered through my playing cards
And would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open
They might have just as well've been closed

[Chorus]
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale

She said, I'm home on shore leave,
Though in truth we were at sea
So I took her by the looking glass
And forced her to agree
Saying, you must be the mermaid
Who took Neptune for a ride.
But she smiled at me so sadly
That my anger straightway died

[Chorus]
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale

If music be the food of love
Then laughter is it's queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed

[Chorus]
And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale

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 consider moving on.

The opening line is making reference to the stargate transit and subsequent installation of the demons at the initiate's new birth into the illuminated state. That's the functional precursor to the mark of the beast transformation, a fuller merging of god and man that is not yet available. I've decoded many song lyrics on the blog in recent years, and this hugely popular theme has become very familiar to me. In the last verse, the kind of love named is not what is good and healthy but rather the kind of binding relationship that is created between the slave and their sodomite handler. (See Series Links: The Sodomite Gateway) Queen: The sodomized male used as a female. Dirt: Excrement. Mouth: Actually, the other end of the GI tract. Cardboard: corrugated, rough. To seem to slip straight through the head, the sensation of illumination. To crash-dive and attack the ocean bed. Bed, being bedded. Ocean, an abundance of fluid - semen and blood from the violent crashing together in the attack. The forced compliance of a slave is indicated in the third verse, where whoever she is is forced to agree with the view of reality that was presented to her about her location and identity. The looking glass or mirror is a very common meme in mind control programming, with the splitting of identities associated with pairs of alters.

If you think this isn't all about the practice of the Occult arts and witch-crafts that engage the demonic realm from the abyss, you must have missed the verse mentioning the singer's playing cards, where an obvious reference to cartomancy is made (divination with playing cards). The vestal virgins are the priestesses of the goddess of the hearth. Today, their service is dramatized in the lighting the Olympic flame at the temple of Hera on Mount Olympus. The goddess is also referenced as the mermaid who rides Neptune, aka Poseidon, the god of the deep, the abyss. References made to travel to and from the coast and the shore are to the borders of this space-time dimension.

Why would the movie site Fandango want to reference all this with their branding? Do you understand the nature of the industry? Mind control. Demonization. Trauma. The name, Hollywood, is revealing, which has long been the center of the industry. Traditional magic wands are made from holly wood.

From the lyrics of the popular tune of 1894, Sidewalks of New York, “tripped the light fantastic,” became a well worn phrase. Procol Harum derived from that, “We skipped the light fandango.” The first video for that song was shot in the ruins of Witley Court, near Great Whitley in Worcestershire, England. Witley Court was built in 1655 by Thomas Foley. The video establishes a connection with the ancient past. It's in the literature of that period and of three centuries earlier where we find the inspiration. We'll begin with the works of Milton on our way through Shakespeare to Chaucer. What we find on this journey sheds light on what is meant by the Procol Harum song that provides Fandango's identity.

From Milton's 1645 poem, L'Allegro:

Com, and trip it as ye go,
On the light fantastick toe.

The lines are in sequence numbers 33 and 34 of the lyric poem. Occult encrypting is far from new. It's an ancient practice. I call this an instance of Code 33. And about 34: 3+4= 7 and 3*4=12. The 7 and 12 are both time numbers, and this is about space-time domains. The 3 and 4 are also signal numbers for Osiris and Isis, which produce Horus. This is the essence of the magickal work of Fandango and the magician's grossing of the abyss.

Here's the first 40 lines. Don't be naive. This is not just a matter of poetic frivolity.

Hence loathèd Melancholy,
Of Cerberus, and blackest Midnight born,
In Stygian cave forlorn,
'Mongst horrid shapes, and shrieks, and sights unholy;
Find out some uncouth cell,
Where brooding Darkness spreads his jealous wings,
And the night-raven sings;
There under ebon shades, and low-brow'd rocks,
As ragged as thy locks,
In dark Cimmerian desert ever dwell.........................................10
But come thou goddess fair and free,
In heav'n yclep'd Euphrosyne,
And by men, heart-easing Mirth,
Whom lovely Venus at a birth
With two sister Graces more
To Ivy-crownèd Bacchus bore;
Or whether (as some sager sing)
The frolic wind that breathes the spring,
Zephyr, with Aurora playing,
As he met her once a-Maying,......................................................20
There on beds of violets blue,
And fresh-blown roses wash'd in dew,
Fill'd her with thee, a daughter fair,
So buxom, blithe, and debonair.
Haste thee nymph, and bring with thee
Jest and youthful Jollity,
Quips and cranks, and wanton wiles,
Nods, and becks, and Wreathèd smiles,
Such as hang on Hebe's cheek,
And love to live in dimple sleek;........................................................30
Sport that wrinkled Care derides,
And Laughter holding both his sides.
Come, and trip it as ye go
On the light fantastic toe,
And in thy right hand lead with thee,
The mountain-nymph, sweet Liberty;
And if I give thee honour due,
Mirth, admit me of thy crew
To live with her, and live with thee,
In unreprovèd pleasures free;......................................................40

Liberty is the goddess of a thousand names. Did the poet use the figure, personification? Obviously. It's just as obvious to those who are familiar with the way of Occult symbolism that it represents more than merely innocent entertainments. So, is the expression of lines 33 and 34 the picture of nimble dancing? Sure. Okay - but as I wrote earlier, the language and contexts from these sources behind, fandango, speak to me of a dancing across dimensional boundaries, of stargate transiting. To trip it as ye go on the light fantastic toe is to use Fandango's ticket to admit one in the crossing over in or out of the abyss.

