On the Mysteries

Check out my newest video on my YouTube channel. Stay tuned for many more updates and news, including a premium version of my site for my readers who want more in depth articles, videos and audio, including Season 2 of the Megas Aeon Podcast, coming soon!

The Esoteric Meaning of Death In Vegas’s Dirt Music Video



In the 90’s big beat band, Death In Vegas‘s “Dirt” music video (directed by Andrea Giacobb), we see many references to World War 2, fascism, the Jewish holocaust, Hindu gods, occult rituals, Freemasonic and Theosophist notions of dualism, and demonology. I am writing as I witness the current Masonic, President-elect Donald Trump wage war in Syria (due to a “Reichstag” false flag chemical attack triggered by Syrian rebels but blamed on Assad), further provoking a potential new, third World War with multiple nations, at once–including the likes of Syria, Russia, North Korea, China and eventually Iran–which is essentially the Armageddon script for World War 3 and the rise of AntiChrist.

In the first scene of the music video, we are treated to three pigs, hanging out in the dirt-filled ruins of what appears to be a war-torn, industrial wasteland. Pigs are also associated with disease and being possessed by demons, as the story found in Matthew 8:28-34 tells us when Jesus Christ drove evil spirits into a herd of pigs.

The scene is quickly interrupted with interspersed flashing, hellish, chaotic images of death, dog eat dog nature and human sacrifice–including war, skulls, genocide, cemeteries, an alligator attacking a dear, lynching and a demonic face, talking and laughing along with the voice-over, which says:

This is one thing that…
I was going to wait a while before we talked about
Maybe we’ll talk about it now so you can think about it
Because you all,
We all have to make some kind of plans for ourselves
It’s a free concert from now on

Next, we are treated with further imagery associated with Nazi-fascism and World War II.


Meanwhile, the devil, the god of the dead, secretly remains a spectator, lurking in the shadows, as the world crashes and burns. Indeed, it is a free concert for the devil and his demons, for their entertainment.



Next, we see the androgynous, demon Nazi unveil his multi-armed form, dressed in a half-Nazi-uniform, half-dominatrix outfit, which purposefully comes to mind the director of the Manhattan Project and essentially the “father” of the atomic bomb and nuclear warfare, Robert Oppenheimer and his infamous quote:




Next, the voice-over blathers something like this:

When you go back up to the woods
To go to sleep or if you stay here
Is that the man next to you is your brother

And you damn well better treat each other that way

Because if you don’t then we blow the whole thing

But we’ve got it right there…


We next see a few American soldiers pulling down a lit-up cross, symbolizing the destruction of Christianity, “supposedly” predicted by the 33° Freemasonic/Klu Klux Klan author Albert Pike in an alleged letter from him to Mazzini, August 15, 1871. Many have revealed it to be a forgery, crafted by Leo Taxil aka Dr. Bataille published in the book Le diable au XIXe siècle, v. II, 1894,  pp. 594-606. Nevertheless, it’s worth quoting:




And yet, we are seeing this occurring on the world stage, at this very moment. As it turns out, Albert Pike has some interesting statements about warfare in his Masonic tome, Morals and Dogma of The Ancient and Accepted Scottish Rite of Freemasonry: First Three Degrees:


Pike also defines dualism this way as seemingly contrary forces and yet working towards the “greater good.” And that includes all sorts of evil abominations that the secret societies perpetrate over and over again, for the “greater good.”


Next, we are treated to a little girl, dressed in white, stroking her pet lamb, invoking Christian imagery associated with the Fourth Gospel (1:29) and the Book of Revelation of St. John (5:6-8), as well as Edenic, tree imagery in the background, along with some buildings. This pleasant image is interrupted by our androgynous devil host’s face and the first little girl’s exact, inverted opposite–a goth girl dressed in black, with her pet pig, too. This brings to mind the kabbalistic aphorism popularized by Helena Blavatsky in the Secret Doctrine, “Demon est deus inversus,” often translated as “the devil is the inverse of God.” Note, the little girl dressed in black points to the viewer in accusatory fashion.



The devil shows up again with two bright circles of light, which eventually form a vesica Pisces, being the Pythagorean “measure of the fish” that was a mystical symbol of the intersection. It also represents an open vagina, who is either about to give birth or receptive to copulation. But, since this is emanating from the tranny devil’s eyes, we can safely assume this is a bad thing. We also see a ginormous obese woman carrying a plastic infant and raising it as if she is about to sacrifice it to Molech, Baal-Ammon or some other strange god of the pagans. And next, we see semi-nude men and women, writhing against one another in a sexual, orgiastic manner, dressed in animal heads, such as the bull and either a bear or dog. These are of course animals associated with idolatry, demonology and the seven demonic archons of the Ophite Gnostics that rule the cosmos, per Celsus in the True Doctrine.


