I have been getting emails from my readers and listeners who have taken it upon themselves to research the Rainbow-OZ death curse (what I call it), giving me tips, which I am thankful for. But, of late, they have been telling me the material is too dark and evil and are backing away from it. This comes as no surprise to me, as in the thirty-plus years of investigating the occult, this is by far the most sinister and macabre thing I have ever encountered, but I am used to it (and thus somewhat prepared and insulated). I can report that this hex is real, dangerous, deadly, sardonic, and extremely vicious. If you take it upon yourself to look into it, you do so at your own risk. – Robert W. Sullivan IV, 8 March 2024, Baltimore, MD.
From the forthcoming Cinema Symbolism 4 and Cinema Symbolism OZ.From the forthcoming Cinema Symbolism 4 and Cinema Symbolism OZ.From the forthcoming Cinema Symbolism 4 and Cinema Symbolism OZ.
Here is one of our enlightening talks with a new Russian dub; these interviews hit big in the Ukraine, Russia, Belarus, Germany, France, Lithuania, Estonia, Spain, Italy, Moldova, Georgia, Kazakhstan, Latvia, Canada, Hungary, China, Poland, the UK, Romania, Austria, Czechia, and Turkey. Check it out!
My latest book is coming along exceptionally well, so here is a little teaser to whet everyone’s appetite; enjoy, as this will be the last one for a while. Also, stay tuned also for more interviews on a variety of topics, including Rob’s annual Masonic Halloween Special and a National Treasure deep dive.
“The ordeals thou shalt oversee thyself, save only the blind ones. Refuse none, but thou shalt know & destroy the traitors. I am Ra-Hoor-Khuit; and I am powerful to protect my servant. Success is thy proof: argue not; convert not; talk not over much! Them that seek to entrap thee, to overthrow thee, them attack without pity or quarter; & destroy them utterly. Swift as a trodden serpent turn and strike! Be thou yet deadlier than he! Drag down their souls to awful torment: laugh at their fear: spit upon them!” (AL III:42). So why did this skinwalker/Native American death hex latch onto Aleister Crowley’s Qabala, the new era’s prophet? Two of Crowley’s preeminent numbers for this neo-astrological epoch are, quite literally, The Wizard of Oz, designating the Æon of Horus/Aquarius. The first is 77, OZ, the new solar messiah, the Goat of Mendes, and the second is 42, the deathblow, symbolized by the rainbow, as in “♫ Over the Rainbow ♫,” baptized the Dark Mother by Master Therion, the destructive elemental linked to the devil Chronzon, whose number is 333 (vide supra). According to Aiwass, the new Æon began in 1904; adding a cusp phase, it is apparent that the Piscean Age terminated on September 11th, 2001, commencing the Horus/Aquarian Age proper because sevens are omnipresent, signifying Baphometic diablerie. For instance, the date has a reverse ordinal value of 154 = 77 x 2,[1] and the month’s name comes from the Latin septem, meaning seven, as it was originally the seventh of ten months on the ancient Roman calendar; thus, septem multiplied by the day of the week is 7 x 11 = 77, making it the day of the Goat. The Dark Mother, the multicolored arch, 42, was also very busy on 9/11; for example, at Newark International Airport (now Newark Liberty), Flight 93 was delayed 42 minutes on the runway before takeoff. But this was not the first time OZ and the rainbow reared their ugly heads on 9/11. Forty-four years earlier, the number of Horus and a digit Crowley links to blood sacrifice, on September 11th, 1957, ABC aired preview segments of the Rainbow Road to Oz on Disneyland’s fourth-anniversary show, but the project was shelved a few months later. Forty-four is also connected to the World Trade Center because it opened on the fourth day of April, the fourth month, 44, of 1973, which reduces to the number two (1 + 9 + 7 + 3 = 20 = 2 + 0 = 2), indicating twins or doubles, implying the WTC complex was constructed to be nothing more than a vessel to house burnt offerings to Horus qua the Goat of Mendes. On that same date, the demons from the Qliphoth were summoned via an Apollonian megastar: on the evening of April 4th, 1973, NBC aired Elvis’ Aloha from Hawaii via Satellite concert, the highest-rated program of the year, which was recorded at the Honolulu International Center (now the Neal S. Blaisdell Center), located at 777 Ward Avenue. April 4th, 1973, also anticipated the total lunar eclipse of April 4th, 1996; the blood moon, becoming a mark of the Ruby Slippers, signifies calamity, the destruction of all things, and the end of the world qua solar age.[2] This blood moon, in turn, foreshadowed the partial lunar eclipse of July 28th, 1999, with Diana/Artemis/Hecate reigning supreme in Aquarius, i.e., heralding the new age, 777 days before September 11th, 2001, when Christianity (the worship of the sun in Pisces), Islam (the worship of Venus), and Judaism (the sun in Aries mingled with the adoration of Saturn) became obsolete, but the Luciferian godhead lives! “The year is one!” – Roman Castevet/Steven Marcato, Rosemary’s Baby. And speaking of Luna, on September 11th, 2001, the moon was a waning crescent in the house of Gemini the Twins, fading away, signifying the two towers vanishing from NYC’s skyline. Easter egg: Baphomet and the Dark Mother made a cameo appearance with Bonesman and President George W. Bush on the morning of 9/11, as he was reading the short story “The Pet Goat” by American educationalist Siegfried “Zig” Engelmann (1931-2019) anthologized in the classroom workbook Reading Mastery: Rainbow Edition, Level 2, Storybook 1 (1994) to Floridian schoolchildren.
