CONTENTS

From The Edditor Rituals of the Polygrams Pt. I

Frater WLLM Frater SMLH

(Sacrifice) Feast Unseen Terror

Soror Astra Soror Astra

Heru Behutet The Initiatory Rites of the Stand-up Comedian

Frater MSNV in Primitive Society
Runemoose The Terrible
Divine Panther
Soror Astra Warning
Soror Astra
NOTOCON 2001
Frater SMLH From The Master
Sir Aleister Crowley
Parable
Soror Astra 1993
Frater WLLM
The Ceremonial Musickian Pt.1
Brian McGuire I AM FREE
635
Relics
Frater MSNV Ask Mr. Lizard
Frater WLLM
Academia Massonica:
Masonic Legacy Pt. II I Did Not
Frater MSNV Come Back
Frater WLLM
Tiamat
Soror Astra RaViews
Various Stars

add-vir-tiz-mints
 TALONS
TALONS
Volume II Number 3 Anno IVx Sol in Capricorn

The Official Publication of Heru Behutet Oasis

A Duly Chartered Body Of
Ordo Templi Orientis
Volume II; Number 3
Winter Solstice 2002ev
Published Annually Copyright © 2002
Heru Behutet Oasis, Ordo Templi Orientis,
and the original authors.

Sands of Edfu excerpt (the official theme music of Heru Behutet Oasis), Mantram,
and Masonic Temple diagram by Fr∴
∴ MSNV.
NOTOCON 2001 pictures, Polygram videos, and astroad by Fr∴
∴ SMLH.
Hadit, Crowley-Stooged, tthad, and XOad by Fr∴
∴ XO.
WLLMhier/circle/swirl, pop, tthflyer, djed, hh, and Mein Qoph by Fr∴
∴ WLLM.
All other images are public domain.

Bagh-I-Muattar original key entry by Bill Heidrick, T.G. of O.T.O.

Proofread and formatted with additions to Contents and notes identified by [square brackets] by
Haramullah.

Edditorial Policy
The opinions of the authors expressed herein do not necessarily reflect the views, opinions, or policies of
Heru Behutet Oasis, or Ordo Templi Orientis. Items published in Talons are NOT edited for content.

Submissions:
Submissions and inquiries may be sent to Talons c/o the Oasis address below or e-mailed to
Talons@Behutet.com. Please do not send original art or printed materials. The preferred method of
submission is by e-mail or 3.5 floppy disk. Materials will not be returned unless accompanied by a S.A.S.E.
and a specific request for such. Questions about our policies may be directed to the Oasis contact
addresses below.
 Ordo Templi Orientis
Peace, Tolerance, Truth.
Salutation on all points of the Traingle.
Respect to the Order.
TO ALL WHOM IT MAY CONCERN: GREETING AND HEALTH.

Do what thou wilt shall be the whole of the Law.

Ordo Templi Orientis, the Order of Oriental Templars (O.T.O.) is a serious Order,
dedicated to the high purpose of securing the Liberty of the Individual and his or her
advancement in Light, Wisdom, Understanding, Knowledge, and Power. This is
accomplished through Beauty, Courage, and Wit on the Foundation of Universal
Brotherhood.

In its current form, the O.T.O. has existed for more than a century. Its philosophy
encompasses all branches of the Secret Wisdom of the Old Aeon as well as being
the first Old Aeon Order to accept The Book of the Law (received by E.A. Crowley in
1904ev) and reorganize in accordance with the needs of Modern Humanity. This
Document contains a message of a revolution in thought, culture, and religion,
based upon its supreme injunction, The Law of Thelema (DO WHAT THOU WILT).
This is no license for indulgence, but a command to discover one's own unique
True Will and accomplish it, leaving others to do the same.

The Order's structure is Masonic in nature, structured through ten degrees. In them,
the Order attempts to instruct the Individual, by allegory and symbol, into the
Mystery, thereby assisting each to discover their own True Will. Every Man and
Woman, free, of full age, and of good report has an indefeasible right to the first
three degrees.

In Kansas City, the Order is represented by Heru Behutet Oasis, a duly chartered
body of the O.T.O. and is accepting correspondences from potential candidates for
Initiation into our growing membership, or other interested parties.

Love is the law, love under will.

HERU BEHUTET OASIS IS THE FIRST AND ONLY OFFICIAL BODY OF THE O.T.O.
IN THE GREATER KANSAS CITY AREA

U.S. Grand Lodge Heru Behutet Oasis International Headquarters

http://otohq.org secretary@behutet.com P.O. Box 33 20 12
P.O. Box 684098 raherubehutet@netscape.net D-14180 Berlin, Germany
Austin, TX 78768 P.O. Box 47057
Kansas City, MO 64118-7057
 From The Edditor

Re Member
LLII,53. "Fear not, o prophet, when these words are said, thou shalt not be sorry. Thou art emphatically my chosen;
and blessed are the eyes that thou shalt look upon with gladness. But I will hide thee in a mask of sorrow: they that see
thee shall fear thou art fallen: but I lift thee up."

Heyl AL and ON!!!

Do what thou wilt shall be the whole of the Law.

Welcome to another creative offering from the Heartland, the sixth Talons since Our
manifestation circa 1993. Another year has gone by and no apocalypse, guess they got the wrong
calendar. Much has happened in the last nine years and We look forward to many more.

I've dubbed this issue of Talons Re Member to commemorate where We as an Oasis and
individuals have been, plus where We are going. At this time of year back in the day they would
resurrect the Djed Pillar of Osiris in honor of His birth, life, death, and re-erection/birth in the
Son/Sun. Later it was usurped and amalgamated into jewish, christian, Muslim, and many other
mythologies without a thank you or anything, if you could call persecution or plain old-fashioned
desecration anything. It is thus a universal time for thanks and reflection, not to mention the eternal
continuity of existence. If you understand the black words of Nuit, "the unfragmentary, non-atomic
fact of my universality".

With that being said I would like to thank all those who contributed art, articles, poetry, and reviews.
We welcome any questions, comments, or curses that might help Us continue publishing quality
material. Hopefully the Holy Days of whatever creed find you and yours safe, secure, and ever
joyful. Enjoy,

Love is the law, love under will.

Baba Leto:
This is the creation of the world,
Death. Harvest.
It's nothing when it is for you.
Kill me for your hunger
Kill me for your life.
Eat, drink and be merry.
Body wrenched apart,
That blood may nourish all,
That blood may feed all,
Molecules intermingling with all,
Canabalism.

Soror Astra
 Heru Behutet

a Brief Examination
by
Fr∴ wnsm

(With a fraternal tip of the hat to Fr∴∴ Johannes, whose

“Etymology of Heru Behutet” started this investigation to begin with)

Introduction
When I started to write this essay, I planned to begin with a section discussing Mao Zedong’s
philosophy of the ‘rectification of names.’ This philosophy posits that, due to the fact a vast overuse of
euphemism exists in modern language, our speech is therefore in need of an overhaul. The relevant
point was that when it comes to the discussion of Egyptian Gods, so many variant spellings of each
individual god’s and goddess’ names exist, owing to translations and descendencies throughout so
many different tongues, that one can get lost quite easily discussing aspects of any deity. For example,
The goddess of the Thelemic "pantheon" (for lack of a better term) is called Nuit, though she goes by
Nut in the traditional carvings and papyri. Similarly, Ra Hoor Khuit also goes by a few other names,
such as Ra Horakhty, Ra Heru Khuti, Ra Harmakhis, et cetera. However, the particular deity that is the
subject of this article is Hadit, who was known also as Heru Behutet.
As most of you reading this are probably aware, Heru Behutet is the name under which our
Oasis is chartered. But I know that none of you know why this name was chosen. It was a fluke, to be
quite honest. When I was trying to come up with a name that I felt was well suited for a new Camp in
this remote and savage land some eight years ago, I had come up with a slew of long, ridiculous
names. At the last minute, from the suggestion of another Oasis Master, and a well-timed phone call
from the president of the Electoral College, I chose the name Ra-Heru-Behutet. I had been advised to
add the "Ra" to the beginning of the name to temper what I had been told was a particularly war-like
and nasty form of Horus. Being new to everything at the time, I gladly accepted this suggestion, and
have been glad to operate as Master under that banner for so many years. In the vulgar year 2000,
when we were rechartered as an Oasis, I petitioned Grand Lodge to let us drop the "Ra" from our
name. Since our membership had increased dramatically, and we were seeing activity on an
unprecedented scale compared to our first few years, I figured that we no longer needed such
tempering and that our name should reflect the progress we had made. Now that the Oasis is under
new Mastership, and we can look forward to further increased development and evolution from this
Oasis, I feel it fitting that I should inform all of you as much as I have learned about the name you are
inheriting.
It is rather well documented that Crowley did not apply the traditional attributes of these three
gods to their roles in the Thelemic pantheon, and even referred to Hadit as being more representative
of a mathematical expression than of a God. In this context then, Hadit represents the point: a
coordinate in space, infinitely small, with the force of expansive energy. The converse of this then is
Nuit, who represents the circle, or outermost boundary: infinitely large, with the force of compressing
or constrictive energy. The product of this union is then Ra Hoor Khuit, the Crowned and Conquering
Child, driving force of the New Æon. While this opens the gate to an in-depth examination of the
scientific and philosophical aspects of Thelema, it most certainly is not the point of this communication.
I want, rather, to deal specifically with the historical aspects of the Egyptian God, outside of the
Thelemic context.

