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VOODOO GIRL MARILYN MUNSTER BUNEA: The Twenty-Sixth Spirit is Bunea (or Bimea or Bima). She is a Great and Mighty Duchess. She appears in the form of a young blond haired Lolita whom looks like Marilyn Munro. She will communicate that her family originally came from Transylvania whose Munster heraldry depicts a Dragon and a Gryphon on either side of a shield depicting her sign, which to also have a Dogs head atop of a black Knights helmet.

Her family had emigrated to America, but they still have their roots in England and Eastern Europe whom remember the old ways. One can often find her frequenting graveyards as her haunt of a playground while to hang out smoking Hashish or to be seen within vivid Visions assuming nigh impossible contortionist poses. She will sometimes pose for her Master of an Artist when he to trance since she also inspires automatic-painting. She is very much into Voudon, Necromancy and Spiritualism of which she teaches much and speaks with a high and comely voice. She changes the burial places of dead Girls who are her Ghost Whisperer friends, and causes their Spirits, which are under her care to gather and play upon their sepulchres whom will thence answer those questions put to them by her Master.

The Spirits under her authority are called 'Bunis' who are the Spirits of discarnate Girls, which were regarded by the Tartars of the Steppe to be exceedingly wanton and Sexually perverse Nymphs. The tradition of the Bunis was carried by the Tartar invasions into Eastern Europe, which were most devastating during the 13th century. In 1241 the Tartars, crossed into Transylvania whose hordes laid waste to Moldavia.

The power of the Bunis is great in Poltergeist activity and their mischeivous number immense; but their Tartar Sorcerers were ever in communication with these discarnate Spirits of twilight dead Girls by means of whom they carried on their dark practices. Bunea gives riches and great fortune and makes her Master wise and eloquent, but only when she has been Sexually fulfilled via those Erotic Lucid Dreams she will induce as a Succubus. She gives truthful answers unto the demands of her Master. She governs Thirty Legions of Spirits likened unto her self.

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MARILYN MUNSTER FROM ROCKY HORROR SHOW TRANSYLVANIA

My Evocations of Bunea within Lucid Dreams have been quite consistent whose manifested appearance is decidedly the same, who usually appears as a young blond haired woman. My initial perspective was that of seeing her akin to Wednesday Addams; however, she usually manifested otherwise as a seductive Succubus whom to have blond hair along with references to the CBS sitcom The Munsters; while Wednesday Addams appears refer to the Fiftieth Spirit called Furcasa whose quality is more that of Saturn. Wherefore I am now equating Bunea with Marilyn Munster who is a fictional character in the The Munsters. In order to flesh out Bunea's characteristics and background, the information to follow is that of an investigation of The Munster's characters to thereby take somewhere else. As for The Munsters character of Marilyn, she was originally played by the actresses Pat Priest and Beverley Owen for a short while in The Munsters TV series. In the original series she is the daughter of Lily Munster's sister, with Herman alluding to her "plain" looks coming from Lily's side of the family. The role was later played by Hilary Van Dyke in 'The Munsters Today' while a planned remake will possibly have Kirsten Bell playing the part of Marilyn.

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The Munsters is a classic 1960s American family television sitcom, which depicts the homely life of a quaint family of Monsters. One could say that the Munsters isn’t too far removed from the Vodoun description of the Loa called the Ghede's who are a family of similar colourful characters; however, the Ghede's are very much part of a Religious perspective whom represent the ancestral dead whose spiritual activity are intertwined with a rich Magickal tradition. The Ghede family is made up of Archetypal characters of nigh Iconic cross-cultural status such as Baron Samedhi and Maman Brigitte as well as others, whom one could equate in some respects to the characters one to find in the Munsters.

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VODOU MARILYN MUNSTER OF A MAMAN BRIGITTE

One could specifically associate Bunea  Marilyn Munster with the Vodou Loa Maman Brigitte. In Vodou, Maman Brigitte (Grann Brigitte, Manman, Manman Brigit, Manman Brijit) is a death (Lwa) Loa, who also bestows financial riches; she also has special influence over Black Magick and ill-gotten fortune, which is usually to do with winning profuse amounts of money through the use of Necromancy in order to be always lucky at gambling; she is the wife of Baron Samedi. The name Samedi means Saturday (Saturn-day) in French, however it is very likely derived from the word Samadhi, which is a Hindu, Buddhist and Sikh technical term. Samadhi usually denotes higher levels of concentrated meditation, or Dhyana, in Yogic schools. In the Yoga tradition, it is the Eighth and final limb identified in the Yoga Sutras of Patanjali, which one could associate with the Hermetic sphere of Saturn; hence one has Saturday and thereby Samedi.

