The Kenny Chesney song “The Tin Man,” which conjures The Wizard of Oz (1939) in its lyrics, was originally released on April 19th, 1994, on Capricorn Records, suggesting the Goat of Mendes, the leaping goat, the godhead, a year after the Branch Davidian Compound burned to the ground (4/19/93) and a year before the OKC Murrah Building terrorist attack (4/19/95), was re-released on his Greatest Hits album on September 26th, 2000. Forty-two weeks later, on July 23rd, 2001, “The Tin Man” was re-released as a single; its music video was scheduled to be filmed seven weeks later, on September 11th, 2001, in front of the World Trade Center but was canceled a few days beforehand because BNA Records (the new label) did not believe a video was necessary. “The Tin Man,” both the Ozian character and the tune’s name, has a sum of 49 = 72 using reverse Pythagorean reduction.[1]Cinema Symbolism 4, Cinema Symbolism OZ, and Cinema Symbolism Third Edition are coming along splendidly.
(Left) The Wizard of Oz (1939) one-sheet poster, (top right) Oz‘s author L. Frank Baum, (bottom right) Professor Marvel with Dorothy Gale in The Wizard of Oz.
An astounding Jungian synchronicity (or Swedenborgian correspondence) occurred on the set of The Wizard of Oz that defies all rational explanation. The unbelievable story was told in Aljean Harmetz’s seminal The Making of the Wizard of Oz (1977),
“For Professor Marvel’s coat,” says Mary Mayer [a unit publicist on Oz], “they wanted grandeur gone to seed. A nice-looking coat but very tattered. So the Wardrobe Department went down to an old second-hand store on Main Street and bought a whole rack of coats. And Frank Morgan and the wardrobe man and Victor Flemming got together and chose one. It was kind of a Prince Albert coat. It was black broadcloth and it had a velvet collar, but the nap was all worn out off the velvet.” Helene Bowman recalls the coat as “ratty with age, a Prince Albert jacket with a green look.”
The coat fitted Morgan and had the right look of shabby gentility, and one hot afternoon Frank Morgan turned out the pocket. Inside was the name “L. Frank Baum.”
“We wired the tailor in Chicago,” says Mary Mayer, “and sent pictures. And the tailor sent back a notarized letter saying that the coat had been made for Frank Baum. Baum’s widow identified the coat, too, and after the picture was finished we presented it to her. But I could never get anyone to believe the story.”
The story was published once–as an example of the lies press agents are willing to tell in order get a story into print.[1]
[1] Aljean Harmetz, The Making of The Wizard of Oz (1977; repr., Chicago: Chicago Review Press, 2013), 241-242.
These numbers blanket 9/11/01 and designate Baphomet, the godhead of the Æon of Horus/Age of Aquarius we are well into. In his qabalsitic grimoire 777 (1909), Aleister Crowley (1875-1947) explains that seven is a most evil number, the Goat of Mendes’ diabolical numeral is 77, and 777 is 77 on steroids, thus exceedingly Mephistophelian. September 11th, 2001, invokes and announces the new androgynous god, signifying the end of the Age of Pisces. The numbers are at Shanksville, Pennsylvania, and Lower Manhattan, but are ever-present at the Pentagon; the building’s construction began on September 11th, 1941, 60 years earlier to the day of the attack, completed on January 15th, 1943, a date having a value of 77 using reverse Pythagorean reduction (J/8 a/8 n/4 u/6 a/8 r/9 y/2 = 45, 15 = 15, 1 + 9 + 4 + 7 = 17; 45 + 15 + 17 = 77). Jinxing the date of September 11th is Disney’s Rainbow Road to Oz (Baphomet and the Dark Mother), debuting on T.V. September 11th, 1957, 16 years (1 + 6 = 7) after the Pentagon’s construction began, 44 years before 9/11/01; according to Master Therion, 44 is the number of Horus who accepts blood sacrifices as worship. On that