Gemini the Twins’ two brightest stars, Castor and Pollux, represent the mythological twin brothers of Helen of Troy, corresponding with Jachin and Boaz of Solomon’s Temple, and the Pillars of Hercules: the two promontories at the eastern entrance to the Strait of Gibraltar, a narrow opening 14 kilometers wide (7 doubled or 77) between the Mediterranean Sea and the Atlantic Ocean, separating the continents of Africa and Europe. Its glyph symbolizes two pieces of wood bound together, and its ruling planet is Mercury, alchemy’s destroying agent.
For reasons unknown, the death curse remained dormant until The Wizard of Oz began filming in 1938, evidenced by all the accidents that occurred on set, suggesting it was hexed, as this is when 77, the Goat, its play backed by 42 and sometimes 333, la Madre Oscura and Choronzon, appeared on the scene, identifying itself as the God of the new age, desiring death, annihilation, and bloodshed, ascending to the divine solar throne on 9/11. To begin with, the film’s starlet, Judy Garland, started consuming amphetamines and barbiturates, which allowed her to stay thin and energized, but it turned her into a dope fiend, putting her in an early grave at 47. Buddy Ebsen, the original Tin Man, nearly died when aluminum powder got into his lungs, sending him to the hospital for two weeks and forcing him to drop out. The Wicked Witch of the West, Margaret Hamilton, was severely burned, and her stunt double, Bertha “Betty” Danko (1903-1979), suffered two accidents. The first was minor, hurting her back, but it was the second, during the SURRENDER DOROTHY skywriting scene, that a pipe attached to Witch’s broomstick exploded, landing her in a hospital bed with a dreadful leg injury. Then there is the old urban legend that a midget portraying one of the Munchkins committed suicide on the set, visible in the background when Dorothy, Scarecrow, and the Tin Man cavort down the Yellow Brick Road, leaving the latter’s hovel behind. Is it a dead dwarf or a stork? Regardless, The Wizard of Oz was released to the public on August 25th, 1939, seven days before the outbreak of WWII.
Rob’s recent appearance on Tin Foil Hat is now stationed on YouTube. In this brand new interview, Rob previews Cinema Symbolism 4, including an analysis of The Wizard of Oz Death Curse (OZ-Rainbow), Aleister Crowley, 9/11, the Age of Horus/Aquarius, Kobe Bryant, JFK, Michael Jackson, Freemasonry, the Goat of Mendes (77), the demon Choronzon (333), and the Dark Mother (42). Check it out!
