Pursuing natural health & thinking beyond the superficial. Deconstructing Culture.

Those who want/need/desire the Mother and Daughter and will do anything to get/keep/pollute them.

This is an excerpt from a film review I wrote in June 2014:

https://fashionthatpays.wordpress.com/2014/06/16/momo-1986-film-review-goddess-connection/

The Men in Grey try to bribe Momo with dolls, not old fashioned ‘homely’ or intricate collectors dolls or even false baby images given to girls to promote/encourage breeding and being ‘prepared’ for adulthood whilst children, but bigger versions of ‘Barbie’ like dolls. The stereotypical Hollywood ‘illuminati’ style puppets or birds in gilded cages we are shown as idols to aspire to be/look like. A look which is an inverted take on beauty, that which is beautiful and attractive but hated/sneered at/envied/underestimated at the same time because of being beautiful and attractive. It is used as a tool for insecurity as well as an ‘object’ of desire, many wanting to control/own it thus taking away its freedom and/or desecrating it e.g. lepidoptery, often decreasing its beauty as a result – something the owner can then mock the previously beautiful with, despise and relish at the same time because that which was beautiful/higher than the controller is now visibly lower and can even cause disgust and be blamed for a loss that is not necessarily or majorly its own fault. That fits into the name of the initial doll ‘Lola’ given to Momo which is a twist on the Mother Goddess’ name Lalita, a twist aptly described in Vladimir Nabokov’s book ‘Lolita’. A book that’s been romanticized, seen as not that bad and been overshadowed by the gothic sub-genre of fashion. Like many authors of what we consider ‘classic’ and ‘iconic’ literature he was well educated (knowledge of the mystery schools), and knew about the true meaning and ‘story’ of the name Lolita (also known as Sophia in later, streamlined systems) and depicted the desecration aka Fall of the Daughter in his book which many find touching and intellectual. (Much like how many cite the Kama Sutra as if they didn’t know it explained how to ‘legally’ rape.) In the book he re-names her aka formally claims possession and ownership. That book goes into how the Fall happens or is desired to happen in the mundane/profane/physical ‘this reality’ way but a less famous book ‘Pamela: Or Virtue Rewarded’ by Samuel Richardson (interestingly enough the name of demi-urge responsible for the Fall is later related to the name ‘Samuel’) published in 1740 touches upon the same theme but without the metaphysical aspect. That said back then it was more permissive to call overcoming the horrors that happen to the girl ‘virtue’ and ‘reward’.

Momo 1986 surrounded by dolls

Interestingly enough when Gigi is distracted from Momo’s disappearance he is controlled by handlers, his name changed from Gigi to Girolamo signifying his transformation. They own him, an action that is more than just a stage name, it’s a character change, a name change like a passing of a deed of ownership like a fiscal marriage.

“You’ve belonged to us for quite a while, body and soul, don’t say you didn’t know that. You’re a rubber doll, we blow you up and if you give us trouble we’ll just let your air out. Forget about it! We mean well hahahaha hehehehe… Do you believe that you owe your present position to your insignificant talent?… You are and you remain a dreamer, before you were Prince Girolamo wearing the mask of poor Gigi and what are you now? Gigi the poor wretch behind the mask of the TV star Girolamo… Don’t worry your pretty little head over her (Momo), you can’t help her and certainly not by telling funny stories about us! But we won’t stop you playing the hero if you want to destroy yourself go ahead… Gigi isn’t it much more pleasant to be rich and famous?”

His handlers (working for the Men in Grey) look very much like the dolls offered to Momo but come to life demonstrating a line of controllers and puppets within the same school of thought yet hierarchical. So the dolls are controlled but control those lower down the chain (think Donatella’s ‘Versace for H&M’ advert a while ago and her comments about the conveyor belt and clone models handled like puppets.) The dolls say “I’m baby girl, the perfect doll, everybody will be jealous of you because of me. I’d like more things.” To play with it, more and more friends/items/accessories are needed until a society based on buying and keeping up with the ‘Jones’’ is in place. Momo confronts the Grey trying to bribe her and reduces him to revealing himself in the face of her truth/real love/sincerity. This scares the shit out of him and he demands she forget everything he’s said.