The Legend
Heru Behutet was that particular form of Horus worshipped at Edfu, a city also known as
Apollonopolis Magna. As an interesting aside, the three-fold name of the palace at Edfu translates as
sweet life (or harmony = beauty = tr)pt), strength (hrwbg), and victory (xcn), and thus can be seen as
a reflection (foreshadowing?) of the fifth, sixth, and seventh Sephiroth. He has been depicted as both a
hawk-headed man bearing the double crown of Egypt, holding metal weapons, and more often as the
form of the winged disk flanked by uraei (cobras), the latter being the form in which he appears on the
Stèle of Revealing. One of his titles in this form is "Great God, Lord of Heaven," and attributed to him is
"the power which dispels darkness and night, and drives away clouds, rain, and storms, and fills all
heaven and the world with his brilliance and light..." It was said of him that "he rises with the golden
disk as the holy beetle of gold, and he is declared to be the lord and creator of the gods. He created
himself, there is none like unto him..." In traditional dualistic forms, he represented the forces of "light"
and "good" against the forms of "darkness" and "evil,"Ó which was usually represented by forms of Set
(also known as Apep, Apophis, or Typhon).
He is equated with the sun at noon, and therefore can be viewed as the counterpart to the form
of Ahathoor in Liber Resh vel Helios. Outside of Edfu, his main shrines are located in Mesen, Qem-
baius, Philae, and Tanis, where he appears in the form of a lion wearing the triple crown and trampling
the enemy, though in most places he has the form of a man with a hawk’s head, holding a weapon
indicating his character as a destroyer.
The legend of Heru Behutet’s conquest of the forces of Set is quite long and bloody. There are
several numeric references in the story, and though it was written in hieroglyphics (which have no
proven close tie to Hebrew), I will indicate the Gematriatic correspondences for those who are really
into that field of study, for their own comparisons and edification.
It seems this particular legend of Horus is based upon that of a successful invader who
established a center of civilization at Edfu, then moved North, vanquishing all opposition. His victories
are attributed to the higher level of technology he and his army either possessed or created. This band
of conquerors came from the East, and was well-versed in the arts of metal-working and masonry. This
is significant because in the recountings of traditional battles between Horus and Set, their combat is
usually portrayed as hand-to-hand (cf. cap. XVII of the Egyptian Book of the Dead), but in the case of
Heru Behutet versus Set, Horus and his men are armed with weapons of iron.
The legend of his heroics begins in the 363rd year of the reign of Ra Harmachis (363 = yx l)
yd#, The Almighty and Ever-living GOD). While in the city of Edfu, Horus informs Harmachis that
there were certain forces conspiring against him. Charged by Harmachis to annihilate the enemy,
Horus takes the form of the golden winged disk. This action causes Thoth (Tahuti, lord of magick and
language) to suggest that Harmachis rename Horus as Heru Behutet. With the power of his new name,
he then pursues and attacks Set’s forces so violently that they slay one another in their own confusion.
Heru Behutet inflicted so much carnage upon the enemies of Ra at Edfu that the canal in that city
became known as the "canal of blood."
After this preliminary battle, Heru Behutet invites Ra Harmachis to survey the resultant
carnage. In celebration, Ra proposes a celebratory cruise down the Nile. The army of Set anticipates
this, and, transforming themselves into hippopotami and crocodiles, lay in wait to ambush the royal
barge. They are discovered by Heru Behutet and his army, the Mesniu, who slay another 651 of the
enemy at this point (651 = hrwmt, Temurah-- Permutation; Hebrew cryptology, and #wlw+#, Stolas--
Goetic demon by day, third Decanate of i). The hieroglyphs make clear that their easy victories were
due to their superior technology; the wooden and rock weapons of the enemy were no match for the
metal weapons of the Mesniu. According to the legends, Edfu was named for this battle.
At this point, Heru Behutet unites with the goddesses Uatchet and Nekhebet, in their forms of
the uraei, to give him his most recognizable form, that of the winged solar disk flanked by cobras. From
Edfu, they go on to Thebes, Denderah, and Tchetmet, destroying more of Ra’s enemies. Typically, those
caught were dispatched by being chained and speared, before the Mesniu drank of their blood.
Another 142 of Set’s forces in the Mediterranean are gutted, hacked, and given to the Mesniu, as are
381 more on the deck of Ra’s own boat (142 = l)dwms), Asmodel-- Geomantic Intelligence of _,
l(ylb, Belial-- Wickedness, destruction, m(lb, Balaam-- A stranger, ml(b, Baalam-- Night Demon of
third Decanate of b, mydmxm, MChMDIM-- Delights [fire & water], and 381 = h(w#, Clamour, prayer).
Angered by his repeated losses in battle, Set curses Heru Behutet in so profane a manner that
Tahuti calls him nehaha, or "stinking face." Heru Behutet responds by clubbing Set in the face, and drags
him in chains before Ra Harmakhis, who is quite pleased about the whole affair. Set and his army are
ordered beheaded, and their corpses are dragged through the streets with spears sticking in their heads
and necks.
Isis, pleased at the outcomes of these battles, names Heru-Behutet to be the protector of Horus,
son of Osiris. After this, a brief period of peace ensues. But, as Thoth awards Heru Behutet with the title
of "Master Fighter," word reaches him that 106 of the enemy have escaped, and are preparing to war in
Tanis (106 = nwn, Fish, the Hebrew letter Nun spelled in full, the Atu of Death-- qbd, Attained-- l)hlm,
Angel of the 7 of Cups-- hyl)s, Angel of the 9 of Cups-- kwp, Stibium-- wq, Line, string, linen thread).
He appears in the form of a lion with a man’s face, with claws like flints, and wearing the triple crown.
Then, he tears to pieces and rips the tongues from the mouths of 142 (vide supra) members of the
enemy. A new rebellion arises in Nubia. One third of the enemy hides in the river, again disguising
themselves as crocodiles and hippopotami. However, as a precaution, Thoth had performed a special
invocation to protect the boat of Ra. The enemy, upon seeing the boat, now named "The Protector" by
Tahuti and guarded by Heru Behutet (flanked by the uraei, Uatchet and Nekhebet), seized up and died
of fright.
In addition to information pertaining to his legend, I was able to locate two festivals that
pertained to the worship or veneration of Heru Behutet. The first of these was titled the "Festival of the
Reunion," which dates back four thousand years. In Denderah, the Priests of Hathor would place her
Tabernacle on a sacred barge, and sail up the Nile toward Edfu. Along the way, they would stop in
various cities to pick up provisions, a sacrificial ox, beer, and to pay homage to Sekhmet. Evidently,
paying homage to Sekhmet was part of the payment for the beer, as Sekhmet had spared humanity by
mistakenly drinking beer instead of blood during a rage, thereby passing out instead of annihilating
civilization. Upon arrival at Edfu, a two-week festival celebrating the annual Nile flooding/agricultural
cycle would occur. In my research, the only association I could find between Heru Behutet and
Denderah was that he slew many of Ra’s enemies there.
The other festival was an annual celebration held in commemoration of Heru Behutet’s victory
over Set. In this festival, the citizens of Edfu would catch and capture hundreds of fish and birds. After
examining each animal, those that were considered to possess "Typhonian" qualities were cast to the
ground and trampled upon. According to Budge, while doing this, the people would cry, "Ye shall be
cut in pieces, and your members shall be hacked asunder, and each of you shall consume the other;
thus doth Heru-Behutet, the great god, the lord of heaven, triumph over all his enemies."

Idle Speculation
The legend ends with Heru Behutet ordering that the winged disk be placed in all of his
temples. His priesthood may be noted for their diligence and devotion, in that this order was carried
out throughout their existence. Which brings me to the subject of that priesthood. Currently, my library
of resources yielded little information about them directly, but what I did find out was most interesting
(to me, anyway). This section will reach a bit as far as speculation is concerned, but some parallels are
just too fun not to examine.
Where did this priesthood come from? It originated with his army. They were referred to as the
mesniu or mesniti, which translates as blacksmiths or metalworkers, and the texts indicate that they
were also skilled as masons, carpenters, and builders. They called their forges and foundries mesnit or
mesnet. When the legend of this warrior had reached the stage where he had been deified, his army
evolved into a priesthood, and continued to call themselves the Mesniu (or Mesniti). The Mesniu had
shaved heads, wore short tunics that exposed their chests, and bore either an inverted lance or some
other metal instrument. In the rear of their temples was situated a shrine, or "holy of holies," called the
Mesnit, which was only accessible by the Mesniu. During their rites, the Mesniu would bring forth a
metal statue of Heru Behutet from the Mesnit. Since this deity was symbolic of the sun and was called
Lord of the "Forge City," the region of the horizon where the sun made its daily appearance was also
called the Mesnit.
What makes this interesting is a basic comparison that exists between the legend of Heru
Behutet and symbolic associations with Freemasonry. First, most far-reaching and most speculative is
the linguistic tie, which is rooted in the trend that the words of most ancient or "magickal" languages
are constructed based on consonants. Thus, the word "mesniu" becomes quite close to "mason," and the
Mesniu were known for their expertise in temple construction. Second, since the advanced technology
held by the Mesniu was that of metalworking, we find that Masons ascribe a particular importance to
the character of Tubal Cain, called "the eighth man from Adam, and the first known artificer in metals."
Third, Heru Behutet’s priests were known to bear a lance or some other metal instrument. In a Masonic
Lodge, the Master and the Wardens bear metal instruments, and the Deacons and Stewards bear lances.
And finally, the layout of the Temple at Edfu is suggestive of the Masonic model, which itself is based
on that of the Temple of King Solomon. In the Masonic temple the Holy of Holies can only be entered
by those who are "Master Masons," i.e., those of at least the Third Degree. In the Solomonic model, this
Holy of Holies was the seat of the Ark of the Covenant: the throne room of hwhy himself.
So there you have the story of our "patron god," Heru Behutet. In this rendition of the battle
between Horus and Set, there is a clear victor, something not common to many of the Horus legends.
As to why he was selected to be a part of the Thelemic pantheon, it seems to be due to his being present
on the Stèle of Revealing, and not from any particular aspect of his legend, solar and victorious though
he may be. Rose Kelly, known in that particular working as Ouarda the Seer, identified that relic in the
Boulak Museum, after passing many different reperesentations of Horus. Two implications are thus
evident. First, Crowley therefore had no hand in formulating the New Æon pantheon, since Rose
selected the Stèle. Second, even though Heru Behutet is a form of Horus, he is not that particular form
known as the crowned and conquering child and lord of the Æon.
 Resources
Budge, E. A. Wallis. The Egyptian Book of the Dead. Mineola. Dover, 1967.
___________. The Gods of the Egyptians. Mineola. Dover, 1969.
___________. Legends of the Egyptian Gods. Mineola. Dover, 1994.
Crowley, Aleister. The Equinox, Volume I; Number vii. York Beach. Weiser, 1992.
___________. The Equinox, Volume I; Number viii. York Beach. Weiser, 1992.
___________. The Equinox of the Gods. New York. 93 Publishing, 1991.
___________. Magick. York Beach. Weiser, 1997.
Faulkner, Raymond. The Egyptian Book of the Dead. San Francisco. Chronicle Books, 1994.
Godwin, David. Godwin’s Cabalistic Encyclopedia. St. Paul. Llewellyn, 1989.
Lamy, Lucie. Egyptian Mysteries. New York. Thames & Hudson, 1981.
 Divine Panther
The black ocean heaves and sinks,
Soft kisses as the great eye looks upon it
And the great breathe cools and brings fresh scent.
So regal, the Emperor sits,
Despite the dust,
The smoke,
The conditioned air…
The wind,
The rain,
The earth,
And the sun,
Draws through this screen to
AWakEN
Within his bones a sense of the force of ALL.
He needs no idols.
He has a window.