The director of this music video, Andrea Giacobbe, is revealing something especially interesting in these next set of images. Essentially, we see three Anglican (or a similar denomination) ministers also make the Masonic inverted triangle hand signal that so many politicians, celebrities and religious leaders, including the likes of Donald Trump have repeatedly made. We also see the three ministers laugh at the three pigs. Before this we see a family of three, open their mouths a gape, symbolic of the average person or voter accepting of all the propaganda and lies these fake preachers, teachers, evangelists, so-called apostles and “watchmen” that are out there pushing all sorts of “damnable heresies” as 2 Peter (2:1) puts it as 2 Peter (2:3) tells us that their “damnation slumbereth not,” and neither shall your’s if you follow after and swallow their words of sweet poison. This is all interrupted by the laughing at this spectacle by our favorite tranny devil.


Next, a voice sample repeats the following:

Flinch, you’ll get a fucking gun-butt to your gut
Flinch, you’ll get a fucking gun-butt to your gut
Flinch, you’ll get a fucking gun-butt to your gut
Flinch, you’ll get a fucking gun-butt to your gut
What’s that Spell? What’s that Spell?
What’s that Spell? What’s that Spell? What’s that Spell?
Flinch, you’ll get a fucking gun-butt to your gut
Flinch, you’ll get a fucking gun-butt to your gut
Flinch, you’ll get a fucking gun-butt to your gut
Flinch, you’ll get a fucking gun-butt to your gut
What’s that Spell? What’s that Spell?
What’s that Spell? What’s that Spell? What’s that Spell?
Flinch, you’ll get a fucking gun-butt to your gut
Flinch, you’ll get a fucking gun-butt to your gut
Flinch, you’ll get a fucking gun-butt to your gut
Flinch, you’ll get a fucking gun-butt to your gut

For the longest time, I always thought that the voice-over was saying “smell” instead of “spell.” It makes certain sense though. “Flinch, you’ll get a fucking gun-butt to your gut.” Indeed, this is highly reminiscent of George Orwell’s famous quote from Nineteen Eighty-Four, “If you want a vision of the future, imagine a boot stamping on a human faceforever.” And as many truthers have pointed out, many Christian ministers out there use various horned-hand signals that deliberately invoke demonic spells and cursing against their audience. 


We next see a little girl with demonic, black eyes, reminding us of the so-called “black-eyed children” urban legend. We next see a man playing with a chicken, next to a light-bulb and clock, set at 8:27 or 8:28. We then see a pale woman standing in a magical circle with a rabbit and an umbrella–who knows whatever any of that even means. And then another little girl starring at an eye-testing graph. The rest of the music video is a bit too random (the couple with their faces fused together, the fat woman being spun around, a naked woman being baptized by jugs of water) or too obvious (the riot police playing soccer and the dalmatian, the children rounded up in farm pens, a pile of dummies) to really examine successfully so I’ll leave the rest of the images here for your own analysis.


However, what I’d like to focus on is the last few scenes of the music video. The first scene has a black/white schema, filled with herded people dressed in red, with animal masks, in pens. Red is the color of initiation, sacrifice, demons, and hell. Next, we see the same devil girl holding a raw, plucked chicken, upside down. And finally, we see the little girl, dressed in white, paying homage to the tranny Devil. This brings to mind what Irenaeus said in Against Heresies (1.25.4), in that the Gnostic teacher, Carpocrates taught that Jesus’ saying of “Whilst you are with your adversary in the way, give all diligence, that you may be delivered from him, lest he give you up to the judge, and the judge surrender you to the officer, and he cast you into prison. Verily, I say unto you, you shall not go out thence until you pay the very last farthing,” (Matthew 5:25-26; Luke 12:58-59), meant that one must literally pay the “devil his due” as he was just one of the many demonic, archonic administrators or what the Eastern Orthodox might say, the “toll-house keepers“:

They also declare the adversary is one of those angels who are in the world, whom they call the Devil, maintaining that he was formed for this purpose, that he might lead those souls which have perished from the world to the Supreme Ruler. They describe him also as being chief among the makers of the world, and maintain that he delivers such souls [as have been mentioned] to another angel, who ministers to him, that he may shut them up in other bodies; for they declare that the body is the prison. Again, they interpret these expressions, You shall not go out thence until you pay the very last farthing, as meaning that no one can escape from the power of those angels who made the world, but that he must pass from body to body, until he has experience of every kind of action which can be practised in this world, and when nothing is longer wanting to him, then his liberated soul should soar upwards to that God who is above the angels, the makers of the world. In this way also all souls are saved, whether their own which, guarding against all delay, participate in all sorts of actions during one incarnation, or those, again, who, by passing from body to body, are set free, on fulfilling and accomplishing what is requisite in every form of life into which they are sent, so that at length they shall no longer be [shut up] in the body.


