Witches Write In Neck Shells

 Witches Write In Neck Shells

 

An ancient piece of folklore is, ‘Witches ride in egg shells.’1 That might be linked to ancient saurian ancestors and the association of eggs with the Resurrection and Ascension to heaven of Jesus ‘Christ’, the Messiah, whose teaching as a Jewish rabbi, during the period of the Empire of Rome’s occupation of Palestine, in the reign of Tiberius Augustus (17-37 CE), led to his being nailed to a cross of wood atop the hill of Calvary outside the city of Jerusalem, where he died.

 The counterpart of man in the Old Testament of the Bible, which is the history and law of the Jews, that is, their Torah and Talmud, is the angel, Satan, turned into a serpent by God for persuading the first woman, Eve, to ‘eat of the fruit of the knowledge of good and evil’, which it was death to taste, disobeying the creator God’s injunction to ‘eat only of the fruit of the tree of life’, which was immortality.

 There’s more than a suggestion that reptilian eggs and mammalian ova are somehow reconciled in the celebration of Jesus’ rising from the dead, coinciding with the beginnings of spring, in the Easter festival of Christianity, which is the religion founded by Jesus’ disciples after his Ascension to heaven, according to the four corroborative accounts of his life’s story, composed by the disciples, Matthew, Mark, Luke, and John, comprising what Christians know as the New Testament of the Bible, which they believe supersedes the Old Testament, with Jesus’ teaching distilling the entirety of Talmudic law as, ‘Love your neighbour as you love yourself.’ (Mk: 12. 31)

 God’s expelling of Eve, and the first man created by God, Adam, from their original home in the paradise of Eden, is presented as a punishment for bringing upon themselves the curse of death, although God promises Eve that her ‘seed’ will prevail, ‘You shall crush the head of the serpent with your foot, but he will bruise your heel.’ (Gen: 3. 15) According to Jewish midrash, that is, exegesis, Adam was a hermaphrodite, called ‘futanarian’, or futa, that is, God’s ‘foot’, while Eve, born from the side/rib of Adam, is euphemistically understandable as self-birth following self-fertilization of an ovum.

 That there is then a distinction between the seed of Eve, as mammalian ova, and the serpent’s seed of Satan, which is the eggs of reptilians, is a basis for perceiving what is construable as an ancient conflict between egg-laying and egg-hatching saurians, and womb-birthing mammalians, reconciled in the Christian practice of decorating and consuming eggs at Easter in celebration of Jesus’ victory over death, which is perceived as the breaking of the curse and the re-conferring of immortality upon human nature.

 That people die, which belies the belief in Jesus’ overcoming death, requires a further understanding of what the seed of Eve represent, that is, the brainpower needed to develop the medical technology necessary to overcome death, and so make immortality a permanent feature of human existence. Christianity seems rather to hold to the belief that death is a consequence of being the seed of the serpent, that is, Jesus was human, whereas those who die are extinct like the dinosaurs, whether they accept the teaching of Jesus or no, emphasized by the consuming of their eggs at Easter as chocolate taunts.

 Although most people think of the egg, at Easter, as symbolizing the birth of the infant Jesus, at Christmas, come to fulfilment at Easter, the ‘egg and spoon race’,2 familiar to children at school fêtes, for example, likely signifies the victory of the mammalian over the saurian, as spoons and cups are how eggs are eaten at human family breakfasts. That God’s first creation of winged saurians is what Judeo-Christianity dignifies with the title ‘angels’ also seems plausible, although as ornithology points out birds are the descendants of reptiles, which leaves room for the argument that angels were bird-like, rather than of the leathery aspect of the pterodactyl, or the mythic mien of the dragon. That witches ride in eggshells probably refers to their perceivedly non-human identity. Being born with a third teat, for example, an attribute for the succour of familiars, corresponding to homunculi, or other demon deemed of use to the practitioner of witchcraft; not excluding animals: or indeed aliens.