In regards to public media the desired ending is always the same, no matter how much truth is in the vehicle e.g. film, song, series, characters etc, no matter how much they’re coded/symbolic. In regards to Momo – the point was to make the Mother figure into the Daughter figure to control her. And for those of you desperate for the ‘French connection’ in my life one of the names is in there.

In the book ‘Lolita’ – Dolores ‘Lo’ ‘Lola’ ‘Dolly’ at 12-years-old (when my ‘grooming’ was ‘activated’ with induced sleep paralysis) is sexually abused and turned into Lolita ‘the perfect lover’ [corrupted form of ancient Indian Ultimate Mother Goddess Creator of All ‘Lalit[h]a’] through the grooming, trauma/confusion/predatory behaviour and then ‘goes off the rails’ (out of the arches/off the train) only to be ‘rescued’ by her abuser/orchestrator/handler/contaminator. She is poignantly his ‘landlady’s’ daughter, and for his plot to work he must become the Father and her demoted in status to his daughter. Dolores/Dolly reminds him of an older/earlier ‘love’ Anna-Bel[l].

https://en.wikipedia.org/wiki/Lolita

Plot Summary

Humbert Humbert*, a European literary scholar, describes the premature death of his childhood sweetheart, Annabel Leigh. He suggests his unconsummated love for her caused his fixation with nymphets (girls aged 9–14) and indulges in his sexual fantasies by pretending to read a book in a public park and being aroused by nymphets playing near him, as well as by visiting a prostitute who he believes is 16 or 17, and imagining her to be three years younger. After a misadventure when he requests a nymphet-aged girl from a pimp, Humbert marries an adult woman with childish mannerisms, Valeria, to allay suspicion. His marriage with Valeria dissolves, after she admits to having an affair with a Russian taxi driver. Humbert wants to kill her, but Valeria and the taxi driver leave before he gets the chance. After another visit to a psychiatric ward after a mental breakdown, he moves to the small New England town of Ramsdale to write.

Humbert fantasizes about meeting and eventually molesting the 12-year-old daughter of an impoverished family, the McCoos, from whom he agreed to rent an apartment. Upon his arrival in Ramsdale, however, he discovers that their house has burned down. A landlady named Mrs. Charlotte Haze offers to accommodate him instead, and Humbert visits her residence out of politeness. Humbert plans to decline Charlotte’s offer until he sees her 12-year-old daughter, Dolores (born 1935), known as “Lo,” “Lola,” or “Dolly”. He becomes infatuated with her, in part because of her uncanny resemblance to Annabel, and agrees to stay at Charlotte’s house only to be near her daughter, whom he privately nicknames “Lolita.”

Humbert starts a diary in which he keeps detailed descriptions of Lolita’s characteristics, along with moments that they spend together. The diary also contains hateful comments about Charlotte, along with a description of a picture in a magazine of a playwright (Clare Quilty), who Lolita has a crush on and who Humbert resembles.

Charlotte, Lolita, her friend Mary, and Humbert plan to go to Hourglass Lake for a picnic one Sunday. However, Mary’s mother phones to tell them that Mary is running a fever and that she can’t go. Mrs. Haze postpones the picnic and, as a result, Lolita refuses to go to church with her. Mrs. Haze leaves for church and Humbert and Lolita are left alone. While the two sing a song, Humbert secretly ejaculates in his pants as Lolita sits on his lap. She does not notice and leaves for the movies. After returning from a lunch in town, Charlotte tells Humbert that Lolita is going to camp Thursday and she won’t return until the next school year.