morning, at Dulles International Airport, which sits on the 77th Meridian West, the passengers boarded Flight 77 from gate D26, which has a reverse ordinal value of 49 or 72 (D/23 + 26 = 49). Dulles’ code, IAD, has an ordinal value of 14 or 7 doubled, 77 (I/9 A/1 D/4 = 14), and the 1977 movie Airport ’77 features a night-time view of Dulles’ terminal with a Boeing 747 taking off in the foreground. Departing at 8:20 a.m., Flight 77 crashed 77 minutes later into the 77-foot tall seven-story Pentagon at 9:37 a.m., 577 minutes into the day, the Department of Defense is also on the 77th Meridian West. Flight 77’s in-flight movie was Dr. Dolittle 2 (2001) which has a Pythagorean reduced sum of 49, or 72 (D/4 r/9. = 13, D/4 o/6 l/3 i/9 t/2 t/2 l/3 e/5 = 34, 2 = 2; 13 + 34 + 2 = 49). Swiftly taking off from Joint Base Andrews seven minutes after the Pentagon was hit was Venus 77, a NEACP flight that coordinates with the National Military Command Center; the planet Venus has a pentagonal orbit, syncing with the Defense Department, and in antiquity, Venus was symbolized by a seven-pointed star, for 777. The Pentagon covers 28.7 acres, 28 = 7 x 4 for 7777.7, and is 1,414 feet wide, 7 + 7, 7 + 7, or 7777. The entire complex covers site a total of 583 acres, 5 + 8 + 3 = 16, 1 + 6 = 7, has 7,754 windows, 70 elevators, 284 restrooms, 2 + 8 + 4 = 14, 7 doubled or 77, and has 691 water fountains, 6 + 9 + 1 = 16, 1 + 6 = 7. Its address is 1400 Defense Blvd, 700 + 700, and the Pentagon’s 9/11 memorial was dedicated on September 11th, 2008, seven years later. From Cinema Symbolism 4. (FYI: 42 and Mars are present, but I’ll save them for the book).
(Left) Having three interlocking concentric pentagons, the Pentagon is thus 555, the world’s second-largest office building; yet, its spoke-and-ring design allows one to walk between the furthest two points in the building in seven minutes. Shadowing the Pentagon from across the Potomac is the 555-foot-tall Washington Monument, which is 6660 inches because 666 is the sun’s mystical number, the obelisk sacred to the resurrected Egyptian sun god Osiris.(Right) In the middle of the Pentagon’s 5-acre central plaza is a sculptured owl (atop a dining facility) to scare away birds, or at least that’s the vulgar explanation. To those initiated and familiar with Egyptian hieroglyphs, the owl symbolizes death, syncing with the Pentagon’s raison d’être. The owl also indicates the dead sun, the live-giving orb after setting beneath the horizon, forging a link to the Osirian Washington Monument.
Rob’s June 15th, 2023 appearance on Jimmy Church’s Fade to Black is now archived on YouTube. Listen to Rob talk The Exorcist, Route 66, Back to the Future, The Matrix, and The Shining among countless others. Check it out!
The topics of Freemasonry and the Occult never grow old. Listen to Rob discuss the esoteric doctrines of his first book, The Royal Arch of Enoch, on Beyond the Forbidden! Check it out!
New podcast! Listen to Rob talk Freemasonry, The Royal Arch of Enoch, Cinema Symbolism, A Pact with the Devil, Donnie Darko, The Exorcist, The Shining, Star Wars, and other esoterica! Check it out!
Everyone’s favorite 32nd degree Scottish Rite Freemason returns to Beyond the Veilairing on Truth Frequency Radio this Friday evening, December 15, 2017, at 11:00 pm EST. Video streaming information coming soon; to listen to this show click image:
Coming December 2017: Frateral Review Magazine interviewed Robert W. Sullivan IV about the Star Wars Mythology and Freemasonry. In the meantine, check out this kick ass poster previewing the article.
The smooth stylings of Rob on Midnight in the Desert this Thursday evening, September 14, 2017. The program debuts live at 9:00 pm PST (midnight EST) on the Dark Matter Digital Network; to listen to this show click image:
Robert W. Sullivan IV 