Before penning that poem, John Milton recorded the following lines in 1634 (printed in 1637). From, A Mask Presented at Ludlow Castle, which is known as the masque, Comus.

Come, knit hands, and beat the ground,
In a light fantastic round.

Rhythmic drumming is very often used when spirits are being summoned and demonic energy is being raised for the casting of a spell. Here's those lines in context. There's nothing good or innocent here, in the derivation of Fandango.

Trip the pert fairies and the dapper elves.
By dimpled brook and fountain-brim,
The wood-nymphs, decked with daisies trim,...........................................120
Their merry wakes and pastimes keep:
What hath night to do with sleep?
Night hath better sweets to prove;
Venus now wakes, and wakens Love.
Come, let us our rights begin;
'Tis only daylight that makes sin,
Which these dun shades will ne'er report.
Hail, goddess of nocturnal sport,
Dark-veiled Cotytto, to whom the secret flame
Of midnight torches burns! mysterious dame,..........................................130
That ne'er art called but when the dragon womb
Of Stygian darkness spets her thickest gloom,
And makes one blot of all the air!
Stay thy cloudy ebon chair,
Wherein thou ridest with Hecat', and befriend
Us thy vowed priests, till utmost end
Of all thy dues be done, and none left out,
Ere the blabbing eastern scout,
The nice Morn on the Indian steep,
From her cabined loop-hole peep,.....................................................140
And to the tell-tale Sun descry
Our concealed solemnity.
Come, knit hands, and beat the ground
In a light fantastic round.

Prior to that, Shakespeare (likely a front for Sir Francis Bacon and his guild) penned the following lines in, The Tempest, in 1610-11.

Before you can say come, and goe,
And breathe twice; and cry, so, so:
Each one tripping on his Toe,
Will be here with mop, and mowe.

There is no mention of the light fantastic. The lines are spoken by Arial upon being commissioned by Prospero on a mission to fetch an unsuspecting couple. Prospero was a sorcerer and Arial a sprite, a demonic entity, bound to do his bidding. The play furnished the theme for the Opening Ceremony of the 2012 London Olympics. You're familiar with what we've written about that, right? The ceremonial rituals of the 2012 Olympics had to do with the worship of the ancient gods, the casting of spells and the magickal manipulation of space-time.

Fandango clearly derives from Milton's 1645 poem, L'Allegro, through the similarity in the phrasing of Procol Harum's song. This connection is strengthened by the period of the setting used in their video. There is another literary reference made through Fandango. Here's the chorus of “A Whiter Shade of Pale.”

And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale

The Miller's Tale (1386-1390), is the second of the three tales in Geoffrey Chaucer's ribald classic, The Canterbury Tales. Compare these words of the character Absalom, the parish clerk, to those from Procol Harum.

And maken a chartre of lond or acquitaunce.
In twenty manere koude he trippe and daunce.....................................................220
After the scole of Oxenforde tho,
And with his legges casten to and fro,

There's no mention of the light fantastic, but here's a telling fact. Oxenforde is Oxford, and reference is made to the activity of the town or the university that was famed even so far back as Chaucer's day. Oxford, is known for the Occult signaling of the letter values of the name and for a connection with Isis. The River Isis becomes the Thames as it flows past Oxford. The name of the goddess is thus hidden there, occulted. The ox is identified with the goddess, like Hathor, one of the other identities of the goddess of a thousand names. The letters O, X and F each transform to the number 6 by adding the digits of their positions in the alphabet. OX-ford, you ford a stream when you cross through it. OX-ford ~ 66-ford ~ abyss-ford = crossing the abyss.

Recall the opening lines of Procol Harum's song.

We skipped the light fandango
Turned cartwheels cross the floor

Turning cartwheels cross the floor pictures the O and X like the OX of OXford. The XO is the symbol of the mark of the beast, like 666.

In twenty manere koude he trippe and daunce ~ We skipped the light fandango
After the scole of Oxenforde tho ~ Turned cartwheels cross the floor

As I wrap this up, I am convinced that what is meant by turning a whiter shade of pale has to do with illumination. A girl being traumatized would be quite pale. When the main objective of the ritual abuse and sodomy is obtained, dissociation occurs and subsequently illumination. A whiter shade of pale.

There's are two themes evident through the entire thread of this tracing of the history of the word, Fandango - nobility and the entertainments they sponsor that honors false gods. Chaucer's patrons were royal even King Richard II. The royals, monarchs. Monarch programming. Fandango supports the film industry, with celebrities treated like royalty and where Illuminati programmers, handlers and slaves are famously present. Wikipedia records the following about Milton's Comus, mentioned earlier. “Known colloquially as Comus, the mask's actual full title is A Mask presented at Ludlow Castle, 1634: on Michelmas night, before the right honorable, Iohn Earl of Bridgewater, Viscount Brackly, Lord President of Wales, and one of His Maiesties most honorable privie councill. An air of controversy surrounds this masque, as the Earl of Castlehaven, Bridgewater's brother-in-law, was the subject of a sordid sodomy and rape scandal for which he was executed. Some critics have conjectured that the masque, with its focus on chastity, was designed to "cleanse" the Egerton family.” That this kind of thing has only gained momentum is well documented.

In this strange season we're in, it's good to continue to be mindful of the nature of this world and age, which is surely passing away.