That Thursday, before getting in the car, Lolita runs back into the house and kisses Humbert goodbye. As Charlotte, who has fallen in love with Humbert, drives Lolita to summer camp, the housemaid delivers a letter to Humbert from Charlotte telling him that he must either marry her or move out to avoid embarrassment. To continue living near Lolita, Humbert agrees to marry Charlotte. After finding Humbert’s diary and learning his true feelings, Charlotte confronts him, calling him a “detestable, abominable, criminal fraud.” As Humbert goes into the kitchen to get them drinks, Charlotte runs out of the house with the letters that she had just written, but is killed by a passing car before she can mail them. A little girl gives Humbert the letters, and he later examines them: one was to Lolita telling her they were moving, another to a boarding school in which Lolita was to be enlisted, and a third to Humbert that suggested a possible reuniting between him and Charlotte in the future.

Humbert retrieves Lolita from camp, lying that Charlotte has been hospitalized, and takes Lolita to a hotel, where he plans to use a sleeping pill on Lolita and rape her while she is unconscious. As he waits for the pill to take effect, he wanders through the hotel and meets a man (Quilty) who inquires about Lolita. Humbert excuses himself from the strange conversation and returns to the hotel room. There, he finds that the sedative was too mild after seeing Lolita drifting in and out of sleep. He lies next to her all night, fantasizing about him and her together. However, it is she who initiates sex in the morning, showing him what she had learned at summer camp. On their way to the fake hospital that Charlotte was supposed to be staying at, Humbert tells Lolita that her mother is dead. Thereafter Lolita and Humbert drive around the country, moving from state to state and motel to motel. To keep Lolita from going to the police, Humbert tells her that if he is arrested, she will become a ward of the state and lose all her clothes and belongings. He also bribes her with food, money, or permission to attend fun events in return for sexual favors. After a year of touring North America, the two settle in another New England town, where Lolita is enrolled in a girls’ school. Humbert becomes very possessive and strict, forbidding Lolita to take part in after-school activities or to associate with boys. The headmistress of the school see his strictness as the concern of a loving, though old-fashioned, parent. Humbert reluctantly grants Lolita permission to join the school play in exchange for more sexual favors. The play she joins is written by Mr. Clare Quilty, but Humbert doesn’t know it. Just before opening night, Lolita and Humbert have a ferocious argument, and Lolita runs away. Humbert searches frantically until he finds her bike next to the phone booth she was using. She brushes the phone call off and reconciles with him, saying she wants to go on another road trip with him, only this time she gets to choose where they go.

As Lolita and Humbert drive westward again, Humbert becomes suspicious that someone is following them, first thinking it’s a cop and then later one of Lolita’s admirers from school. Lolita falls ill and must convalesce in a hospital, while Humbert stays in a nearby motel. The hospital staff tells Humbert in the morning that her uncle checked her out. Humbert embarks upon a frantic search to find Lolita and her abductor, retracing his steps to every hotel that they’d been to thus far, but fails to track them. During his search, Humbert has a two-year relationship (ending in 1952) with a woman named Rita, whom he describes as a “kind, good sport” who “solemnly approve[s]” of his search for Lolita, while knowing none of the details.

Humbert receives a letter from Lolita, now 17, who tells him that she is married, pregnant, and in desperate need of money. Humbert tracks down the address and finds Lolita, but her husband is not the man that kidnapped her. He promises to give her money in exchange for the name of the man who abducted her. She reveals that Clare Quilty checked her out of the hospital and tried to make her star in one of his pornographic films; but expelled her upon refusal because she only wanted to be with Quilty. She worked odd jobs before meeting and marrying her husband, Dick, who knows nothing about her past. Although she looks much older now, Humbert realizes that he still loves Lolita and repeatedly asks her to leave Dick and go with him, which she refuses. He gives her $4,000, which is much more than what she asked for, and then leaves. As he leaves, she smiles and shouts goodbye as if he was her own father. Humbert tracks down the dentist who knows where to find Quilty, and later kills Quilty in his own mansion. Shortly afterwards, he is arrested for driving on the wrong side of the road and running a red light. The narrative closes with Humbert’s final words to Lolita in which he wishes her well, and reveals the novel in its metafiction to be the memoirs of his life, only to be published after he and Lolita have both died. The novel’s fictional foreword states that Humbert dies of coronary thrombosis after completing the manuscript, just one or two months after getting arrested. It also states that “Mrs. Richard F. Schiller” (Lolita) died giving birth to a stillborn girl on Christmas Day, 1952, at the age of 17, a month after Humbert’s death on November 16, 1952.

