The Reign of Babalon
NASA's Jet Propulsions Laboratory has transmitted Missy Elliot's song "The Rain" to Venus. What does it all mean though?
“I still can’t believe I’m going out of this world with NASA through the Deep Space Network when “The Rain” (Supa Dupa Fly) becomes the first ever hip-hop song to transmit to space! I chose Venus because it symbolizes strength, beauty, and empowerment and I am so humbled to have the opportunity to share my art and my message with the universe!”
-Missy Elliot
NASA—by way of its Jet Propulsions Laboratory—transmitted Missy Elliot’s 1997 hit song “The Rain (Supa Dupa Fly)” to the planet Venus on Friday, July 12th. This makes it the very first hip-hop song channeled from Earth to Venus.
In many old-world cultures, Friday is the sacred day of goddesses associated with the enchanting second rock from the sun.
The Jet Propulsions Laboratory (JPL) was founded by Libra rocket scientist Jack Parsons (October 2, 1914 - June 17, 1952) on Halloween in 1936. In Western astrology, Parson’s zodiac sign of Libra is ruled by the planet Venus. The famed Thelemite scientist was a member of the Agape Lodge founded by Ordo Templi Orientis (O.T.O.) and Argentium Astrum (A.A.) representative Wilfred Talbot Smith who is in the picture below.
Jack Parsons is famous for The Babalon Working. It was a series of occult rituals he conducted in 1946 with Marjorie Cameron and L. Ron Hubbard. Hubbard went on to found the Church of Scientology which has boasted Tom Cruise, Doug E. Fresh, and several other celebrities as members. Parsons was a passionate reader of Aliester Crowley who eventually became his personal spiritual mentor.
The Babalon Working centered around manifesting the earthly appearance of the infernal goddess Babalon. Parsons said the messianic figure would usher in a new global age of creativity and sexual freedom. According to the John Carter book, Sex and Rockets: The Occult World of Jack Parsons, the rocket man had expressed that he had latent homosexual urges although he was considered heterosexual. Go figure.
Babalon was a product of Parsons’ imagination. She does not come out of some ancient indigenous pantheon of deities, and has no mystical lineage of cultural import. Still, anything that your mind can conceive of has a potential basis in this reality.
Parsons conceptualized “Babalon” as a kind of consort to Lucifer, the androgynous Fallen Angel who opposes the natural order of creation in Western collective psychology. For Parsons, she is the disembodied feminine Force, which might have its parralel in “Aze” which is “The Force” in West Africa’s Vodun culture. Based on Parson’s own treatise, Liber 49: The Book of Babalon, the goddess was an aspect of Venus filtered through Parsons’ imagination. In his book he writes:
“Venus art thou, the love and light of earth,
The wealth of kisses, the delight of tears
The barren pleasures never came to birth,
The endless infinite delight of years.
Thou art the shrine at which my long desire
Devoured me with intolerable fire.
Thou wert song, music, passion, death upon my lyre--
My lyre.
I am the Grail and I the glory now;
I am the flame and fuel of thy breast
I am the star of God upon thy brow;
I am the queen, enraptured and possessed,
Hide thee sweet river, welcome to thee, sea
Ocean of love that shall encompass thee
Life, death, love, hatred, light, darkness return to me.”
Parsons, as stated before, was a student of Crowley. That alone compromises his credibility as a legitimate magician despite his demonstrated brilliance in the realms of science and technology—which are governed by esoteric concepts.
Aside from managing to be a well-documented spy for the U.S. and Great Britain, Aliester Crowley was nothing extraordinary. He was a pop-culture charlatan and dilettante who dressed ostentatiously to court public attention by any means necessary. A lot of people think that his bullshit esoteric writings are profound for no other reason than the fact that a lot of it is incoherent and it doesn’t make any sense. Thelemite logic is “if I don’t understand a single word that Crowley is writing, then he must be a genius.” Nah, son.
Crowley’s student, Kenneth Grant, was actually more insightful than he was. Nevertheless, I don’t believe that ANY human being is incapable of having an authentic breakthrough or spiritual experience.