Soror Astra
 The Oasis Master’s Perspective
Last summer, Emerald Star and I went the National Ordo Templi Orientis
Convention in Long Beach, CA. It was my first flight westward from here and after
getting on the plane with no trouble (remember those days?) we flew westward
offering a view of the Grand Canyon along the way. Finally, we arrive at LAX, a
most confusing airport. A dreadfully frightening taxi ride brought us to the hotel.
Where we hooked up with our roommate, James of Seket-Bast-Ra Lodge, got
settled, and then headed for the hospitality suite. It offered a beautiful view of the
Aquarium with its’ seascape murals covering its’ entire surface and the Queen Mary
docked beyond. Then we took a stroll to the beach. It was my first view of the
Pacific.
As the sun approached setting, we went to an art opening titled: Reflections
of the New Aeon. The show featured works by J.F.C. Fuller, Austin Osman Spare,
Harry Smith, Marjorie Cameron, and Aleister Crowley. In addition, there work more
contemporary works by Thelemites from around the world including our very own
brother XO. The opening was well attended by conventioneers including Kenneth
Anger, Rodney Orpheus, Lon Milo Duquette, and the OTO USA Grand Lodge
officers.
Each morning there was an early morning Yoga and meditation session. On
Friday there was an all day initiators training workshop for III°’s which I attended
while Emerald played tourist and petted rays at the Aquarium. In the Evening there
was a Cocktail Reception that included a speech by Lon Milo Duquette.
Saturday the workshops began in earnest. Since the theme of this NOTOCon
was “the Divine”, each of the workshops included the divine in its’ subject matter in
some fashion. We both attended “Working with Deity and Archetypes” by
Harmatus, an interesting workshop on the Divine and psychology. At the same
time, Diapason and Isabella were giving their workshop on “Divine Grit: Karma Yoga
& the O.T.O.” Later that morning I attended Hrumachis’ “Summoning the Sacred”, a
workshop that was filled with profound thoughts illustrated by cool computer
graphics. While I was there, Emerald went to “Tools of Divination” by IO Pan and
was very impressed by what she learned.
During the noon break Carolyn Tillie hosted a “Divine Food” luncheon that
only people who registered early for the conference were able to attend. After lunch
we both attended “Eros and the Divine” by Vere & Lita-Luise Chappell an overview
how various culture approach Divine Love. But we missed out on “Divine
Pleasure”, Content Knowles exposition on the role of women as the initiators into
Sacred Sex throughout the ages.
The next workshop we attended was “Divine Comedy” a hilarious hour and a
half long plug by Lon Milo DuQuette for his new book: The Chicken Qabalah. The
videotape was even funnier as Pop-up video additions were edited into his speech.
But attending this made us miss “Anima Solis” by David Shoemaker and “The Wine
that is most Divine” by Hunahpu & Ixel Balamke.
In the evening was a wonderful Banquet that people dressed up in Thelemic
Formal attire for. After dinner, there was a very interesting speech by a prominent
member of USA-OTO Grand Lodge followed by a production of Aleister Crowley’s
play, The Ship. It was filled with Masonic in-jokes and Emerald kept asking me why
I was snickering. A party followed, that lasted late into the night, way past my
bedtime. (I live in the central time zone so midnight in California is 2 AM to me)
Bright and early the next morning we went to Constance DuQuette’s “Morning
Devotionals” where we said a Gnostic Rosary with her. Next, I went to “The
Tradition of the Godman” by Michael Sanborn, while Emerald attended Tim
Maroney’s “Scientific Meditation” . This was followed “There is No God but Man”, a
brief introduction to the Chinese mystical system. We skipped Lon and Constance’s
“The Gnostic Mass and the Supreme Secret” as we had previously attended a
longer version of it at the Gnostic Mass conference in OKC.
Dionysis of Austin organized a brief session to teach people the Anthem, of
those who attended; one person didn’t already know it. So we rehearsed it a few
times and lead the people in singing it when everyone came together to celebrate
the Gnostic Mass with Sabazius and Helena acting as Priest and Priestess and Rob
Cluff as Deacon. A pianist who also accompanied us on the Anthem provided
wonderful incidental music.
All in all we thoroughly enjoyed NOTOCon 2002. Next summer, NOTOCon
2004 will be held in Portland again. The theme, this time, will be Initiation. For more
information check out: www.notocon.org.
Videotapes of all of the workshops from NOTOCon 2002 including The Ship
are available. Proceeds help fund the 2004 NOTOCon.

Frater SMLH
 Parable:
Parable
(Don’t Be This Person!)
[Scene opens with MAN laboriously searching through papers and books, lifting them
up and looking under them, reading a few things on papers, then looking under
other spots.]

[a KNOCK]

[A large breasted WOMAN enters and sits upstage right of man and crosses her legs.]

WOMAN: Darling, don’t you want to come to bed now (uncrosses legs).

MAN: Honey, can’t you see I am trying to find the meaning of life.

[MAN becomes frantic in his searching under books and papers. He begins to throw
papers and slam books shut and begin to stack the articles into different piles.]

WOMAN: You are going to find the meaning of life in all those books and scraps of
paper? Maybe you should actually read those things rather than look under them.

MAN: I would read them but I can’t find my glasses.

WOMAN: They are right there on your face.

MAN: Oh, I see.

[BLACKOUT.

Soror Astra
 The Ceremonial Musickian Pt.1
There have been theories published before on the use of music in magick and the
magical qualities of music, although I have yet to see any single source or “bible” on
this, many of theories appear to be based on the writers own knowledge, experience
or inspiration and this will be no different. The difference in this essay will be that I
hope to convey the universality of the element of magick in music, be the music
classical, folk, religious or even pop or techno. I also will speak of the two different
“stations” of music. The Performer and The Composer and how magick relates to both
or may be used by both. In other theories I have read on the subject one or the other
seems to be forgotten, I intend to rectify this. If comparing the musician to the
magician then the performer would be the “average” magician. The physical act of
magick is performance. There are two kinds of magicians just as there are two kinds
of musicians.
There is the “standard” magician that uses rituals, whether traditional or modern,
that were formulated by others and there are magicians who create rituals based on
their own or another’s formula. In the same way there is the “standard” and most
common musician who performs songs or music written by others and the musician
that writes his/her own music which also contains formula which I will address later.

The Performer

The majority of musicians in the world play music written by someone else. As I
said, this relates to the most common magician as well who usually perform rituals
that were composed by someone else.
The Performer is important because not all Composers are performers. Some can
argue that the formulation of the ritual can be enough to complete the act simply
through the focus that is placed in the research and formulation. In some cases this
can be true but the ritual takes on a much different energy when it is physically
performed, and just as every magician will perform a ritual differently creating
his/her own energy, each Performer will play a piece of music with his/her own
energy, each creating a different type of energy.
For centuries the Performer has been praised, some religiously. Bards, Middle
Eastern musicians, Sufi dancers, Enrico Caruso, The Grateful Dead, Eric Clapton,
Elvis...and one or two of these actually wrote their own music but the praise and
their magick arose from the performance. They perform/ed in way that no one else
could with an energy different from all others. They produced an aura and a form of
ecstasy.
This is the magick of the Performer and each Performer is different, no two
Performers will perform the same piece of music the same way, this is most obviously
illustrated by the differences in Bob Dylan’s “All Along The Watchtower” and
“Knockin’ On Heaven’s Door”. In the case of “All Along The Watchtower” the contrast
is startling between Dylan’s original recording and Hendrix’s cover. Jimi Hendrix took
a basically acoustic song and re-arranged it into sublimely orchestrated electric
alchemy, in fact when Dylan performs the song now he usually uses Hendrix’s
arrangement and was quoted as saying that he “wrote the song, but it belongs to
Hendrix”. This can be found in many other examples as well, Performers taking a
song written by someone else and re-arranging it to
give it an entirely different energy and aura.
The aural is only half of the magick of the Performer though, what makes the
Performer is the performance itself, the visual, be it somber, kinetic, flash, theatric or
hypnotic. The examples of this can be endless, Performers whose presence and visual
performance grasped and mesmerized audiences, sometimes purposely attempting to
weave the aura of magick as in the case of Jimmy Page and his signature “Dazed And
Confused” solo. In the film “The Song Remains The Same” he uses colored lights to
represent the Watchtowers and his bow as his wand, in later tours with The Firm he
added laser lights to this performance to create pyramids and columns to further get
the point across to anyone who hadn’t figured it out the first time. The subject of Mr.
Page brings us to another point of the Performer and musician: the alchemical use of
sound.
Different sounds and manipulations of instruments and sound can produce
different effects both physically and mentally, any experienced musician knows this.
Experimentation can take you far when seeking alchemical sound even without the
use of too many gadgets. For a simple example I’ll relate a story told to me by a
friend.
My friend Eric went to see The Firm during one of their tours, he swears on his
soul that he was stone sober that night but when Jimmy Page began his “Dazed And
Confused” solo he became completely mesmerized as did the whole audience. There
was none of the usual whistling, whooping or hollering, there was nothing but Jimmy
Page on the center of that stage and the eerie moaning of his guitar under the bow.
Eric was in the second row of the audience and at one point during the solo he
made eye contact with Page whom he said gave him a sort of sly smile at which point
Eric heard a voice in the back of his brain say to him “you like that, huh? You’ll love
this, I call it The Pull” and at that moment Page yanked hard on the tremolo bar and
then “dive-bombed” it resulting in the entire audience in unison swaying back then
falling forward right on top of everyone in the rows in front of them including Eric.
Eric’s one phrase review of the show:

“Jimmy Page is an evil man”.