 That Satan intended for Eve and Adam to be the progenitors of a non-human race is evident from the Judaic belief in Lilith. This ‘first woman created by God’ refused to lie beneath Adam in subjugation, and went on to breed a race of demons with the angel, Samäel, that is, Lilith was the forerunner of witches who rode in eggshells, as their ‘mother’, while Satan’s interference in the development of Eve and Adam’s future amounts to plagiarism, that is, witches write in neck shells, as the skulls of the non-human contain nothing human, and so are effectively empty shells, which accords with the Jews’ belief in Sheol, corresponding to the hell of Christianity, and where people, as shells containing what isn’t human any longer, haven’t any hope of Resurrection and Ascension to heaven, but might make an interesting tale.

 That the tale is Satan’s evolving tail of a saurian ancestral lineage is what the decorating and eating of boiled eggs at Easter symbolizes, as humans aren’t shells, according to Christian belief, as they have immortal spirit bodies. These transcend death, and continue in an afterlife approximating to what Judeo-Christianity, and other religions, define as the heavenly realm, which the serpent’s seed of Satan are barred from entering, as they’re what science fiction writers describe as ‘meat bots’; robotic flesh, devoid of volitional spirit, impelled by directive: as slaves.

 In previous centuries the Popes of Catholicism, deriving their authority from the disciple, Peter, who became the first amongst Christians in Rome, sold indulgences to rich businessmen, or aristocrats and members of the clergy, etc., who sought absolution, that is, forgiveness of sins, to afford them egress to the heavenly Empyrean after death. However, absolution doesn’t guarantee a spirit body to a neck shell. For modern Christianity the only chance is to ‘convert’ and receive an immortal spirit body. In the concomitant material transformation, aligned with Jesus’ teaching, the Holy Spirit, as transforming principle, was to be sent by God to Earth, according to the Messiah, subsequent to Jesus’ Ascension.

 Another witches’ tradition is, ‘the hollow’, where witches practice their magic, and disputes are reconciled. Corresponding to familiars, the ‘hood of witchcraft constitutes the womanhood, and manhood, of the ‘craft exponent, writing with the neck shells of her serpent’s seed. The futa aspect of women’s seed is represented by the broomstick, between the legs of the wiccan, as the penis of the hermaphrodite, with the bush of the brush behind to indicate the mons veneris. Often described as ‘toothless’ and ‘hags’,3 for example, the three witches in 17^th century English dramatist William Shakespeare’s Macbeth (1606), teeth have significance as places hollowed out by decay, saved by modern dentisty, but legendarily possessed by vampires sucking out human blood, as a means of making themselves immortal.

 These leeches are the rivals of the witches for the neck shells of the serpent’s seed, whereas women have no rivals for women’s seed, which has given rise to the distinction between white witches, who’re women, either putatively or factually, and black witches, whose art is blackened as its vampired, where the hollowing of teeth is the blood drinkers’ connection to the heart and vitals, though a dam may Satanically benefit from communion with the reputedly immortal parasite to the peril of her future, as God’s punishment upon the evil is eternal unendurable pain for the immortal spirit body; should its flesh ever die.

 

1 Cf. Scot, Reginald Discoverie of Witchcraft, 1584.

2 Oxford English Dictionary V: Dvandva-Follis, Oxford University Press, 1989, p. 92.

3 Shakespeare, William Macbeth, Act IV, Scene i, 1606.

Amp Ear Rock

 Amp Ear Rock

 

Militarized retailing is real. Companies with guards, and staff as auxiliaries, where the custom is slaving to serve the automaton, with a barcode on the receipt for goods purchased; a prerequisite to have scanned by the automata: or the custom won’t be able to leave the prison, ‘And that no man might buy or sell, save he that had the mark, or the name of the beast, or the number of his name.’ (Rev: 13. 7) As foretold by Jesus’ disciple, John, in the apocalyptic vision of the future vouchsafed by God’s angels, Revelation, from the New Testament of the Bible, which superseded the Jews’ Torah and Talmud, that is, the history and law of the Old Testament, according to Christians, who believe in the teaching of the Jewish rabbi, Jesus ‘Christ’, their Messiah, ‘Love your neighbour as you love yourself.’ (Mk: 12. 31) The regimentation of social structures belies Jesus’ exhortation, which was his distillation, into a more readily understandable substance, of the content of Judaic law.