Crowley describes seeing what we might call a male Dark Energy Angel that appears before him in a vision. In the Cry of the 14th Aethyr he recounts his experience with this dark being. I’ve inserted words in the brackets for clearer reading. Crowley writes:
“The blackness gathers about, so thick, so clinging, so penetrating, so oppressive, that all the other darkness that I have ever conceived would be like bright light beside it. [The angel’s] voice comes in a whisper [saying] ‘O thou that art master of the fifty gates of Understanding, is not my mother a black woman? O thou that art master of the Pentagram, is not the egg of spirit a black egg?
…I am the snake that devoureth the spirit of man with the lust of light. I am the sightless storm in the night that wrappeth the world about with desolation. Chaos is my name, and thick darkness. Know thou that the darkness of the earth is ruddy, and the darkness of the air is grey, but the darkness of the soul is utter blackness.’”
After reading these passages I immediately think about the Burning Spear song “Black Soul.”
Crowley further wrote that this angel of darkness gave him the Key to the Abyss. Put that key in your back pocket because we’re going to need it later on.
Crowley’s student, Jack Parsons, sought that key, that tone, which he tried to bring to the planet earth. However, he didn’t realize that this tonal frequency of Dark Energy was ALREADY here via Rosetta Tharpe, who is the Grand Architect of Rock & Roll and the REAL Babalon of Parsons’ imagination.
Rosetta Tharpe (March 20, 1915 - October 9,1973) is arguably one of the most important figures in the history of modern music that so many music lovers have never heard of.
Those who truly know the history of American music have labeled her the undisputed Queen of Rock & Roll. However Tharpe was more than the Queen of Rock & Roll. She was its Grand Architect who took the building blocks of rock’s body and made it into an artform that influenced Little Richard, Chuck Berry, and other rock music pioneers.
The firey Piscean born on the cusp of Aries was making waves on the music scene as far back as the Prohibition Era of the 1920s, when gangsters peddled fire water to the drunken streets of American cities.
Tharpe’s up tempo rhythms were often filled with sentiments of love, God, and sex. She made love songs about other women which was virtually unthinkable for that time. She fused the blues, gospel, and country to forge an exciting new sound that the world had never heard before.
Her life story reflects that of one who stood at the Crossroads of complimentary energies—the masculine and the feminine. Tharpe was a rock guitar innovator before Jimi Hendrix was even born. As a Crossroad Walker she was clearly a Legba archetype, a doorway to hyperspaces unfathomable. Her guitar was her huge penis, which was also her Key to the Abyss which enabled her to unlock the cosmic door leading to the greater mysteries of sound.
The studios that Tharpe recorded music in were propulsion laboratories that allowed us to hitch a ride on the rocket that she strum with her fingers.
Her complete body of work gave us the four forces within the Universe of Tones. They are Gravity (bebop jazz), the Strong Force (rock) the Weak Force (the blues) and Electromagnetism (soul R&B). The grand unified field that serves as a binding agent for all four of these cosmic forces is called Hip-Hop. Although she has not had the same magnitude on the world of music by way of her art, the hip-hop artist who most walks in the spirit of Rosetta Tharpe is Missy Elliot.
Elliot is currently on the “Out of This World Tour” headlined by Ciara and Busta Rhymes. The most anticipated project of Busta’s career was his 2006 Aftermath debut The Big Bang. Ciara, an accomplished entertainer in her own right, is the babymomma for the rapper Future, also known as Pluto. This is all cosmic synchronicity.
The NASA Priesthood is very aware of what I am describing in this article. It is working in conjunction with the entertainment industry to bannish Black feminine musical creativity from planet earth so that younger Black female recording artists going forward are mostly social media model/influencers or strippers with killer bodies who have writers telling them what to sing and rap, and sylists telling them what to wear.
NASA by way of Jack Parsons’ Jet Propulsions Laboratory is seeking to reverse the Babalon Working by sending the unifying energy behind the four forces of universal tone back to Venus, and away from Earth.
While they can’t stand the reign, they can’t stop it either. You can’t bannish a great idea whose time has finally come. To me, sitting in this simple truth is Supa Dupa Fly.
NASA still promoting SPACE as a PLACE is what is the SAD shit.
Meanwile: MISSY always been out there with it. Riteous.
🤯 it’s the 4 forces for me