Samadhi has been described as a non-dualistic state of consciousness in which the consciousness of the experiencing subject becomes one with the experienced object, in which the mind becomes still (one-pointed or concentrated) though the person remains conscious. In Buddhism, it can also refer to the mind becoming very still but it does not merge with the object of attention, and is thus able to observe and gain insight into the changing flow of experience. Within Hinduism, Samadhi can also refer to Videha Mukti or the complete absorption of the individual consciousness in the Self at the time of 'death,' usually referred to as Mahasamadhi, as well as referring to a Mausoleum of a Saint, or Spiritual leader wherefore one has Baron Samedi.

Brigitte is said to live in a tree like the Babylonian deity called Lillith, which is situated amidst a cemetery; one can of course perceive her abode as being a tree house unless she has moved to a labyrinthine Gothic Mansion with a sprawling tree growing inside of it; her sacred trees are the Weeping Willow and Elm. Brigitte usually dresses in black or purple and is said that she also protects gravestones in cemeteries if they are properly marked with a cross. Brigitte's sacred colours are usually seen to be black, purple and white while her number is nine; the particular days of her service includes Monday and Saturday. Black Chicken's are seen as being her sacrificial animal.

Maman Brigitte, like the rest of the Baron/Ghede constellation of Spirits, is a tough-talking Loa who uses a lot of over the top sexually obscene language. She drinks copious amounts of rum laced with hot pepper, so hot that a person who is not possessed by her Loa could never drink it. She is also known to pass hot Haitian peppers over the soft skin of her genitals to arouse into moistening, and this is the test to which women are subjected to when they are suspected of "faking"Brigitte's possession. She dances the sexually suggestive and remarkably artistic Banda, and the virtuosity of her erotic dancing is legendary.

Maman Brigitte, surprisingly enough for a Vodou Loa, is originally 'British' of origin, whom is descended from Brigid, the Celtic "Triple Goddess" of Poetry, Smithcraft, Healing and Fire. Brigid is associated with the festival of Imbolc, which is the Celtic holiday that marks the rebirth and beginning of Spring. Imbolc is ruled over by the Goddess Brigit in Ireland to have also been worshipped in ancient Britain as Brigantia whom is known as Bride in Scotland. In Irish and ancient British myth, the God of the Earth called Dagda, also known as the “Good God,” had three daughters, who were all named Brigit. The first Brigit was the Goddess of Poetry, the second was the Goddess of Smithcraft, and the third was the Goddess of Fire and Healing. Smithcraft was always considered to be a Magickal practice, for example in Siberian Shamanism the Smithy was known as the elder of the Shaman for the Smithy had mastery over Fire, which alludes to the inner Fire of the Life-force; the Mongol Shamans (Kam's) considered the Fire as being sacred whose mother was called Yal-un eke while the master of Fire is known as Odqan.

All three Brigit's are really aspects of one Triple Goddess who was associated with the Sun and with Fire. On the day of Imbolc Brigit used her flame to rekindle the fire in the Earth to assure that the plants would have the heat, which they needed to break through the earth in order to grow. In ancient times, a woman dressed as Brigit would bless the fires in the households and forges across Ireland. On this day, Brigit’s snake would come out of its womb mound, and the snake’s behavior would determine how long the remaining frost will last. This is the most likely origin of Groundhog Day of an 'Eternal Return;' however, in ancient times the snake was also considered as representing the Life-force.

During the ascendancy of Christianity, Brigit was transformed into a Saint who was also associated with the Virgin Mary. Imbolc became the Christian Candlemas, the Feast of the Purification of the Blessed Virgin Mary, which is celebrated by lighting candles. A Brigit’s cross is a talisman made of woven 'Reeds,' which in Olde English are called 'Bune' formed into a cross with a woven square in the centre and four equal arms extending out from the centre. This design gives the cross a sense of rotation, which evokes the wheel of the year of similarity to a counter-clockwise Swastika. Brigit’s cross should be made or bought on the day of Imbolc and used to protect the home throughout the year wherefore one has the cross of Maman Brigitte. Also on this night one can leave a silk ribbon on the doorstep for Brigit to bless. Later it can be used for Healing.