There’s no actual explaining Eric’s telepathic experience especially considering he

had no idea what was about to happen. The audience effect is quite explainable
though and credits Mr. Page’s experience as a stage performer. Anyone who has
played to an audience knows that you can achieve a hypnotic point, the point of
ecstasy in which you have the audiences full undivided attention and the audience
will begin to react enmass to the sound, subtly moving and swaying to different
pitches or rocking and jerking to percussive sounds.
The volume of the music and the sound of the music has a physical and
psychological effect on the audience. Anyone who has been to a rock concert has
experienced the booming in their chest from the bass guitar or, if you’ve been to a
Kiss concert, the churning in your stomach during a rolling bass solo. Or the searing
fire sensation of a blazing guitar solo or the rise and fall in your chest from a skillful
blues solo. For that matter on stage at concert volume you can actually feel the wind
from the amplifier speakers and at any volume you can feel the wind coming from the
bass drum and toms so it’s possible that this can be felt by the forward rows as well.
 An experienced musician could learn the effects of sound on the audience, in the
case of Eric’s experience Page had already achieved the hypnotic or ecstatic point
with the violin bow solo, stroking the audience with the moaning sound as much as
he was stroking the strings with the bow, then while having the audience in the
mesmerized state he yanked
hard on the tremolo bar causing a harsh rise in pitch, the physical effect this causes
is for the audience to unconsciously rise physically with the pitch sometimes even up
onto their toes, then by “dive-bombing” (shoving the bar down hard causing an
abrupt drop in pitch) it causes the physical sensation of the floor being dropped out
from beneath you.
This talent and ability to entrance the audience isn’t by any means new, music has
been used for centuries to achieve spiritual ecstasy in the pursuit of the divine. From
Shamanic drumming to chants and mantras, different musical techniques have been
sought to achieve trance or spiritual rapture and as music progresses so do the
methods, but the magick remains much the same.
Even the modern musician’s stage is set in a formulaic way with his tools in
specific places. The bass amplifiers always to the left of the audience, the lead guitar
amps always to the right (this is for aural reasons, our left ears are more receptive to
lower tones, our right ears to higher pitches and it helps even the sound for greater
“stereo effect”). Some may add lights and pyrotechnics to add to the overall aura,
each strategically placed and aimed. His effects chosen and placed in well thought
out order to call up his elements, be it the watery sound of the Chorus, the wind
tunnel howl of the Flanger, the earthy growl of the Compressor or the fiery roar of the
Distortion. The sacred musician still exists, only his forum has slightly changed.

Brian E. McGuire
 Relics
The sun rises - gold on
the city gates
Beneath mansions of kings
and old potentates
On the rocks below, the
waves crash and crest--
Because I came in my own
name, they said I was
blessed
At the convent I pleaded
for sanctuary
Until the twins broke my concentration--
So identical in form, dress, and step,
Sauntering from station to station...
The sun burns away the cool, salty breeze
As the sultry twins fall to their knees
In the neon-framed shrine where the dark bell peals
For "Our Lady" inviolate, torn upon wheels
And the bones of a saint can't save me now
(I feel her cold, cold hand on my shoulder)
And St. John has long abandoned this place--
It leaves me feeling so much older...
The sun makes its plunge deep into the bay
And I'm left knowing I've got nothing to say
And as graceful and surreal as their entrance had been,
The twins depart once more, to serve and to sin
And pelicans dive from their lofty perch
Where ghosts of Spanish guards are still stationed
And if I look real hard, I can still make them out,
But I don't have that kind of patience...

Fr∴ wnsm
 IV
Of the Ceremony of the Opening of the Veil
The Priest invokes with the lifted Lance and the Hailing Sign is again made. He leads the Priestess to
the East and sets her upon the summit of the Earth, the High Altar upon which rest the Paten and Hosts.
The Priestess holds the Book of the Law open upon her breast with her hands in the position of a
descending delta. He sprinkles her with five crosses, then repeats with the censer. He kisses the Book of
the Law three times, kneels and adores, then rises and closes the veil (for a fuller treatment of
interpretations of the veil, see section VI below: Of the Consecration of the Elements).

The congregation rises. The Priest, followed by the Deacon and the Children, circumambulate the
Temple three times, after which all but the Priest kneel in adoration in the attitude of an aspirant. The
Priest mounts the first step. Think back for a moment to the earlier references to steps. He is now again
approaching the East (seat of Wisdom) upon three steps, and is preparing to under go a "Baptism of
Wisdom." On the first step, he invokes the generative force and addresses the Priestess in the attitude of
the Priest of the Princes. The Priestess responds by invoking Nuit, and answering him in her form. On
the second step, the Priest identifies himself with the secret of secrets and invokes Hadit. There is
another Hailing Sign, the Deacon informs the congregation of the Thelemic calendar, and the Priest
mounts the third step. He addresses our Lord in the Universe the Sun, and calls upon him by the Sign of
Light to appear, enlighten, encourage, and fulfill. He invokes with the Holiest of all Mantras. The
Priestess declares the Law. The Priest parts the veil with the Lance.

In the ensuing Greek invocation, we find a few terms that are of Masonic significance. The first of
these is IO. This word is emblematic of the union of the masculine (represented by the letter I) with the
feminine (represented by the letter O). Next is IAO SABAO, which may be seen as a derivation from
IHVH SABAOTh (tw)bs hwhy), or Jehovah of Hosts from the "prophetical" books of the Bible.
ABRASAX (ΑΒΡΑΣΑΧ) is also Abraxas, symbolic of the year, or path of the Earth around the Sun.
MEITHRAS (ΜΕΙΘΡΑΣ), the corrected form of Mithras, is a solar deity, the Lord of Generation. Last is
PHALLE (ΦΑΛΛΕ), the "male generative force" and microcosmic reference to the solar macrocosm.

The Priestess puts down the elements of the Eucharist, kisses the Lance eleven times and takes it. The
Priest adores, and while the Deacon intones the Collects the congregation stands to order with the Dieu
Garde. This French term for "god-form" has been corrupted by English and American Masonry into
"due guard," and redefined to refer to secrets being "duly guarded." It alludes to the position in which
the hands are placed by a candidate while taking a solemn oath of obligation, hence "god-form" would
be a far more accurate definition of the term.

V
Of the Office of the Collects which are Eleven in Number
Every prayer conducted in a Masonic lodge concludes with the word "Amen." The entire lodge
responds with the words, "So mote it be." The earliest appearance of this phrase in a Masonic context
dates back five hundred to one thousand years, from a work known as the "Halliwell Poem." According
to legend, this poem is the original set of constitutions adopted by Masonry, and briefly explains the
introduction of the fraternity to England. In addition, it gives a rough history of "sacred geometry."
However, some contend that the modern Masonic definition of the letter "G" as the initial of "Geometry"
is incorrect, and should instead be substituted with the similar word "Gematria." This would make more
sense, considering the importance Masonry places on certain numbers and words, as well as the
qabalistic layout of the lodge room described in the first section of the present work.

The Sun is emblematic of divine truth. It rules the day as the Moon governs the night. The Sun
commands over the changing of the year and the Moon commands the cycle of months. Hence, as the
Sun is Masonically the King of Heaven, so is the Moon the Queen of Heaven. She also at times
represents Isis, or the "female generative force."

Then we come to the list of Saints. Many are made reference to in Masonic literature, including
Krishna, who is described as an Indian Christ. Mosheh, or Moses, was trained in Egyptian mysticism
and received the Law for the Hebrews. Dionysos, or Bacchus to the Greeks, was murdered by the Titans.
His mystery therefore has been likened to that of Osiris, slain and mutilated by Set. Hermes is the
Roman Mercury, who is also the Egyptian Thoth, or Tahuti. Melchizedek is represented as a priest of
Meithraic origin. He is credited with beginning the Eucharistic practice of offering bread and wine.
Amoun is a secret, concealed Lord from whom all things emanate. One aspect of Amoun is called
Khem, who has one hand stretched to the heavens and one stretched toward the earth. Orpheus is
credited with introducing sacred initiatic rites and mysticism to the Greeks. Pythagoras taught
metempsychosis, or "soul transmigration." He also stressed the importance of numerological symbolism.
Roger Bacon is noted as a Rosicrucian, and denounced ignorant hypocrisies inherent in the church at the
time. Jacques de Molay was burned at the stake for recanting his confession extracted under torture and
proclaiming the innocence of the Knights Templar. Christian Rosenkreuz is the metaphor upon which
Rosicrucianism is based. Michael Maier brought Rosicrucianism to England and wrote many works on
the subject. Jacob Boehme was a mystic, attracting a number of Masonic disciples who sought to
incorporate his doctrines into the Mysteries. Lord Verulam's New Atlantis supplied many metaphors that
later turned up in Masonic literature. John Valentine Andreä wrote the first public documents on
Rosicrucianism. Andreä is considered by some to be the "grandfather" of Masonry, but the title of
"Father of Masonry" has been bestowed upon Robert Fludd. Elias Ashmole recorded the History of the
Order of the Garter and was an influential Mason in the seventeenth century. Adam Weishaupt, also
known as Frater Spartacus, founded the Bavarian Order of Illuminati. Goethe was a long-time Mason
who made many favorable allusions to the fraternity in his works. Eliphas Levi worked to tie Magickal
symbolism to the high degrees of Masonry. Gerard Encausse, in addition to helping expose the Taxil
forgeries, established a Martinist Order. After examining the calibre of individuals in this list, the
reasons why they are included becomes quite clear.

The Collect of the Principles is riddled with references to the Tree of Life. We first find three
numbers: three, four, and seven (3 + 4 = 7). As discussed before, three is a holy number. Four is the
number of letters in the names of deity in several systems. Seven is a significant number in several
systems, but perhaps its more applicable translation in this instance would be "fulfilled," or "complete."
Some rites place special significance on the heptagram. We commonly associate this symbol with the
Star of Babalon or the Mark of the Beast. It is historically associated with the seven intermediary angels
between deity and humanity who govern the seven planets. They are also the planets themselves,
represented by each point of the figure, with the Tetragrammaton emblazoned across the center. The
topic of Love is also bound into this Collect. P.B. Randolph's "first principle" places Love at the
Foundation of all, and equates it with deity. Further, there are references to Tiphareth regarding mystic
loves and Geburah in the discussion of Will. The Blazing Star is emblematic of Truth in some systems,
of Love in others. It also stands for the Sun, in the macrocosmic hexagram, and for Humans, in the
microcosmic pentagram. Five and six equal eleven, the number of letters in the word
ABRAHADABRA, the traditional Thelemic "battery," et cetera.
 Death, Masonically speaking, is generally viewed as a transitory period of sleep before reincarnation.
It is also the completion and consummation of initiation.