*Humbert – means ‘bright (light for you likers of ‘light’ vs ‘dark’) warrior’ ‘bearcub’ who becomes ‘famous/Hun’; he is ultimately the demi-urge, the deviation, the mutation, the mistake that raped his Mother and Creation/Daughter to conquer and became the singular and false Godhead. There’s nothing ‘romantic’ about that despite the ‘exquisite language’ fans of this book keep going on about and other ‘classics’ in general.

The reason why I mentioned the book ‘Pamela: Or Virtue Rewarded’ was because my Mum, Sis and I each had a book in our lives when we were younger; Mum was constantly reminded of ‘Lolita’, I had ‘Pamela’ (where Pamela, like Lolita ends up with her abuser(s) but respected/false hierarchical acknowledgement via being virtuously stubborn and resistant whereas Lolita is made as desperate and downtrodden as possible so she can’t even think) and my Sis had ‘Great Expectations’ (which she was too young to read) – I and my sis ‘chose’/were drawn to the books we had but they were telling of the situations we were in. I later decided an old dictionary suited me better (which recently some people wanted to ‘drown’/submerge/ruin) and my sis, well…

‘People’ have always ‘gifted’ me books they want me to be like or take notice of something in like an encyclopedia of ‘Alchemy’ i.e. masonic symbolism and Machiavelli’s ‘The Prince’ (another way of saying the modern masculanized version, Divine Child, of the The Princess/Daughter) but I prefer to choose my own; for example on on my many visits to Camden Market in London I only had a few minutes, so went into the indoor book market (takes up almost the whole ground level) near the Lock[e] (before the convenient fire and restructuring into a tardis type maze) and ‘said’ to the books that I wanted the one I was meant to have. I automatically went to a random area (can’t remember if they were in sections or jumble sale style mix), picked up a book, opened it at a random page and the only words in Italics (different/highlighted to the rest of the normal text) said ‘Hello Dolly’ (musical/song reference, written by someone also corrupting the Mother/Daughter story and sexualizing it). I still have that book and my dictionary, and ultimately they’re all I need unlike all the magi/witches/whatevers out there dependent on tools but that said I can makeshift if I have to ‘divine’ anything in a pinch, I’m an ‘oracle’/eye and a unicorn (the one horn/eye piercer of the veil, the ultimate self-driven living mount of the Goddess but also in Princess/Daughter form so mount and mouth) afterall and tools or ‘friends’ as I really see them [which are respected/appreciated] just help you focus; only people who have little to no ability rely on pomp, ceremony, regalia, perversion and control.

The separation and/or merging of the Mother/Daughter is very important to people and ‘people’ who want things to continue as they are, to get away with everything, like nothing happened, like its ok, downplay and hide everything.

Here’s an interesting song:

The lyrics have been changed multiple times to include ‘whisky’ (the mind confuser), ‘dollar’ (think Dorothy/Doll/Dor – hence the ‘eye’ on the separated/unattached capstone of the pyramid on the US dollar and a whole bunch of other symbolism for those who’ve followed the White rabbit – Alice in Wonderland reference – down the rabbit hole/opened pyramid/mountain i.e. secret knowledge for the initiated. Oz being the trickster/false magician, sleight of hand, illusionist, paper money over Gold, and her Silver shoes changed to Red for the Silver Screen version) and ‘pretty little boy’ (masculanization, modern version of the ‘Daughter’).