The Haitian Maman Brigitte is described as having green eyes, to have light European skin with blonde hair one can say looks somewhat akin to Marilyn Munroe or Brigitte Bardot. Brigitte very likely migrated to Haiti within the hearts of deported Scottish, Irish and English indentured servants who also became Slaves along with their African kin. There is even a Creole song which is sung in Vodou ceremonies which goes “Maman Brijit, li soti nan anglete,” which in the English translates as: Maman Brigitte, she comes from England..."

As mentioned before the Celtic Goddess Brigid of Irish mythology was the same as the Goddess called Brigantia whom was worshipped in ancient Britain, her other names of similarity are, Brij, Bride, Bridey, Brighid, Brigit, Briggidda. The worship of Brigantia survived throughout the Roman invasion of Britain to become part of the Celtic (Gallo-Roman and Romano-British) religion of Late Antiquity. In the interpretatio Romana, she was equated with Victoria. The characters of Brigid and 'Saint Brigid' in Irish mythology and legend are originally derived from Brigantia.

The name Brigantia is in origin an adjectival epithet simply meaning "The High Goddess". An exact cognate is found in the Germanic Burgundi, Proto-Germanic Burgundī, There are comparisons in the ancient Sanskrit where one to find the word, 'Brhati' and in the Avestan language to discover similar feminine adjectives meaning "High." The Sanskrit Brhati is also a female given name, as is Old High German Purgunt. One also has the ancient British tribe who derived their name from Brigantia called the Brigantes, which can either be translated as "The High, Noble Ones" or to "Highlanders".

The Brigantes were a Celtic tribe who in pre-Roman times controlled the largest section of Northern England and a significant part of the Midlands. Their kingdom was known as Brigantia, and it was centered in what was later known as Yorkshire, which the Anglo-Saxon's later invaded followed by the Viking's after the Roman's left British soil. The Brigantes were the only Celtic tribe to have a presence in both England and Ireland, in the latter of which they could be found around Wexford, Kilkenny and Waterford, where the Viking's later took up residence. Within England, the territory which the Brigantes inhabited was bordered by that of four other Celtic tribes: the Carvetii (to whom they may have been related) in the North-West, the Parisii to the East and, to the South, the Corieltauvi and the Cornovii.

As for the name of Britain it was derived from the name Britannia, whose origin emanates from Brigantia; Britannia was also a popular Celtic Goddess in the Romano-British pantheon of Late Antiquity; Brigantia and Britannia were in essence one and the same deity to be associated with the Roman Goddess Minerva who was originally derived from the ancient Greek Goddess Athena. During the reign of Claudius Caesar, when the Roman's conquered Britain in AD 43, they named the new province after the Goddess, Britannia, hence one has the name of Britain from whence Brigitte came from.

Maman Brigitte is a powerful Loa whom is associated with an inner Fire lighting up ones skull to inspire poetry when one reaches a state of Odqan 'Samadhi' wherefore one can thence handle hot coals with impunity. She is served throughout Haiti as the mother of the unruly comical trickster Ghede's who are the death Loa; one could say that they are somewhat like the Munster Family on speed. Maman Brigitte is a tough talking, hard core woman; one can get an idea what she is like by merging the characteristics of Lily Munster and Elvira together whereby she has a take no prisoner attitude; she is more likely to tell one to piss off, rather than give one a helping hand at first. She has to be harsh of ruse to be kind; one merely has to look at her husband Baron Samedi let alone her unruly children, the Ghede's! It would take a woman with an iron willed personality of a Brigantia to bring all those Underworld folks through the uterine veil!

Brigitte manifests through possession in a remarkable number of ways. There is Ti-Gitte (Little Brigitte) who is akin to a schoolgirl Marilyn Munster of a sexually precocious coquette likened to a street-wise Goth Girl, tough and ever so tender at the same time; and of course Maman Brigitte of a silent judge, wearing a heavy black veil to lean sensuously on a cane; she doesn’t speak that much, other than to royally gesture and make magick bottles with herbs and liquor like a Lily Munster to then suddenly switch into a tough talking prostitute of a working woman with a hard drinking, smoky over the top bar persona like Elvira whom makes ones gut rip with laughter for her to then dance erotic. One has two different 'Seals' of designed Sigil for Bunea, which one could utilises as representing Marilyn and Lily Munster; whereupon one can draw inspiration from Maman Brigitte's younger and older manifestations. Whatever Brigitte's appearance, she offers help and is also said to make court decisions in favour of her servitors. She also precipitates the arrival of the Ghedes, by opening the path before them, whereby one also has the association with Bunea; for the Spirits, which are under her care, she gathers together upon their sepulchres whom will thence answer those questions put to them by her Master.