VI
Of the Consecration of the Elements
This portion of our Mass is not necessarily Masonic in nature, and is primarily derived from practices
of the Eastern Orthodox Churches. They believed the True Mysteries of the Eucharist were so holy that
the laity were unworthy to view them in full. To this end, they constructed a device called the
Iconostasis. It was a large screen decorated with fine jewels, separating the Sanctuary, or High Altar,
from the laity. The screen had openings or sliding doors in certain places, and at particular points
throughout the consecration process, the Priest would display the host to the congregation. According to
the 88° of the Rite of Memphis (Grand Elect of the Sacred Curtain), the Iconostasis was of Egyptian
origin, also passing into Greek worship of Apollo and the Eleusian Mysteries. Masonically, it represents
the distinction between the exoteric and the esoteric.
Resurrection, though not considered a part of Masonic dogma, is symbolized in several degrees. It
found its way into Masonry by way of the Romans, through the Greeks, from the Egyptians in their
Mysteries.
The Priest then offers the elements up our Lord and Father the Sun, in his name "ON." According to
Albert Mackey, a prominent Masonic historian, it is the name of a city in Lower Egypt known for solar
worship.
The ceremonies of some higher degrees of Masonry include a "Communion of the Brethren,"
consisting of a consecrated bread and wine. This communion attested to their sincerity of the offering
and renewed their covenant of friendship.

VII
Of the Office of the Anthem
This section of the Mass is adapted from Crowley's play, "The Ship." It is an excellent retelling of a
particular Masonic drama, and can yield great stores of information if properly investigated. In this play,
the main character is murdered through treachery, and is resurrected after a manner. Following the
"resurrection," this character consecrates and partakes of a sacrament. He then invokes the Lord of
Mystery with the "Tu Qui Es..." which is more commonly known as the Anthem of our Mass.
This Anthem is rife with symbolism, running the gamut from Sexual to Masonic to Rosicrucian. All
of it can be summed up in the concepts of balance and harmony: the union of opposites, the 0 = 2
formula, et cetera. It is symbolized among Rosicrucians by the Rose and Cross, and among Masons by
the Square and Compasses. It is symbolized in the Scottish system as the Double-Headed Eagle, and
among us, to an extent, as Baphomet.
In some systems, the Ash refers to Yggdrasil, concealing the sacred and secret capitol city of the
Norse Gods. Of its three roots, one is in the realm of the Giants (concealing the wellspring of Wisdom),
one is amongst the Gods (Beauty), and one covers Hell (Strength, or Lust).
 VIII
Of the Mystic Marriage and Consummation of the Elements
The Priest blesses the elements. He arouses them. Then he and the Priestess create the Sacrament. In
keeping with the nature of the Anthem, as well as with the majority of the ceremony, the Serpent and the
Lion are thrice invoked.

The Priest and the People declare the Law to one another. The Priest consumes the sacrament,
declares godhood, and invites the People to do the same. The Deacon marshals them. In the Masonic
process of voting on a prospective candidate, the "whiteball/blackball" scenario, the Senior Deacon
marshals the voting members. It seems such a minor point to bring up after what has been going on, but
it is, after all, a Masonic similarity.

All Masonic meetings and initiations close with a benediction, invoking the blessing of Heaven, and
reaffirming their fraternal ties to one another. The benediction ends with the word "Amen," the reply to
which is "So mote it be!"

Abrahadabra
The Ending of the Words
It is my sincerest hope that you have enjoyed this little excursion down Mystery Lane. What
conclusions can be drawn? All we have done is look at this ritual from a sort of historical point of focus.
It is simply impossible to know whether any of this "symbolism" is necessary for today's context of our
wonderful central rite. One thing is certain however; here now is a ritual that holds a different meaning
for you than it did one hour ago. It has been opened to a wider perspective.

In researching this project, I learned a far more about the Mass, Masonry, and O.T.O. than I expected.
It is double the size I had intended it to be. If you are interested in further investigating this subject, I
highly recommend all of the resources utilized for my research. There were dozens of illuminating
tangents I could have examined, but neither space nor time permitted them.

Therefore in closing, with this work being complete, all I will say is:

ΑΥΜΓΝ ΑΥΜΓΝ ΑΥΜΓΝ

Resources:
Cagliostro, Compte de. Secret Ritual of Egyptian Rite Freemasonry. Kila. Kessinger Publishing, n.d.
Case, Paul Foster. The Masonic Letter G. Richmond. Macoy Publishing, 1981.
Corrigan, John, et al. Jews, Christians, Muslims. Upper Saddle River. Prentice-Hall, Inc, 1998.
Crowley, Aleister. The Equinox, Volume I; Number 10. York Beach. Weiser, 1993.
Crowley, Aleister. Magick ABA: Book IV. York Beach. Weiser, 1998.
Duncan, Malcolm C. Duncan's Ritual of Freemasonry. New York. David McKay Company, n.d.
Greenfield, T Allen. The Compleat Rite of Memphis. Marietta. Luxor Press, 1998.
Greenfield, T Allen. Hermetic Brotherhood Revisited. Marietta. Luxor Press, 1999.
Greenfield, T Allen. The Story of the Hermetic Brotherhood of Light. Beverly Hills. Looking Glass
Press, 1997.
Hutchens, Rex R. A Bridge to Light. Washington. Ancient and Accepted Scottish Rite (Southern
Jurisdiction), 1988.
Mackey, Albert G. Encyclopedia of Freemasonry. Chicago. The Masonic History Company, 1924.
Mackey, Albert G. The History of Freemasonry. New York. Gramercy Books, 1996.
Masonic Manual of Missouri, The. The Grand Lodge of A.F. and A.M. of Missouri, 1952.
Rituals of the Swedenborgian Rite of Masonry. Kila. Kessinger Publishing, n.d.
Waite, Arthur E. A New Encyclopædia of Freemasonry. Avenel. Wings Books, 1994.
Yarker, John. The Masonic Rite of Memphis. Kila. Kessinger Publishing, n.d.

Appendix: Masonic Lodge Diagram

 Tiamat
Upon the bitter salty seas
Primordial waters of manifestation,
It becomes apparent.

The Night has struck us with her hand.

Well then.
It is obvious when flying backwards.
But the ship moves from South to North towards light of no limits
Until the crew/builders are revealed,
Until the sky is visible.

Part the curtains,

That your eyes may fall,
Upon the abode of God/dess(es).

Associate with the guests of the sky,

For we are all within the ship,
For the ship is all without us,
Holding us in her belly,
Nurturing with her flesh

Soror Astra
 Rituals of the Polygrams:
Part One: the Triangle
Polygrams: an introduction
The subject of Polygrams can be confusing for a beginner. People seem to use
Pentagram and Pentacle interchangeably. One prominent member of the Golden Dawn
once showed me a piece of wood with a hexagram painted on it and told me it was his
Pentacle. The number of points doesn’t seem to matter to people and they will call a
variety of different figures Pentacles. The Greater Key of Solomon even has Pentacles that
don’t even have round shapes or points. The purpose of this book is to clear up this
confusion and give the practicing Ceremonial Magician rituals to invoke or banish the
energies of a variety of figures ranging from 3 to 9 points.
The first thing we need to do is define some terms. This will help clear up some
confusion as you read through the book. A Polygram is a star-like figure with 3 or more
points. The two most well known Polygrams are the Pentagram (5 points) and Hexagram
(6 points). But there are a variety of other Polygrams that have 3, 4, 7, 8, 9 or even more
points. Each of these Polygrams has a name, based on the number of points it has. These
names are derived from the Greek prefixes that indicate numbers and seen in table 1.

Table 1
Prefix Number Polygram
Propa 3 Propagram or Equilateral Triangle
Buta 4 Butagram or Square
Penta 5 Pentagram
Hexa 6 Hexagram
Hepta 7 Heptagram
Octo 8 Octogram
Nona 9 Nonagram or Einegram
Deca 10 Decagram
Dodeca 12 Dodecagram

Of course, if you wanted to use Latin prefixes you could call them Trigrams,
Quadgrams, Quintagrams, Sexagrams, Septagrams . . . etc. But most people are already
used to calling them Pentagrams and not Quintagrams, (besides, Sexagrams sounds like
you are sending them an escort) so I will stick with the more familiar terms that people are
used to.
A Panticle is a (usually) round disk with a figure inscribed or painted on it. The
Panticles found in The Greater Key of Solomon are an example of this. If that figure is a
Polygram, then the Panticle is referred to with its’ Greek prefix and the ending “-icle”. This
gives us Penticles, Hexicles, Heptacles, Octicles . . . etc.

Discussion

Each of the polygrams has a planetary correspondence. The equilateral Triangle or

Propagram is symbolic of the planet, Saturn. If you are a jeweler, then Saturn jewelry
should be made of lead. Saturn rules time and limitations of all kinds. Its’ color is black. The
secondary colors of Saturn are red and orange. It is also the planet associated with Binah
or the Goddess. For this ritual we are using this Saturnian influence to cleanse the ritual
space before the ceremony begins.
This is primarily a cleansing ritual designed for two people. It can be performed by
one person who first purifies with Water, then consecrates with Fire. The Triangles used are
the Water and Fire Triangles. The Water Triangle is an equilateral triangle that points
down. B The invoking Water Triangle is drawn by dipping your hand in the water and
flicking forward at the lower, upper left, then upper right points of the triangle. The Fire
Triangle is an equilateral triangle that points upward. A The invoking Fire Triangle is
drawn by swinging the censer forward at the upper, lower right, then lower left points of the
triangle. Both triangles should be in the same place. So the two people should watch each
other to make sure their triangles overlap.

The Cleansing Ritual of the Triangle

Person A is standing in the North holding a Cup of Water. Person B is standing in the
South holding a censer in which incense is already burning.
Person A walks around the circle to the East, while person B walks around the circle
to the West. Both people are watching each other and are careful to keep each other on
opposite sides of the circle from each other throughout the ritual. In the East, facing East,
Person A draws a Water Triangle B while Person B watches.
Both people walk ¼¼ the way around the circle so that person A is in the South facing
South while person B is in the North facing South. Person A draws a Water triangle B
while person B watches.
Both people walk ¼¼ the way around the circle so that person A is in the West facing
West while person B is in the East facing East. Person A draws a Water triangle B while
Person B draws a Fire Triangle. A
Both people walk ¼¼ the way around the circle so that person A is in the North facing
North while person B is in the South facing South. Person A draws a Water triangle B
while Person B draws a Fire Triangle. A
Both people walk ¼¼ the way around the circle so that person A is in the East facing
East while person B is in the West facing West. Person A draws a Water triangle B while
Person B draws a Fire Triangle. N Person A then Raises the cup and says:

Person A: “I purify with Water!”