 The military ideal is similar to H.G. Wells’ science fiction novel, The Time Machine (1895), in which the Eloi of 802, 701 CE, who’d long ago survived a nuclear holocaust, ‘step lively’ to the nearest metro stations, when they hear ‘air raid’ warnings, and go underground there, where they’re captured and eaten by the subterranean cannibal Morlocks,1 who’ve learned to use the sirens to summon the surface dwellers as food.

 In simple terms people don’t know what their names, numbers, and passwords, etc., actually do, when active in the labyrinthine entrails after what passes through its cerebrum’s synapses in ‘the beast’ of the automated system. Practitioners of NLP, that is, neurolinguistic programing, argue that they can make people do anything, for example, tell a woman to take off her bra, without taking off her sweater, and she instantly can, while the same ‘stage show Johnny’ tells a newly-wed he’ll never have sex with his wife; to the uproarious enthusiasm of the specially invited audience. That militarized custom can become in-service slavery is a modern feature of retail, where the point of the tail of the devil is unclear; but it’s evidently been reattached.

 The siren metaphor appears also in the return of Odysseus from the Greeks’ relatively successful siege of the city of Troy, believed to have been situated in modern Turkey, with the Greek poet Homer’s 8^th century Odyssey most celebratedly linked with the mythic fate of the hero. Odysseus has himself bound to the ship’s mast, so that he can listen to the song of the sirens,2 beautiful mermaids, whose song is believed to lure sailors into the water, where they then drown. Programed to service the till is where the custom is to listen to the sirens, without being bound to the mast of the ship, for example, SPAR, AUCHAN, ASDA, etc., which is a situation fraught with hidden security issues kept far from the apparent automatons supplying the money.

  To custom program the retailer has to reach the ears, which is an issue regularly explored in pop music videos; for example, Britney Spears’ ‘Hold It Against Me’ (2011), where the director has the performer run the gamut of Jungian imagery associated with eyes, ears, nose, and mouth, replete with microphones, and television screens, featuring the star’s earliest recordings of songs advertised as miniature films in the shape of promotional music videos.

 Carl Gustav Jung (1875-1961) was the Swiss psychologist who elaborated the theory that there were four functions associated with human consciousness; the ‘Sensation’ function was associated with the eyes; the ‘Thinking’ function was associated with the ears; ‘Intuition’ with the nose, or sense of smell, and ‘Feeling’ with the mouth, which was duplex in that it took in oxygen and other sustenance, while also being associated with speech. This aided Jung’s argument that the use of the four functions resulted from the differentiation of the four senses, as animals don’t talk.

 That propaganda in the form of brainwashing an audience to have them accept what is unacceptable has been an issue ever since National Socialist Germany’s slave labor extermination camps of World War II (1939-49) in which 6,000,000 Jews were first sent to the ‘showers’, where they were killed with the poison gas Zyklon B, before being burned in ovens specifically constructed for that purpose.

 The British Broadcasting Corporation’s (BBC’s) production of the television comedy series ostensibly for adults, but effectively aimed at teenagers, and/or undergraduates, as well as ‘yuppies’, that is, the young and upwardly mobile, in socio-economic terms, The Young Ones (1982-84), featured ‘blipverts’ which, although spoof, could only be viewed relaxedly in slow motion, while the nanoseconds they were on screen were designed to leave an impression that would be impactful enough to make it a custom program of some service to retail.

 Actor Adrian Edmondson, as Vyvyan Basterd, and a writer of the show, along with fellow actor, Rik Mayall, as Rick, comedian Ben Elton, and Lise Mayer, summarized the issue in the episode, ‘Sick’ (1984), with a tirade about the BBC’s The Good Life ‘sitcom’, ‘’It's so bloody nice! Felicity 'Treacle' Kendal and Richard 'Sugar-Flavoured Snot' Briers! What do they do now?! Chocolate-bloody-button ads, that's what! They're nothing but a couple of reactionary stereotypes, confirming the myth that everyone in Britain is a lovable middle-class eccentric. And I! Hate! Them!’’3 The point being that re-runs of the situation comedy are being used as a chocolate buttons ‘ad’, which reductionism is the custom of the retailer.

 That the undeniable sexual desirability of actress Felicity Kendall on the show is reduced to the attractiveness of a chocolate button is an aspect of the general dehumanization, making of people mere numbers, in button-counting exercises, that’s retail. Though the custom is to laugh, the custom won’t be laughing if they understood that militarized companies seek to program their ears to obey automatically like soldiers the orders that they receive in their audial circuitry; either technological or biological: or a mixture.