The director, Andrea Giacobb, is signaling many messages in this video, with the big beats, voice soundbites and metallic guitar riffs provided by Death In Vegas. War is hell. Matter is hell. The panopticon of Satan, the god of the dead and his minions secretly watch over all the flesh and souls of humanity, from cradle to grave, while they wage war and demonically inspired, unimaginable cruelty against one another. The great culling and holocaust of Molech are almost hereOne author had this to say on the subject:

The gods have not stopped living off human sacrifice. The rules of the game have only changed a little. Blood-on-demand is not as delicious as the willing offering of a human soul. Siphoning is evolving into assimilation. This is the tyranny of One, the reason the New Age teaches that awakened consciousness means seeing “small self” as illusion and “Cosmic Self” or “the One,” as the true reality. The intent is to fuse all egos into the will of the One, the will of the Overmind.

The gods are masquerading as Cosmic Self. We either open our minds and recognize our programming, and reason our way out of this snare, or we grin like foolish children and follow the Pied Piper right into the maw of the mountain. Will we choose to amalgamate or to shoulder the burden and joy of becoming conscious, empowered individuals? The fate of the universe rests on our decision.

I have wondered if the reason these spirits want you to sell your soul and whatnot is that when a person goes to hell, or the “middle” (as the Gospel of Philip calls it) they get absorbed into one of these collective groupings of spirits, such as the Devil, and that individual entity becomes more and more powerful, so the more spirits they have under their possession, the more power they amass. “We are Legion.” They’re always growing by absorbing more souls. They have a similar explanation in Haitian Vodou. There is a voodoo spirit called Baron Samedi who is kind of like the Grim Reaper (much like Saturn), and he presides specifically over the unknown dead. And they believe that Baron harvests earthbound dead souls and makes them part of himself, thus accumulating more dead and giving these lost souls an identity under which they operate.

In the book, Sojourns in Cosmic Consciousness by John Ryan Haule, the author wrote about Robert A. Monroe’s out of body experiences. And as it turns out, Monroe’s OBE’s confirmed the Gnostic descriptions of the universe, with the demiurge, as a “god of death” feeding parasitically on light trapped in matter:

...but there is a great pseudo-god, a demiurge, who lives on death. This unnamed being of unknown gender has turned the Earth into that balanced ecology of death we call the food chain. All of us, from one-celled organisms to philosophers and mystics kill one another to nourish ourselves. In the beginning, the demiurge (or “partial power,” “lower potentate,” what the Gnostics called an Archon) was interested in death itself, in any form it occurred; for the energy released at a being’s death supplied an essential force to enhance the tyrant’s own existence. But as time passed, the demigod discovered that the highest quality energy emanated from the death of sentient beings. The higher the consciousness attained by a bodily being — the more aware it is of its tenuous hold on life and terror of death — the more valuable the nourishment released at its demise. The clinging to life, the panicky struggle to survive, the longing and desolation occasioned by the passing of loved ones, the cruelty and aggression that drives off competitors: all these emotions enhance the death energy and delight the demiurge.

Monroe was shaken and appalled by this vision but unable to evade its truth. It surely describes the bottom line of fleshly existence. Humans are by and large flesh people, obsessed by our survival drive. From the moment we are born, we are on our way to death. Although we suppress this knowledge in a bad-faith attempt to shake the horror residing in our hearts, we act from it constantly. It blinds us to the gaps through which soul might appear. We are the inmates and guards of our own fleshly prison, snarling at threats both real and imagined, and poised to pounce on every opportunity to enhance our precarious and illusory security.

Human existence is Being-toward-death, says Martin Heidegger, the most important philosopher to write about ultimate things in the wake of Nietzsche’s proclamation of the end of metaphysics. Neitzsche himself depicted the Earth as a great ball of death. The soil of our planet is comprised of the decomposing corpses of those who have gone before us, the plants and animals that flowered, swam, galloped, and soared through a few exceptional moments before succumbing to the inevitable fate of providing inanimate fodder for those to follow. Life is the exception, death the constant.

Monroe’s vision of the demiurge who lives on death brings us vividly back to the barren Sinai desert of the seventh century, where the Ladder Man’s disciples fought their fleshly compulsions by fasting, flagellations, all-night prayers, and standing at the gate. Death, too, lies at the center of the teachings of don Juan Matus. Stretch out your left arm to the side, straight from the shoulder. Don’t look! Your death is standing there, less than three feet away, watching, waiting, ready to strike at any moment.

Flesh people cringe to glimpse death out of the corner of their eye. A “warrior,” however, profits from death’s constant presence. The instant we stop fleeing the certain knowledge of our impending demise, death becomes our “advisor.” We act with the constant knowledge that our time on this Earth is limited, and we begin to attend to essential matters. We stop wasting our time. We get down to the business of our own unique, never-to-be-repeated life. We live it, in the imagery of Nietzsche, as though our existence were condemned to be repeated over and over for all eternity. What would I do right now, if I knew it were my last moment on Earth? What would I do if I knew I would face this moment again in lifetime after lifetime, and my act would determine the quality of this moment for all eternity? I would choose the act that best enhances my existence — the most powerful act, the most compassionate, the most far-reaching. The blinders would fall from my eyes. Life would be simpler and more convincing.

Jesus Christ himself said something very similar indeed in Luke (9:57-60):