Both people walk ¼¼ the way around the circle so that person A is in the South facing
North while person B is in the North facing North. Person B draws a Fire Triangle A while
person A watches.

Both people walk ¼¼ the way around the circle so that person A is in the West facing
East while person B is in the East facing East. Person B draws a Fire Triangle A while
person A watches. Person B then raises the censer and says:

Person B: “I consecrate with Fire”

The three points of a triangle represent the 3 Alchemical qualities of which the
universe is made: Sulphur, Salt and Mercury. These three qualities correspond to the trinity,
the triple Goddess, the 3 kinds of astrological signs, (Cardinal, Fixed and Mutable) the 3
chapters of the Book of the Law and lots of other Triplicities. If you were to compare these
qualities to the 4 Elements, Sulphur would correspond to Fire, Mercury to Air and Salt to
both Earth and Water. The symbol for Sulphur is like the symbol for Venus except it has a
triangle on top instead of a circle. t It is a Fire Triangle held up by a cross. The Symbol for
Salt is a circle divided in half horizontally. θ Here is a brief ritual for energizing the 3
qualities within your self.

Invoking Ritual of the Triangle

Part One
The Magician stands facing East. Raising his hand, he draws down the Saturnian
Cassiel“ l)ysk
energy vibrating: “Cassiel
Agiel" lz)z)
Continuing to draw down the energy, at his heart chakra he vibrates: "Agiel
Zazel" lz)z
Continuing to draw down the energy, at his base chakra he vibrates: "Zazel
(This should be done slowly in one motion without stopping)

Part Two
The Magician then draws an invoking Fire Triangle A and then draws the symbol
Aralim” Myl)r)
for Mercury S inside of it while vibrating: “Aralim
The Magician proceeds in a straight line to the South West and then draws an
invoking Water Triangle B and then draws the symbol for Salt θ inside of it while vibrating:
Tzaphqiel” l)yqpc
“Tzaphqiel
The Magician proceeds in a straight line to the North West and then draws an
invoking Fire Triangle A and then draws the symbol for Sulphur t inside of it while
vibrating: “YHVH Elohim Myhl) hwhy
YHVH Elohim”
The Magician proceeds in a straight line to the East (Thus walking in a triangular
formation) and repeats Part One.

Frater SMLH
Unseen Terror
Wind tears at trees,
And loosens hair,
Whistles on buildings,
Pushes you down the stair,
Blows away newspaper,
Turns pages of books,
Everyone fights it,
But nobody looks.
Soror Astra
 The Initiatory Rites of the Stand-up
Comedian in Primitive Society
Throughout the history of man there have been rites of passage, initiatory rites to
mark the stages of growth in men and women. These rites have been well published in
their various forms and metaphors for tribal cultures, holy men and magicians and
shamans but no one talks of the dark rites of the Hurling of the Tomato, also known as
the Comedian Mysteries by the ancient Cretins.
The metaphors used by the mysterious elite of Comedians shows the lasting depth of
these ancient rites. When a Comedian is doing good he "kills", he’s "slaying ‘em"...but when
he does badly he "bombs", he’s "dying". This was announced by the much heralded Hurling
of the Tomato, symbolizing "stoning", as in the stoning of Saint Paul (a well-known,
although controversial ancient stand-up comedian). As the hail of tomatoes find their
target it appears as if wounds are being inflicted upon the Comedian, as bright red runny
explosions erupt all over his body and all around him, thus furthering the deep symbolism
of ritual death. As the curtain quickly falls representing the shroud that covers the dead,
he waits in darkness, the darkness of his torn ego, the wretched catcalls and heckles of
his tormentors and murderers just beyond the shroud slowly dying down to silence, as the
Comedian stands in his seed-ridden baptism of tomato-stuff.
However the next stage in the initiation and growth of the Comedian begins as while
dwelling in his underworld hell of a shattered ego, he begins stripping away his crappy
material which creates his armor, his facade and his weaponry, writing better material to
prepare for the slow climb out of the underworld of darkened bummed out existence.
Until the Comedian again stands behind the curtain which is now no longer the shroud but
the veil of ascension and it is lifted so he may face the light again.
Unfortunately the Comedian Mysteries have all but died out. There was a brief
attempt at a revival of the Hurling of the Tomato by Frater Fozzie Bear but it never
seemed to catch on. The young comedians of today’s society sorely need their initiatory
rites to mark their growth and progress. If you are in one of the clubs tonight like
Giggles, Yuk-Yuks, Brew Ha-Ha, etc...or if you see a comedian walking down the street,
show your understanding and support of their ancient craft and it’s lost rites and hurl a
nice fat beefsteak tomato.
Headshots are 50 points.
-Runemoose The Terrible
Emperor of the Wholly Roamin’ Empire
 Warning
O Lady! Guard well your temple,
Let not the vulgar pass!
The little brown mouse is gentle
And will not scratch.
For if your red chamber,
Is damaged by the violent,
The only one pleased
Is the client.

Soror Astra
 From the Master
BAGH-I-MUATTAR
or
THE SCENTED GARDEN
OF ABDULLAH THE SATIRIST
OF SHIRAZ
XL. The Namings CH. Ha 8
My member retardeth his ejection [244] in thy podex,
prolonging our pleasure; he is the first therein
and the last, like Israfel [245] among trumpeters,
assuaging thy desire.

My member manifesteth himself erect and beautiful

and concealeth himself forthwith in thy podex; for he
is the fosterer of all thy beauty, like an harlot attiring
herself, assuaging thy desire.

He is the tallest of all members, and charitable toward

thy podex; he turneth the heart of thy podex to him,
and avengeth Sodom [246] therein, pouring down a rain of
pearly dew, yet hotter than flame, like ambergris upon
the ocean, assuaging thy desire.

[244]
The Vindu-Siddhi, power of retaining the
semen, is one of the most interesting and
important branches of Hathayoga, the Hindu
"Physical Culture".

The following from the Shiva Sanhita,

concerning the Vajroli Mudra, affords an
adequate example of the method and aim.

53. Actuated by mercy for my devotees, I shall now

explain the *Vajroli Mudra*, the destroyer of the
darkness of the world, the most secret among all
the secrets.
 54. Even while following all hiss [sic??] desires, and
without conforming to the regulations of Yoga, a
householder can become emancipated, if he practices
the VAJROLI-MUDRA.

55. This VAJROLI-YOG practice, gives emancipation

even when one is immersed in sensuality; therefore
it should be practised by the Yogi with great care.

56. First let the talented practitioner introduce into

his own body, according to the proper methods, the
germ-cells from the female organ of generation, hy [sic]
suction up through the tube of the *meatus urinarius*;
restraining in his own semen, let him practise
copulation. If by chance the semen begins to move,
let him stop its emission by the practice of the
YONI-MUDRA. Let him place the semen on the
left hand duct, and stop further intercourse. After
a while, let him continue it again. In accordance
with the instructions of his preceptors, and by
uttering the sound *hoom*, let him forcibly draw up
through the contraction of the *Apana Vayu* the
germ-cells from the uterus.

57. The Yogi, worshipper of the lotus-feet of his

Guru should, in order to obtain quick success in
Yoga, drink milk or nectar in this way.

58. Know semen to be moon-like, and the

germ-cells the emblem of sun; let the Yogi make
their union in his own body with great care.

59. I am the semen. *Sakti* (the goddess) is the

germfluid [sic??]: when they both are combined, then
the Yogi reaches the state of success, and his body
becomes brilliant and divine.

60. Ejaculation of semen is death, preserving it

within is life; therefore, let the Yogi preserve
his semen with great care.
 61. Verily, verily, men are born and die through
semen; knowing this, let the Yogi always practise
to preserve his semen.

62. When through great efforts success in the

preservation of the semen is obtained, what then
cannot be achieved in this world? Through the
greatness of this preservation (i.e., through
celibacy) one becomes like me in glory.

63. The vindu (semen) causes the pleasure and pain

of all creatures living in this world, who are
infatuated, and are subject to death and decay. For
the Yogi, this preservation of semen is the best of all
Yogas, and it is the giver of happines. [sic??]

64. Though immersed in enjoyments, men get powers

through its practice. Through the force of his practice,
he becomes an adept in due season, in his present life.

65. The Yogi certainly obtains through this practice all

kinds of powers at the same time enjoying all the
innumerable enjoyments of the world.

66. This Yoga can be practised along with much

enjoyment; therefore the Yogi should practise it.

67. There are two modifications of the VAJROLI,

called Sahajoni, and Amarani. By all means let the
Yogi preserve the semen.

68. If at the time of copulation, the vindu is forcibly

emitted, and there takes place an union of the sun
and moon, then let him absorb this mixture through
the tube of the male organ. This is Amarani.

69. The method by which the vindu on the point of

emission can be withheld through YONI-MUDRA,
is called Sahajoni. It is kept secret in all the
Tantras.
 70. Though ultimately the action them [sic] (*Amarani*
and *Sahajoni*) is the same, there are arisen [sic]
difference owing to the difference of nomenclature.
Let the Yogi practise them with the greatest care
and perseverance.

71. Through love for my devotees, I have revealed

this Yoga; it should be kept secret with the greatest
care, and not be given to everybody.

72. It is the most secret of all secrets that ever

were or shall be; therefore let the prudent Yogi keep
it with the greatest secrecy possible.

73. When an [sic] then time of voiding urine, the Yogi

draws it up forcibly through the Apana-Vayu, and
keeping it up, discharges it slowly and slowly; and
practises this daily according to the instructions of his
Guru, he obtains the *vindusiddhi* [sic] (power over semen),
that gives great powers.

74. He who practises this daily according to the

instructions of his Guru does not lose semen, were
he to enjoy a hundred women at a time.

75. O PARVATI! When *vindu-siddhi* is obtained,

what else cannot be accomplished? Even the
inaccessible glory of my godhead can be attained
through it.