 Most laymen have heard of AWACS (airborne warning and control system), the airborne early warning system mounted in airplanes with curious mushroom-style domes, stuffed with advanced radar and sonar, not to mention STEALTH, conferring invisibility, but far less are aware of underground slang for Wacks in the ear, for example, amongst the Liverpudlians of Merseyside, gangster banter has a dark meaning, ‘Ter ar wack.’ Meaning ‘goodbye’, in the United States of America, ‘wack’ means to kill (terror wack), and is used by gangsters to speak of the elimination of a ‘business’ rival. Consequently, ear wax (AWACS) is a multiplex gangland reference to the role of wacks and the ears.

 Amongst the Moslems of the nations of Islam, founded by the Prophet Mohamed, after the angels of God dictated the Koran (610-30 CE) to him, the legend is of Iblis, ‘the whisperer’, who has no other power, and is a Shaitan djinn, the equivalent of Satan, in the Bible, turned into a serpent by God, for tempting Eve to ‘eat of the fruit of the knowledge of good and evil’, which it was death to taste. For gangsters Iblis is a type of their ‘ear police’ (Iblis), that is, ear wacks, who kill on the strength the orders they receive, often subsequent to what they communicate to their command system, from what they hear, which is why they’re the wacks of the years in Liverpool.

 Although leeches are familiar to the medical fraternity, as an ancient form of cleaning wounds, by applying the blood-suckers to the affected area, and removing them, or waiting until the bloated creature drops off, satiated, that’s what vampires are traditionally also known for. Usually the parasite is depicted as sinking its fangs into the jugular, as in the movie, Nosferatu (1922), for example, ‘At night, Nosferatu sinketh his fangs into his victim and feedeth on his blood - his hellish elixir of life.’4 Although Egyptology suggests that the Pharaohs of ancient Egypt used ear vampires in their quest for immortality, as death was the curse placed upon Eve and Adam, the first man created by God, for disobeying the injunction to ‘eat only of the fruit of the tree of life’, which is immortality.

 What’s noticeable about Pharaonic representations is the elaborate headdress, nemes, blue and white, or gold, which covers most of the sides of the head, where the ears are hidden, and descends to a region approximately corresponding to the pits of the arms, which suggests that the ears and armpits were a rich source for blood that the vampire needed; probably an earwig. That the creature functioned as a cleaner is plausible, although it’s unlikely that the activity of such would have any medicinal relevance as a purifying system conferring longevity.

 Jesus’ fate is usually cited as the breaking of the curse of death, as he was taken to the hill of Calvary, outside the city of Jerusalem, during the occupation of Palestine by the Empire of Rome, during the reign of Tiberius Augustus (17-37 CE), and nailed to a cross of wood, he died, but experienced Resurrection and Ascension to heaven. Called God’s ‘foot’, Jesus is the fulfilment of a promise made to Eve that her ‘seed’ would prevail, ‘You shall crush the head of the serpent with your foot, but he will bruise your heel.’ (Gen: 3. 15) According to Jewish midrash, that is, exegesis, Adam was a hermaphrodite, while Eve was created by God from Adam’s side, or rib; a euphemism for self-birth after self-fertilization, which is what the futanarian species of women’s seed, that is, futa, or ‘foot’, were for. God’s promise of immortality is dependent on the ability of her seed to produce the brainpower necessary to develop the medical technology to re-confer immortality upon humankind.

 The point is emphasized in Jesus’ disciple Judas’ betrayal of the Messiah who he finds with a woman. Telling Jesus that the ‘perfume’, spikenard, is ‘too expensive’ for Jesus, and should be sold to raise money for the disciples, is what pimps do. Jesus’ mild rebuke was, ‘Leave her alone.’ (Mk: 14. 6) Judas’ response was to call the Jewish religious police to arrest Jesus, and he was condemned to execution by the Roman judge, Pontius Pilate, because of Judas’ spy canard that the woman should have been his to pimp; if she wasn’t already.