Alabama

Well, show me the way
To the next whisky bar
Oh, don’t ask why
Oh, don’t ask why
Show me the way
To the next whisky bar
Oh, don’t ask why
Oh, don’t ask why
For if we don’t find
The next whisky bar

I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whiskey, oh, you know why

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whisky, oh, you know why

Well, show me the way
To the next little girl
Oh, don’t ask why
Oh, don’t ask why

Show me the way
To the next little girl
Oh, don’t ask why
Oh, don’t ask why
For if we don’t find
The next little girl

I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whisky, oh, you know why

https://en.wikipedia.org/wiki/Alabama_Song

The “Alabama Song”—also known as “Moon of Alabama”, “Moon over Alabama”, and “Whisky Bar”—is an English song written for Bertolt Brecht by his close collaborator Elisabeth Hauptmann in 1925 and set to music by Kurt Weill for the 1927 play Little Mahagonny. It was reused for the 1930 opera Rise and Fall of the City of Mahagonny and has been notably covered by The Doors and David Bowie.*

Original version
The “Alabama Song” was written as a poem in idiosyncratic English for Bertolt Brecht by his close collaborator Elisabeth Hauptmann in 1925[1] and published in Brecht’s 1927 Home Devotions (German: Hauspostille), a parody of Martin Luther’s collection of sermons. It was set to music by Kurt Weill for the 1927 play Little Mahagonny (Mahagonny-Songspiel) and reused for Brecht and Weill’s 1930 opera Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny), where it is sung by Jenny and her fellow prostitutes* in Act I. Although the majority of all three works is in German, the “Alabama Song” retained Hauptmann’s English lyrics throughout.

*David Bowie the ‘starman’ used this song on his ‘I-Solar II’ Tour (the II being Sol’s twin). Was also released with ‘Space Oddity’.

*Remember prostitutes don’t symbolize prostitution in freemasonry and secret/mystery schools, though they do represent the ‘fall’ of the Divine Feminine and the fall of original reproduction into what we consider normal/natural reproduction/sexuality. They were the ‘blood’ (Red), menstrual blood, women and blood priestesses. Sacred sexuality which is about the ability to create, preserve and destroy i.e. the Mother, Daughter and Dark Mother which later became the Maiden, Mother and Crone (in a ‘chronological’ and wrong order in order to encapsulate regular women/control their way of life). Sacred sexuality is innocent sensuality, but has been perverted to make out its about having sex, sex rituals, orgies, live sex shows etc, making and downgrading the pure into more and more ‘earthly’ physical, heavy, lower, disconnected to/from the mental and indeed sex abuse is used to disassociate people from their feelings of personal identity/awareness (many prostitutes and sex related workers say they ‘disassociate’ from themselves/the situation to manage), to traumatise, to confuse, distract, compartmentalize and ultimately control. On a sidenote – when you see references to ‘red geraniums’ in ‘classic’ books that implies the character was ‘whorish’/untrustworthy etc like in ‘To Kill a Mockingbird’, when I was very young people used to tell me my name meant [Red] flower without telling me what the name really meant and indeed what even the Red flower was and really meant – using surface symbolism such as in modern religion makes it look very bad but it was a prayer flower used for the Goddess Kali/Dark Mother/Root Goddess/Prehistoric and probably why some still call me Tiger Lily (and others use the Lily for the French/English competition). That isn’t what my name means as I’ve since found, ‘I am’ the Daughter not the Dark Mother but since they knew they couldn’t turn me into the Mother (though they’ve certainly obsessed about it) because they had the Mother/My Mother and there’s only one incarnation at a time (like with the Slayer, there’s only one Slayer and it’s always her reborn and she has the her own unique blood connection to the Warrior Goddess/the First/the Dark Mother – the primal, primordial, source, the dark/secret – The Mothers back ‘home’). Unlike regular lineage it doesn’t inherit through breeding, genetic modification or even wishing i.e. ritual invoking (like people do for ‘avatars’) and this is why we’re so rare/sought after. I/Eye/Iris/Lily/Lotus (not A.I as some would like to make out) the pine-apple came to find the [corrupted/hurt/tricked/imprisoned] Mother Goddess here, leaving my Mother/everyone’s Mothers back ‘home’ to do so hence becoming the [fallen] Daughter. This is why current masons call me the ‘Princess in the Pyramid’, ‘Divine Child’, ‘Prince’ instead of ‘Princess/Daughter/Goddess’ above/outside the [now false] Mountain, remember the Mother Goddess used to encapsulate the Mountain/Earth but now it’s represented as a Mountain/Pyramid/Triangle of false hierarchy. The Daughter came, she found, she battled, she called home, she waited, kept battling, kept protecting, kept falling, kept battling, kept protecting, kept falling to bring what is in the dark to the light, changing/piercing reality to merge the seen and unseen, to get them to interact/talk, come out into the open, pull whats hidden in plain sight out of hiding but also put the sacred back into the dark where it belongs – the secret – the Mother – which has been abused beyond words – back into the hands of the Dark Mother/form of the Dark Mother. And now They’re here.