“The Tarot figures, in various guises, are ever present in our lives. By night they appear in our sleep, to our mystification and wonder. By day they inspire us to creative action or play tricks with our logical plans.” – Sallie Nichols, Jung and Tarot: An Archetypal Journey, 1980. Two Tarot cards that came to life on 9/11. (Insert Top Left) The lightning-struck Tower, card XVI from the Rider-Waite deck, is the Twin Towers destroyed. Its background is black, linking it to the Devil card (see Introduction), which has the same dark setting. Alchemically, the Devil represents the nigredo phase, the psychological dark night of the soul, the blackening and decay stage of the Great Work, in which material reality needs to be purified to make way for something fresh, in this case, the new yet bleak Æon of Horus. The falling person to the left of the Tower is shaped like the Hebrew letter ayin ע, and the figure on the right forms zayin ז, producing 77, OZ, the Goat of Mendes, synonymous with the Devil card. The Tower betokens transformation, the shattering of illusions, and abrupt, discomforting, and unsettling change, indicating the shift from Pisces to Aquarius. (Insert Bottom right) The Hanged Man, signifying the mystery of death (of the old age) and the riddle of resurrection (of the new), also denotes the Tower’s transmogrification, death, and rebirth. The twelfth trump becomes The Falling Man, plummeting to his death, having jumped from the WTC’s North Tower. Like the Tower card, alchemy has been a critical influence on the interpretation (one of many) of the Hanged Man. Lévi described him as “the great and unique athanor, which all can use, which is ready to each man’s hand, which all possess without knowing it.” The athanor is an alchemist’s furnace; the first stage of making the Philosopher’s Stone culminated in the nigredo phase when the material in the alchemist’s vessel was destroyed by heating it and driving off vapor, which was regarded as its spirit or spark of life. Then, the haze was allowed to condense and saturate the dead material, resurrecting it in a new and improved form; on 9/11, death and destruction signaled the end of Pisces, Christ the fisherman, the sun reborn in Aquarius as Baphomet, the Saturnian Bleating Goat.
A great but forgotten film features some of the best pre-911 imagery out there. From Cinema Symbolism 4:
The Medusa Touch by Peter Van Greenaway (1973). The thriller’s first edition book cover features a commercial airliner exploding as it smashes into a skyscraper. The story is about a novelist, John Morlar, who either has psychokinesis or clairvoyance; it was made into a movie in 1978 with Richard Burton (1925-1984) as Morlar and includes the airplane crash depicted on the dust jacket. The surname of the film’s director, Jack Gold (1930-2015), evokes The Yellow Brick Road; the flick was released in the US on April 14th (7 doubled), seven months before the October ’78 release of The Wiz. “For God’s sake, woman, jump!” – John Morlar. Easter egg: the movie has a palpable satanic undercurrent, including a prayer to Lucifer, death by hellfire, demonic possession, dying on the dark side of the moon, and talk of devils and damnation. Augmenting its diabolical vibe are its protagonists: Richard Burton, who was a year removed from Exorcist II: The Heretic (1977), and Lee Remick (1935-1991), who was two years out from The Omen (1976). Not only does The Medusa Touch foreshadow 9/11, but it foretells outer space-related disasters, such as the Challenger explosion and 2003’s Space Shuttle Columbia disintegration. One cannot help but think of 2019’s Notre-Dame’s fire (2019) when the fictitious Minster Cathedral qua Westminster Abbey comes crumbling down, and the targeted Windscale nuclear power station anticipates the Three Mile Island, Chernobyl, and Fukushima atomic incidents.
When you have a birthday, December 13th, 1989, that has a value of 77 in base gematria using Pythagorean reduction (D/4 e/5 c/3 e/5 m/4 b/2 e/ r/9 = 37, 13 = 13, 1 + 9 + 8 + 9 = 27; 37 + 13 + 27 = 77), it’s not a good idea to release a song called “Karma” (2022) featuring yourself in its music video costumed as the Saturnian bleating Goat, OZ, the leaping godhead of the Age of Horus, only to appear in the very next fucking scene in the Magickal Land of 77, wearing the Ruby Slippers, walking on the Yellow Brick Road. Talk about bad karma.
(Top, and insert lower right) In her latest video, “Karma,” Taylor Swift appears as the androgynously Goat of Mendes, Mr. 77, only to travel to the Land of OZ, 77, in the next scene (bottom), wearing the Ruby Slippers while easing on down the Yellow Brick Road.
Join Rob tonight, July 29th, 2023, when he will be a guest on Talking Weird debuting on the Untold Radio Network airing on YouTube. The show debuts at 11:00 pm EST; to watch this excellent podcast:
Rob returns to My Family Thinks I’m Crazy Podcast discussing esoteric themes and undercurrents in popular films, with a dash of Master Therion sprinkled on top. To listen, click banner: