This is a quick look at the story and symbolism of Lilith. Is she the true representation of evil and impure forces in the earth realm? Is she the siren, the succubus, the seductress? Is she what causes men and women to defile themselves, so that they may live again on earth? We aren’t sure… But it’s an interesting question.
Lilith appears in the Bible, in the Book of Isaiah 34:14, which describes the desolation of Eden. From the beginning, she is considered as a devilish spirit, unclean, and dangerous. The Genesis Rabbah describes her as the first wife of Adam. According to the book, God created her and Adam at the same time. Lilith was very strong, independent, and wanted to be equal with Adam. She did not accept being less important than him and refused to lie beneath Adam for copulation. The marriage did not work and they never found happiness. As Robert Graves and Raphael Patai wrote in the book The Hebrew Myths:
”Adam complained to God: ‘I have been deserted by my helpmeet’ God at once sent the angels Senoy, Sansenoy and Semangelof to fetch Lilith back. They found her beside the Red Sea, a region abounding in lascivious demons, to whom she bore lilim at the rate of more than one hundred a day. ‘Return to Adam without delay,’ the angels said, `or we will drown you!’ Lilith asked: `How can I return to Adam and live like an honest housewife, after my stay beside the Red Sea?? ‘It will be death to refuse!’ they answered. `How can I die,’ Lilith asked again, `when God has ordered me to take charge of all newborn children: boys up to the eighth day of life, that of circumcision; girls up to the twentieth day. None the less, if ever I see your three names or likenesses displayed in an amulet above a newborn child, I promise to spare it.’ To this they agreed; but God punished Lilith by making one hundred of her demon children perish daily; and if she could not destroy a human infant, because of the angelic amulet, she would spitefully turn against her own.”
The image of a recumbent Shiva lying under the feet of Kali represents Shiva as the passive potential of creation and Kali as his Shakti. The generic term Shakti denotes the Universal feminine creative principle and the energizing force behind all male divinity including Shiva. Shakti is known by the general name Devi, from the root ‘div’, meaning to shine. She is the Shining One, who is given different names in different places and in different appearances, as the symbol of the life-giving powers of the Universe. It is she that powers him. This Shakti is expressed as the i in Shiva’s name. Without this i, Shiva becomes Shva, which in Sanskrit means a corpse. Thus suggesting that without his Shakti, Shiva is powerless or inert.
Kali is a particularly appropriate image for conveying the idea of the world as the play of the gods. The spontaneous, effortless, dizzying creativity of the divine reflex is conveyed in her wild appearance. Insofar as kali is identified with the phenomenal world, she presents a picture of that world that underlies its ephemeral and unpredictable nature. In her mad dancing, disheveled hair, and eerie howl there is made present the hint of a world reeling, careening out of control. The world is created and destroyed in Kali’s wild dancing, and the truth of redemption lies in man’s awareness that he is invited to take part in that dance, to yield to the frenzied beat of the Mother’s dance of life and death.
’Send My Love (To Your New Lover)’ is taken from the new album, 25, out now. http://adele.com
Norman Greenbaum (1969). Remastered, double-layered with various effects added by myself to the original hit ‘Spirit in the Sky’, this song has never sounded better and it’s the best quality you’ll hear.. enjoy..
Angelo Badalamenti (born March 22, 1937) is an American composer, best known for his work scoring films for director David Lynch, notably Blue Velvet, the Twin Peaks saga (1990–1992) and Mulholland Drive. Badalamenti received the 1990 Grammy Award for Best Pop Instrumental Performance for his “Twin Peaks Theme”, and has received a Lifetime Achievement Award from the World Soundtrack Awards and the Henry Mancini Award from the American Society of Composers, Authors and Publishers.
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The magazine The Economist published an issue named “The World in 2015″. On the cover are odd images : A mushroom cloud, the Federal Reserve in a game called “Panic” and much more.
I wouldn’t normally dedicate an entire article analyzing the cover of a publication, but this isn’t any publication. It is The Economist and it is directly related to the world elite. It is partly owned by the Rothschild banking family of England and its editor-in-chief, John Micklethwait, attended several times to the Bilderberg Conference – the secretive meeting where the world’s most powerful figures from the world of politics, finance business and media discuss global policies. The outcome of those meetings is totally secret. It is therefore safe to say that the people at The Economist know things that most people don’t. For this reason, its “2015 prediction” cover is rather puzzling.
The 2015-themed cover basically reflects the overall Agenda of the elite and is peppered with cryptic symbols that appear to be included for “those in the know”. And the masses, like Alice watching the Cheshire Cat disappear, will focus on illusions while the wolf in sheep’s clothing will strike … and strike hard.
The entire estate was drenched in opulence and extravagance. It was built in the late 1800s by Whitaker Wright, a shady businessman who was convicted of fraud after many years of floating bad loans and swindling investors. In 1904, he took his own life via cyanide pill on the day of his sentencing.
Ancient jewels, coins and caskets that are hundreds of years old sit at the University of Amsterdam’s archaeological Allard Pierson Museum. They had been discovered in Crimea and show the richness of the peninsula in the Black Sea.
The exhibition opened in February, when Crimea belonged to Ukraine. In the meantime, however, Russia has sent troops to the peninsula, a referendum was held, and Crimea has seceded from Ukraine and joined Russia.
As both Moscow and Kiev claim the ownership of the items, the Amsterdam museum finds itself caught in a diplomatic dispute. The “cold conflict” over Crimean gold is in of itself a proxy fight amid the ongoing crisis between Russia and the West.
In a few days the exhibition ends, but the Dutch curators have said they are unsure where to return the gold.
Museums on both sides have hired lawyers to solve the problem, and the Dutch ministry of foreign affairs is involved. Meanwhile, Russia, too, has declared its support for Crimea and hired an international law firm. “I am very hopeful that our counterparts in the Netherlands will approach the matter from the viewpoint not of petty politics but that of the law,” said Russian culture minister Vladimir Medinsky, according to media reports in July. He accused Kiev of shifting the issue into the political domain.
The ancient gold, coins and caskets from the Black Sea have become just the most recent delicate matter in what has become a “cold conflict” between Russia, Ukraine and the West. Especially for the Netherlands the dispute over the cultural heritage complicates relations with Russia.