There’s a counter story ready and basically having the same ‘illuminati’ ending ready for/set in 2019 (when/after I was supposed to ‘die’ at 36, I’m a Winterborn so there’s crossover in the calendar year but by sometime in 2019) where ultimately the ‘coming’ ‘comet’ has no affect at all even after thousands of years of warnings and preparations by blood/breeding and genetic modification cults/labs and she lives ‘happily ever after’ with the ‘man’ she loves who she was unable to touch previously, and life goes on as if nothing happened, just dealing with the ‘endless struggle’ as usual instead of a dramatic change, they get to keep the Daughter whose come round to their way of thinking through ‘love’. Most recently reiterated in the Jupiter Ascending film, and changing Venus to Jupiter because Jupiter is more likely to take the ‘beating’/get in the way of the Ma-tri-X system or so some people ‘hope’/want to convey/persuade the Daughter to think. I came up with a character when I was 14 called Dark Angel based on my personality to be a fighter for the WWE (fight entertainment company with their ‘stables’), she ended up as the basis for Max in Dark Angel:

Similar to the use of characters Chyna and Lita in Relic Hunter and Dark Angel.

Goes well with the feeling many of us feel (and one of my favourite songs just before the show was released), who do their best but in the end just come to leave, and the game continues.

VNV Nation – Darkangel

Look at the flag of Alabama, what do you see? Yes it’s a rotated version of the English flag – Britain being the place the Daughter figure (e.g. my Mother and Gabrielle in Xena) is taken to be violated, turned into the Mother (but ultimately is saved by the Dark Mother – something they don’t realize or want to) and in the Xena story they ultimately turn Gabrielle back into a Daughter figure and Xena ‘dies’ becoming the Holy Ghost/Spirit (still the Dark Mother) who for the sake of the story stays with Gabrielle but in ‘reality’-meta-reality-other-secret-reality means she’s made invisible/changes/demoted/tricked/leaves/becomes less imposing/more ethereal/mythical. So they get to keep the newly empowered Daughter (who has the Dark Mother’s chakra[m]) who can work for them.

US state flags
The Red and White stripes were mentioned to me following my French visit post about people who knew I’d be visiting back in 2009 and I didn’t know they’d know. Those of the Red and White stripes (and different use of the lions) were glad I’d rejected that and as usual saw it as an association with them instead, begging friendship but making it look like me choosing them. The Red and White stripes is another way of referring to the English flag, which has also been used in the places in the following link interesting ways (like with the moon which is a satellite and reflector of the sun, for the Earth it can be called a smaller/second sun, a reference Sol’s twin but a false one hence its false association with the ‘feminine’ which is really everything/every cosmic body but epitomized by stars): https://en.wikipedia.org/wiki/St_George’s_Cross

(Interestingly though I’m not too surprised, is the use of it for Georgia and some people knowing without me telling them and highlighting that Rome/the current ‘pop[e]’ isn’t actually adverse to the Goddess nowadays, whilst Britain particularly England and Scotland still is.)