[245]
The angel to whom is allotted the duty of
sounding "the last trump".

[246]

Sodom -- a legendary city, said to have

been destroyed by a volcano. But it has a
mystic meaning. It is spelt [final mem,
daleth, samekh??] in hebrew, signifying by
the secret keys of the Kabbalah Temperance
(turning a man) from pleasure to
Self-Sacrifice. (Erroneously read by
Zahids as follows: the angel Metatron
bestowing upon Indulgence condign
Punishment). I doubt though if el Haji
knew all this.*EE

*EE
Nonsense, the Angel of the Key of [samekh]
is Sandalphon, not Metatron, and is of
Reconciliation. Even a Zahid would surely
know this. The true key to its meaning
is its value 104 = 8 x 13, and therefore
its interpretation of the number 8, since
13 is only the basic unity. Now 8 refers
to [cheth] the Chariot and Abracadabra.
Perhaps the two Sphinxes which the
Charioteer drives are the symbols of the
two sexes which he enjoys, even as the
Sphinx is the Deification of the bestial,
and therefore an apt Hieroglyph of the
Magnum Opus.

Sir Aleister Crowley

 1993

Where am I?
Everything seems hazy and clouded.
Who am I?
Why can't I see?
The ether smells acidic laced with sulfur,
the ground moist, blanketed with moss
except for a circle of blackened grass.
What is grass, acid or ether?
Who am I?
Vision is blurry, unfocused.
What is vision?
Where am I?
Look around.
A blasted willow tree behind me,
the drooped canopy still smoldering,
dripping with rain.
Tree, forest, outdoors, rain-got it.
But who am I?
Some form of ID.
what's id?
Identification.
driver's liscense, Social Security card.
What is liscense or SS?
Remember-will, focus, direct.
Pockets, clothes - I'm dressed
check for a wallet.
Found-several pieces of worthless green paper,
with smaller pieces of hard paper slid inside.
Plastic cards within a leather skin.
A name, find a name!
Who the hell am I!?
What is hell?
And why can't I remember anything!?
Finally, an image with scribbles, writing, words-I can read!
Feel face to compare with image.
Yes, raise it closer to finally see.
That's me!
I was,
I am Will,
William!

EDD
 I AM FREE

I AM FREE from man's law,

I AM the Star,
in the World but Not of It.
No Man can control me.
I AM FREE from anal commands and moral hypocrisy.
I AM FREE to experience anything that incurs
merit to my own moral and ethical beliefs.
My beliefs are those of the Ancients,
those who have carried the burden of
Truth and the Sacred Law.
They have suffered for my sins;
They have endured for my betterment;
They have died for my chance at Re-Birth.
I Shall Endure til the end, Perdurabo,
like my Master before me.
I shall rise before the dawn and become
the Son of Light, that witch follows Darkness,
Aye O, that witch follows Darkness, preceding Dawn.
I AM Heylel ben Shachar,
Son of the Dawn, Lord of Darkness, Lucifer.
I AM the Star that shines in the night sky,
Ever shining through the light of day
to be Reborn in the dusk, the night.
I have been at the heart of truth since
the Dawn of Time, and I will be present
through all the ends and inceptions of
Cumming Aeons.
Some will curse me, some may suppress me,
but I AM ever diligent,
Ever shining in the hearts and
Above the heads of Man.
635
 Ask Mr. Lizard
(Answers and opinions put forth in this section are not to be seen as official and/or written
in stone. I have tried to keep my responses limited to one paragraph so as not to ramble
profusely and cloud the explanation. Please also keep in mind the tongue-in-cheek nature
of some of my responses, nothing is sacred to me. Questions, comments, and curses for
future installments can be forwarded to WLLM___@excite,com)

Why do Thelemites say 93?

Book 837 (The Law of Liberty) gives an inspiring answer to this question, yet its
purple prose might loose some folks. As a verbal opening and closing salutation it
is short for "Do what thou wilt shall be the whole of the Law." and "Love is the law,
love under will.". In written correspondences the latter is given as 93 93/93. But
why 93? If it was not for this number the earth could not exist, Besides it being
symbolic shorthand of the Thelemic salutations, it is also the number of miles in
millions from the sun to earth. Any closer or farther life would not exist. 93 is also
the numerical value of Thelema and Agape - Will and Love. One could just as well
use these for salutations, but 93 is standard and gives you something to talk about.

Who was Jack Parsons?

It both disheartens and exhilarates me each time this question is asked. In my
mind John was the epitome of what it means to be a Thelemite, and a man. How
many people do you know able to put these on their resume: a Caltech scientist,
co-creator of Arroyo Seco (later Jet Propulsion Laboratory) in Pasadena with
Theodore von Karman, a crater on the dark side of the moon named for him, one
time Master of Agapé Lodge, Magister Templi Belarion, unbeknownst contributor to
LRH's Church of Scientology, and self proclaimed Antichrist to name just a few.
Born John Whiteside Parsons October 2, 1914 in L.A., he would meet an untimely
death Tuesday, June 17 1952 after supposedly dropping a vial of mercury
fulminate. John did not die instantly: his wounds being the lower left thigh and arm
torn away, plus the left side of his face. The same day his mother killed herself with
pain/sleeping pills. As you can see from the short list of accomplishments and
injuries above, one paragraph could never do this man justice. I suggest doing
personal research to draw your own conclusions. A few references to start with:
Freedom is a Two Edged Sword, Sex and Rockets, www.babalon.net, and
http://www.orlingrabbe.com/jack_parsons.htm.

What is "Virgo Intacta"?

This was translated not from Greek initially but from Latin. Remember that
damned Jerome translated/bastardized the material with his own ideological
agenda, c.i.p. the vilification of Bishop Lucifer. Mary was actually Virgo=any young
woman vs. Virgo Intacta=literal virgin, hymen intact. If it were Hebrew we would
have almah vs. bethula, but it’s the vulgar Latin. Crowley's wording, “actually Virgo
Intacta”, automatically brings up christianity's parthenogenesis myth’s incorrectness.
Did AC mean for us to notice this chink in christianity’s armor or waste our time
searchin’ fur virgins? Practically it is unimportant as most novitiate Priestesses fall
into the category “specially dedicated” or Sister. Be it vestal virgin, sacred
hierodule, sworn hoor, virgo, sister, or soror; as long as she’s a Minerval and wills
to participate she has the right. Nay, the duty!

What happened to Uncle AL’s ashes?

I’ve been asked this question several times, the most reliable explanation coming
from an article by the late Hymenaeus Alpha in the O.T.O. Newsletter Volume I, No.
2. In short, Sascha Germer threw his ashes at the base of a tree in their Hampton,
New Jersey front yard, dubbed the Aleister Crowley tree! I can imagine AC sitting in
his laughing Buddha pose from the Tao Te Ching guffawing at this joke of Pan.
Hopefully the irony of The Poet from Konx Om Pax will not be lost on you.

"Bury me in an nameless grave!

I came from God the world to save.
I brought them wisdom from above:
Worship, and liberty, and love.
They slew me for I did disparage
Therefore Religion, Law, and Marriage.
So be my grave without a name
That earth may swallow up my shame!"

Frater WLLM
 I Did Not Come Back
A year has gone by
since making that fateful cry
shunning death;
"I'm not done yet!"
Why did I stay,
denying that beautiful musick and light?
Because I had to say
It was worth being right!
Everyone cries MA on their deathbed,
Its how you complete the Word that ma'atters.
I have had it with hiding,
it is finally at an end.
When I regain the use of my arm and hand,
that success will be my proof!

I did not come back

to hide behind purple prose,
but those who read cannot see beyond their nose.
Do your Will, for none is the same.
Do not point fingers for yOur self is to blame.
The true Prince of Peace preached compassion;
salvation for all, none achieving the Passion
until all were aboard.
Earth and heaven are both abhorred!
I am not Buddha, though I do not sleep.
Curse them, all the damned sheep!
The vice of kings!?
So is syphilis and incest,
but witch is best?
Wake up!!!

I did not come back

to baby sit or catch projected flack
from those who should no better,
or bitch and whine
to good people as you.
But the bickering and squabbling
must soon be through.
 I am the spirit and the letter.
Watch each others back,
do not plunge in daggers.
Do as I say not what I do,
as every parent says.
Do as I
your existence would be through.
If fighting doctors and bureaucratic red tape
is not enough to test my resolve,
then these problems too my guidance will solve.
Though the battle rages on every front,
above and below, the only answer I know
is that the seed of love We must sow.

I did not come back

to be in this position,
but I will not shirk my mission.
Reality, illusion, pain, anger, and fate
have merged as their nebulous lines
reveal my repressed hate
and greatest fear,
pushed further and farther with every year.
I am not perfect, though I try
with every breath
as Prometheus I daily D.I.E.
Denying you my old friend,
knowing the truth of death.
I will speak with you again,
my only God Emeth!