 Leaving aside the testicle snorting aspect of nose for our two (nostrils), it’s South Korea to look at for an update on ear vamps, with the all-girl rock band, Blackpink, devoting almost all of the promotional video for the track ‘Jump’ (2025) to ‘earwigging’, which is a term for those who overhear what they aren’t meant to, while ‘wigging out’ is an English term for upbraiding someone so severely that they threaten insanity, or simply a description of someone who is behaving insanely, often because they are. Rosé, Lisa, Jisoo, and Jennie’s take on it is that people ‘wig out’ because of what they’re made to hear, that is, as a consequence of listening to the band’s music:

 

‘Are you not entertained?

I ain't gotta explain

I'm with all of my sisters

Got 'em goin' insane, yeah

You know we on a mission

All gas, no brakes, yeah

Breakin' out of the system

Breakin' out of this cage, yeah …’5

 

 First Blackpink are seen on the tongues, and between the teeth, of four different mouths; perhaps theirs. Then they appear to be in a space where the back of someone’s head should be, before there’s a scene of Lisa inside a head that’s split down the middle, with her back to the inside of the head, and her feet against the other side maintaining the distance between the two halves. The band are then seen inside an ear, while the street audience of ‘headbanged’, who apparently all have them, try to loose Blackpink.

 The girls inside the ear develop pink laser beams, and the street audience have the beams coming out of the corresponding ear. The laser beams confer super powers, and while the sirens of Blackpink appear unscathed, the street audience, who’ve been banging their heads against walls and pavement, etc., lose control completely, and are seen rolling haplessly without volition along the street, like desert tumbleweed, while the girls use their ‘superpowers’ to fly up to a heart-shaped platform amongst the skyscrapers to finish their performance.

 It’s a description of what populations would experience, if their custom slave programs, used by business companies, were utilized by units of military intelligence to subliminally auto-suggest behavior to adopt in the event of an intervention. As North Korea sabre-rattled its continuing argument with the United States, harking back to the war waged against communism in the Korean peninsula (1950-53), resulting in the separation of North from South, Blackpink’s ‘Jump’ was construable as a warning of what to expect in a future war of drones, NLP, and unsolicited neurological implantations amongst an audience unplanning to be involved with Molochs.

 As a Moloch, or Moloch as the actual name of a particular god (Lev: 18. 21), was invariably associated with child-sacrifice, which largely occurred because the aged hate the newborn, as reminding them of the short time they have left, it’s logical to conjecture that ‘Jump’ in some way has relations with Moloch, where the young generation of innovative Koreans, yet at the mercy of US’ military ambition’s ‘Old Glory’, informatively dissemble their desperation; at the forefront of testiness in the aftermath of the Russian Federation’s unanticipated futuristic ‘drone war’ try-out with the Ukraine.

 'Banging' is of course a euphemism for human sexual intercourse, which suggests a correlation between heads and banging; head fucking. Although it’s difficult to imagine, the hole in the back of the head, where the Blackpink quartet appear to be standing at the outset of ‘Jump’, suggests the tool used by head fuckers, inserted into the back of the head, to make a hole, into which the penis is inserted.

 According to Jungian psychology, the soul-image of an individual, called the anima, is recognizable in the externality in the shape of real women, as the internal anima-figure draws the looker-on to the object of sexual desire. Roughly approximating to what film-makers think of as animating, Blackpink correspond to anima-figures much sought after by head fuckers, while the headbanging scenes of the audience in the video correspond, in psychoanalytical terms, to their desire to get these ‘babes’ out of their heads in an externalization resembling sacrifice to Moloch.

 

1 Wells, H.G. The Time Machine, 'Paradise', William Heinemann, 1895, Ch.5, op cit.

2 Homer, The Odyssey, Bk XII, 8^th century.

3 Edmondson, Adrian 'Ade' as Vyvyan Basterd in The Young Ones, Episode 5, Series 2, ‘Sick’, June 12^th, 1984, BBC2, November 9^th, 1982 - June 19^th, 1984.

4 Silent era of film ‘Intertitle’ for Nosferatu: A Symphony of Horror, Prana Film, 1922.

5 Diplo, Jesse Bluu, Jumpa, Malachiii, Teddy, 24, Claudia Valentina, and Zikai, ‘Jump’, Blᴧɔkpiиk, The Black Label, 2025.