And of course the notorious Red Cross ‘charity’…

The song was written for a false Red&Gold (divinity) (and false useless ‘inheri[heir]tors’ thinking they’re royalty, as well as mixing up the Red – cosmic, and Earth – Blue/Green, to make Purple) place:

https://en.wikipedia.org/wiki/Mahagonny-Songspiel

The Little Mahagonny was based on five ‘Mahagonny Songs’, which had been published earlier in the year in Brecht’s collection of poetry, Devotions for the Home (Hauspostille), together with tunes by Brecht. To these five was added a new poem, “Poem on a Dead Man”, that was to form the finale. Two of the songs were English-language parodies written by Elisabeth Hauptmann: the “Alabama Song” and “Benares Song”. Using one or two of Brecht’s melodies as a starting-point, Weill began in May to set the songs to music and to compose orchestral interludes along the following pattern:

Song One | Little March | Alabama Song | Vivace | Song Two | Vivace assai | Benares Song | Sostenuto (Choral) | Song Three | Vivace assai | Finale: Poem on a Dead Man

The Little Mahagonny was first produced at the new German chamber music festival at Baden-Baden on 17 July 1927. Brecht directed, Lotte Lenya played Jessie, and the set-design was by Caspar Neher, who placed the scene in a boxing-ring before background projections that interjected scene-titles at the start of each section. According to a sketch published years later, they read:

-The great cities in our day are full of people who do not like it there.
-So get away to Mahagonny, the gold town situated on the shores of consolation far from the rush of the world.
-Here in Mahagonny life is lovely.
-But even in Mahagonny there are moments of nausea, helplessness and despair.
-The men of Mahagonny are heard replying to God’s inquiries as to the cause of their sinful life.
-Lovely Mahagonny crumbles to nothing before your eyes.

The song is written by ‘interesting people’ at an ‘interesting time’ as well, remember these are long term, very long term plans – a ’round’ in a game/battle – the wars of gods. Momo (the book, 1973, written by Michael Ende) and originally called ‘The Grey Gentlemen’ for example showed Brown-skinned Momo turning up out of nowhere, through a tunnel/hole/cave, and since no one wants to personally look after her they share her and say she can live in the amphitheatre. The song Alabama was written by a Beth/a-class Elisabeth Hauptmann (for Bertolt Brecht – who was focused on overt poli-tics rather than the symbolic/real rulers – so they had both sides, seen and unseen covered – and for those in the know the ‘hidden in plain sight’) who also co-wrote The Threepenny Opera starring a character of a name that one old influential and patriarchal family wanted me to have ‘Polly’ and as explained in the last post I made – an interview from Dr Salter done by Sott.net – they mention the PollyAnna Principle mentality of society (Anna being a Goddess connection too from the old Indian Annapurna aged/meaning 16 a reference/form of S[h]odashi the TriPura Sundari – or Lalita Tripura Sundari, both the and one of the Dasha (Ten) MahaVidyas (9 Kali/Dark Mothers forms completed made 10 as/by/of/with the whole Lalita, who were copied by later Durga’s imitations) who was then corrupted with the pairing of usurper Hinduism (male triad and fake ‘queens’ triad of Shaktism) with the ‘cradles of civilization’ where you also get Inanna/Ishtar. Annapurna keeps her food/plenty/fire/harvest/abundance connection in later Ishtar/Inanna versions in classical antiquity and by them completely even more corrupted/perverted/topsy turvy like ‘Mary’ style names, those names are often in the game/false Mountain rather than against/out of it). However, coming from a matrilineal line but who were corrupted by patriarchy I had to have an original not lesser/false Daughter name, because it means so much more to control the real thing. That said modern and ignorant but think they’re something masons in ‘sunnyland’ where we reside like to always call Mother by name instead of hers – Lalita (the original Creator, the G in their insignia – G standing both for Goddess and for ‘G’ as in ‘super’ from the Indian where you add ‘G’ at the end of the title to say ‘extra’ ‘super’ ultimate’, e.g. Mata Gi, Guru Gi, Master Gi – which they’ve lowered massively into ‘master’ and ‘grand master’.) They’ve always referred to her as Dolly instead of Lalita and have even consistently mispelled her name in multiple ways until I made them do it right every time and at other times call her ‘Molly’ or have someone standing near/passing addressed as ‘Molly’ instead. They refuse to acknowledge because they want the nicer Daughter instead, who they think will somehow give up the Mother for them the false ‘kin’ the manikins (especially those who’ve elevated/ascended/’rose’ – I’ll get to the ‘rose’ in another post – themselves to false god level and fear the Gods/Mothers) and if that doesn’t work will sacrifice herself [over and over again] and even the Mother [again].