Frater WLLM
 RaViews
BOOKS

Slavic Sorcery
Kenneth Johnson, Llwellyn Publications

This is a book of both positive and negative qualities. The fact that this book is currently
out-of-print and a collectable for beginning Slavic sorcerers says many mixed messages as well.
The well-read kolduni (Slavic sorcerer) will find this book a big disappointment. It is written in
narrative style, telling of Johnson's journey to Russia to do research for his book. He comes without
knowledge of the language, but meets friendly contacts that introduce him to influential Slavic
healers and spiritual teachers.
Mostly the book follows the course of his journey and his dealings with the people of
Moscow and the nearby forests, and if something reminds him of an ancient practice then he
basically quotes that reference from its source. Needless to say, if you are looking for old traditions
you don't need this book if you have already read "The New Larousse Encyclopedia of
Mythology" and "Mother Russia,” both books which are readily available at your local library.
However it is a valuable source to understand the modern practices of Russian kolduni, for
"Slavic Sorcery" contains the last English interviews and instructions of the late healers Natasha
Sviridova and Dr. Vadim Polyakov, as well as the earth magick teachings of Vladimir Antonov.
Sadly, the book ends its mystical journey not with a bang but a whimper. Johnson goes to
Amsterdam to remember his days as a hippy, and then has a layover in Minnesota where he
realizes that the ground he walks on is the decomposed remains of his ancestors (DUH).
This book can be found on Amazon.com and will be a treasure for someone who is has
just begun to study Slavic Magick, but is less of a treasure for everyone else.
Dottie Parker

A Russian Herbal: Traditional Remedies for Health and Healing

Igor Vilevich, Healing Arts Press

This book is the first published, in the West, to tackle Russian ancient tradition, and modern
herbal medicine. It being the first in the West, I must declare it is also the best in the West. Observe:
All the herbs in this book have been thoroughly subjected to the tests of militant Soviet scientists;
but that isn’t to say it doesn’t include folk wisdom. This book can be used as a substitute for that
Russian grandmother, that people of non-Russian descent don’t have. Baba’s roles are fulfilled
through this work with its history, and directions for collecting, drying, and using herbal materials.
The book also gives great detail about the Russian herbalist’s secret water banya treatment. This
method uses steam to dissolve substances lying deep in the plants.
One will also find detailed information on many herbs native to Russia. Some of the
language describing herb usage is only discernable to Grandpa Simpson (“I need a carminative!”).
Lucky for you, there is a glossary. Now you can know the meaning of words like: cathartic, diuretic,
vermifuge, spasmodic, and hydragogue. You never know when such knowledge may come in
handy.
 The reader is also given delightful recipes to cure illnesses like constipation, diabetes,
asthma, colds, varicose veins, and pneumonia. There are recipes for common mental illnesses like
hysteria, fear, and neurosis. Test those out on someone you don’t like first…
Sadly, these recipes bring me to my one and only criticism. Some herbs in the recipes
aren’t commented on in the individual herb section. Granted they are popular plants, motherwort
and mugwort, however, Igor shouldn’t use them in the majority of recipes, and not describe what
the scientists and old wives found about them.
This mistake will be forgiven, because the rest of the book is supreme. In its 250 pages I
have learned more about herbs than in any other book. Igor, I say to you: “Hats off!”
Dottie Parker

City Magick
Christopher Penczak, Weiser Books

Within the pages of City Magick, Penczak has put together a fresh take on magick for the
(sub)urbanite. He engages the reader in an exploration of new symbolism for the material plain.
Penczak discusses symbolism in places like the subway, on airplanes, and at streetlights. He
also lists magickal attributions for city beasts such as squirrels and dogs. Also this book lists herbs
easily found in the grocery store. I know, I know, you can get all that from any one of Silver
RavenWolf’s books, but if you use this book, at least you won’t be using one of her books.
Penczak also gives ideas about creating altars using symbols of human championship over
nature, like your TV or Christmas lights. This may sound funny to the traditional, but resonates
strongly with some discordians. Sadly, City Magick isn’t that great a book. You could get the
benefits of it simply by flipping through it at Borders. Don’t buy this one, borrow it from someone
you know who was fooled by the nice cover.
Dottie Parker

MUSICK

Toxicity
System of a Down

Finally, just when I thought modern music had devolved into Britney, boy bands, and crap
(oops, I mean rap) the Down perked my ears up. Dubbed Nü Metal by Spin magazine, these
boys break the typical metal mold by not stealing their riffs and sound straight from an old
Metallica album. On top of that their lyrics are quite good, reminiscent in some ways of Neil Pert’s
philosophizing. To show my age even more track 7, Bounce, seemed as if it were written by
Oingo Boingo’s Danny Elfman on speed. For those who are lost by these old school references
track 8, Forest, could possibly become the theme song for the annual Crowley convention at
Boleskine!
AL ‘n AL, hearing is believing. But don’t take my word for it. Add Toxicity to your CD
collection and enjoy as I have. To wrap up this little raview I’ll leave you all with a few lines from
the group’s most air played ditty, Aerials, to whet your whistle: Life is a waterfall, We’re one in the
river and one again after the fall.
WLLM
 The Meditation and Recitation Of The Great Compassionate One
Rime Buddhist Center Monastery & Tibetan Institute of Studies

Voted number one place in KC to meditate by The Pitch Weekly, this CD of their Sunday
Service easily shows why. Professionally produced and all digitally recorded, it includes chants,
music, a guided meditation, plus complete text of the Service. If this was not enough, the CD has
additional chants in the original Tibetan by resident monk Jigme-la. To find more about the Rime
Center and how to order this wonderful CD, visit www.rimecenter.org or call 816-471-7073. You
will not be disappointed.
WLLM

PLAYS

Macbeth

Within the depths of the Corinth strip mall (Somerset & Mission) Shakespeare bubbled out of
the cracks, though there appeared to be a slight bit of toil and trouble. Director John Vivione's
production of Macbeth left the audience with a sense of bittersweet enjoyment. The costumes
made use of clothing that most freaks have in their closets: black dresses, hooded capes and
military jackets. This was good and gave a less archaic feeling to the classic tragedy. The set was
made minimalist style (my favorite), and made use of artifacts that most wiccans have in their
homes, chalices, a big plastic cauldron, sword-dagger hybrids, and tap lights. Before the play
began and I saw the symmetrically placed tap lights on stage I was at first regretting the nine
dollars tickets; however, they were used quite effectively by the three witches, and proved useful
because of their easy mobility.
Vivone also took a risk with cutting down, and even cutting out certain scenes to make the
play run faster. However, the butchering left the audience happy to make it home at a decent time.
But if a rare person were listening to Shakespeare's words for the plot then, they would have been
left with great gaps. The cut out parts were made up for by the addition of a comical narrator
character that looked like Ebenezer Scrooge (played by Kevin Eib), who would harass the
audience for brief moments. This character's humor lightened the tragic overtones of the play,
making it more enjoyable for the ADHD afflicted audience of the twenty-first century.
The only thing that perturbed the viewer was the anti-climatic acting of a few actors. Some
of the most suspenseful parts lost all their feeling because the actor didn't appear to know the
meaning of what he said. This was seen in Mac Duff, played by Rick Mendoza. Though Mendoza
was trying very hard he did not put himself totally into the emotions of his character. When he
discovered the King dead he lacked a lot of the anger and grief that a loyal subject would have,
and it threw the scene's feeling off balance. To make it worse the competent acting of Jeff
Hershberger (who played Macbeth) was ruined by the Porter (Shannon Butler) fake vomiting in the
background.
Also there seemed to be some confusion on lines. While Macbeth described murdering the
king to his wife, Lady Macbeth (played by Kendra Keller), the witches were off stage chanting in
breathy voices "Stay no more," instead of "Sleep no more." They didn't realize their error till halfway
through the scene. However, Kevin Eib and Kim Watt made up for the minor failings of the rest of
the cast.
Eib played the narrator, a witch, and MacDuff's son. The costume changes from Ebenezer
Scrooge incarnate, to Drag Queen Witch, to little boy must have been murder, however he didn't
miss a cue. He also played each character with such skill you believed he was actually three
different people. He was clearly a man of much training to walk and speak like an old man then
dance convincing like a sexy woman five seconds later. And for being in his mid-twenties, he was
the most convincing six-year-old child I have ever watched on-stage.
Kim Watt showed herself to be one with a wide range of dramatic skill as well. She would
one minute be a power hungry witch casting spells on a sailor then the next moment a
submissive servant of Lady Macbeth, then the worried mother of little Fleance, knowing she was
about to be murdered. She made each character's personality distinct from the one that preceded
it with body language and voice. This made it possible for her costume changes to be only slight
additions of acesesories. Though, fashion aside, her portrayal of the submissive Gentlewoman
was so convincing that you felt the desire to call a shrink for her, not for Lady Macbeth.
This play overall was good, and makes you want to keep an eye on Cinnamon Eye
Productions. They can create a play with innovation, and with actors and actresses who will make
the most of their part(s), most of the time.
Dottie Parker

The Tell Tale Heart

This production started with Crowley’s play based on Edgar Allen Poe’s story of the same
name, but the players thought it was too short for a stand-alone production. After toying with the
idea of performing it along with two other short Crowley plays, the director finally decided to rewrite
the play and add extensive material from the original story to be narrated by a new character,
Jack’s older self. Old Jack personified the darker insane side of him while at the same time spoke of
his regrets over the events of the story. Since this was Heru Behutet Oasis’ first play production, it
took longer than most plays to get off the ground. During this time, many of the actors were
replaced. One of these substitutions had a tremendous impact when the person playing Old Jack
was replaced with a female actress who gave a far different spin to Jack’s dark side. Then, when
the person playing the victim, Meyer, dropped out a brilliant solution was found to save the
production. It must be seen to be believed.
The performance took place at Gorilla Theater’s Ape House in Kansas City, Missouri.
Videotapes are available from Heru-Behutet Oasis OTO, proceeds of which help fund Heru
Behutet’s meeting space. See the ad elsewhere in this publication.
Frater SMLH

What others had to say of The Tell Tale Heart:

Robert Paulson of Lee John Press exhaled, “The actor known only as BUD gave the most realistic
performance I’ve seen since Yoda!”

“I would stand outside to see this play, especially the naughty narrator.” confided several.

pope Fluffer ov GOD (Generic Order ov Discord) sayd, “Gillian Anderson’s first post X files
performance was riveting and arresting as she also doubled as director.”

“His gaily grin will grab your heart!” chanted two of the audience over the insane yet mesmerizing
Jack Adams.

“Martin’s voice seemed like it came from beyond.” Jon Parsons, OT5 COST (Crutch of
Scienwhoseatoology)
Many hailed, “The special effects provided by EBC were amazing, the storm created outside
added a real sense of foreboding.”
 add-vir-tiz-mints

This is where We try to hoc Our wares to support the local Thelemic Community. All proceeds
(except the AstroLife Readings) help fund future issues of Talons , the rental of Ivanhoe Masonic
Lodge for Gnostic Masses and classes, plays, plus any other endeavor to promote Thelema in the
Heartland. To order write Heru Behutet Oasis P.O. Box 47057,
KC MO 64118-7057 or e-mail OTO@behutet.com.

The Talons Anthology

$5.00
Want to know where We've been? Before I became edditor of Talons, Frater MSNV was at the
helm and produced some amazing Work. In one CD you will get:
Volume I, Number 1 Inaugural Issue
Volume I, Number 2 Academiae
Volume I, Number 3 The Rights of Man
Volume II, Number I Dispelling Myths
 The Tell Tale Heart
$10.00
Missed Behutet Theatre Company's first play production, or want to watch it over and over again
in your own home? Well now you can with this VHS tape. Hél, buy two! Check out Our RaViews
page to see what others had to say about the live performance before plunging into your wallet.