Not happening and it’s too late anyway, so there motherf*ckers.

https://en.wikipedia.org/wiki/The_Threepenny_Opera

Overview
Set in Victor[y]ian London, the play focuses on Macheath*, an amoral, antiheroic criminal.

Macheath (“Mackie,” or “Mack the Knife”) marries Polly Peachum*. This displeases her father, who controls the beggars of London, and he endeavours to have Macheath hanged. His attempts are hindered by the fact that the Chief of Police, Tiger Brown, is Macheath’s old army comrade. Still, Peachum exerts his influence and eventually gets Macheath arrested and sentenced to hang. Macheath escapes this fate via a deus ex machina moments before the execution when, in an unrestrained parody of a happy ending, a messenger from the Queen* arrives to pardon Macheath and grant him the title of Baron.

The Threepenny Opera is a work of epic theatre. It challenges conventional notions of property as well as those of theatre.

* (Like Mac-beth, Scottish version.)

*Peach is an alternative softer/less knowing symbol for the apple, easier to control/abuse as a person. ‘You’re a peach… darl (doll), thanks [smirk/grin/wink or nowadays cough]’. ‘Life’s a peach’ goes well with the Pollyanna Principle and the story of the girl who played the glad game ‘gladly’ making the best of everything, rose tinted glasses, letting them get away with it – not intentionally but because people are taught to make the best of it and let the rest take care of it/themselves even if you’re using them, that can’t be helped, that’s just life. Bad things happen, then they pass, and look less bad over time (with revisionism, advertising and collective memory loss). Don’t worry it’ll all work out but really continues. ‘Keep Calm and Carry On’ with the [false] crown over it – an inversion of the Dark Mother in the book Aunt/Spinster Polly whose way would have actually been better for Pollyanna. The name wouldn’t have suited me for that reason but also because I’m not Dark Mother (and remember the Daughter and Dark Mother titles are honourary ‘Mother’ titles in that they don’t imply creative ability but are still carers/protectors.) Sorry (not) but I’m an ‘Angry [multi-element]Bird’ who was/is properly pictured as Red [fire/blood/star/divinity] though improperly portrayed as male 😉 and he does save the birds who can’t fly anymore because they’re so glad to live in glad/happyland society which they think is safe with all their rules/regulations/’events’ and then from the pigs/false security who steal their eggs/children/creative principle, very Animal Farm style.

*False ‘queen’ – Victory and Beth. Victory being the traditional/older reference for false queens (and a fusion from India-to-Britain).

(Think on why the Goddess figure – including masculanized figures like Superman – in superhero stories are often paired with/relationship wise a military or journalist male who doesn’t usually have her best interests at heart, but wants to keep her for [secret] ‘society’s agenda too.)

I hold the scythe, I am fate, I am the unicorn, I reign myself, the chooser of divinity and I was both chosen and have chosen myself the Daughter, I have found the Mother and signalled the Dark Mothers return and became the Dark side of my Daughter self. I rose from the ashes and I am the last. Death is my gift. Real Death not the false death of this poisoned planet. Death is a blessing/honour for the good and punishment for the bad. Death/She is beautiful, She is both radiant and dark. You’ve lost. Do yourselves a favour and surrender.

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