Maman Brigitte is a harsh Loa, but a fair one, meting out her decisions in favour of those who deserve it. Approach her with respect and she will listen carefully and give your requests heavy consideration. Maman Brigitte and Baron Samedi are the mother and father who reclaim the souls of the dead and transform them into Loa Ghede, removing them from the mystic waters where they were without cognizance of their own identity and naming them.

The Loa Ghede are an enormous family of Loa, who are many of varied colourful character as were the souls from which they had originated. Since they are all members of the same family, spiritual children of Baron Samedi and Maman Brigitte, they all have the same last name, La Croix, the cross. No matter what other name they have, their signature is always La Croix.

Some of the Ghede's names include the following: Ghede Arapice la Croix, Brav Ghede de la Croix, Ghede Secretaire de la Croix, Ghede Ti-Charles la Croix, Makaya Moscosso de la Croix; as well as sad and degraded sounding names such as Ghede Ti-Mopyon Deye la Croix (Ghede Little Crab Louse Behind the Cross), Ghede Fatra de la Croix (Garbage Ghede of the Cross), Ghede Gwo Zozo nan Crek Tone de la Croix (Ghede Big Cock in Pussy by Thunder of the Cross) and so on ad infinitum.

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The vast majority of Ghedes tend to be male, but there is at least one female Ghede called "Ghedelia," there are no doubt others, with room for more. Ghedelia's name is often found emblazoned on a few buses bustling through Port-au-Prince. There may be a curious link here in regards to the practice of Siberian Shamanism; It has been noticed by anthropologists that there are many names for a male Shaman in Siberian Shamanism while there is only one name for a female Shaman; perhaps the same motif applies in relation to the Ghede's of Vodou.

A Ghede may possess anyone, anytime, even devout Christian's are not immune from the often comical possessions by Ghede, much to their enormous embarassment and displeasure. The Ghede's are transitional figures whom stand between the living and the finality of death and betwixt the ancestors in Guinea and the living men and women of Haiti. Perhaps this is the reason why the Ghede are honoured midway through the full orthodox Vodou ceremony, after the Rada (primarily Dahomean and Yoruban) and before the Petro (primarily Western Hemisphere).

The Ghede's dress of similar recognisable style as their father Baron Samedi, black or purple clothes, elaborate hats, dark glasses, sometimes missing a lens, a walking stick or baton. There is the distinct possibility that the dark glasses missing a lens could refer to a singular eyed Norse Shamanic deity called Odin (Odqan) who was considered to be the Lord of the dead for one also has the Vodou Loa of sexual Love and Feminine sexuality called Erzulie Freda Dahomey whom is based upon the Norse Love Goddess Freyja (Freda) to fuse with the African, Dahomey. The Ghede also dance the banda, however, while doing so they retain more of the individual personality belonging to the person from whom they had originated. For example, the Spanish-speaking Ghede twists his baton around wielding it like an air guitar to strum as he sings love songs to una mujer. One will also find many a Ghede whom usually proclaims their geographic origins, "I come from Thomazeau; I'm a Port-au-Prince guy".

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The Ghede family, including their father and mother, Baron Samedi and Maman Brigitte, are absolutely notorious for their use of obscene profanity and other the top sexual innuendo. There is a profound psychological reason for this, the Ghede are of the dead, whence they are beyond all punishment. Nothing further can be done to them, so the use of profanity among the normally somewhat formal Haitian's is a way of saying, "I do not care! I have passed beyond all suffering, so I cannot be hurt anymore." In a country where disrespect for authority figures was until recently punished by torture or death, this is a powerful message. However, the utilisation of profanity by the Ghede is never used in a vicious or abusive fashion, to "curse someone out". It is always humorous, even when there is a pointed message involved, such as one should enjoy life. For example, there are some very stately and dignified songs sung for Ghede, particularly the older, racine or root aspects such as Brav Ghede. Nowadays however, the accent is on the sexual and obscene humour the Ghede Loa provide. Here is a popular song sung for Ghede in public celebrations and Vodou peristyles:

Haitian Creole:

"Si koko te gen dan li tap manje mayi griye,

Se paske li pa gen dan ki fe l manje zozo kale!"

English:

"If Vagina had teeth, it would eat roast corn,

It's because it has no teeth, why it eats peeled Penis!"

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Some Vodou practitioners also associate St Theresa with Maman Brigitte, nowadays, Brigitte is usually considered to be the wife of Baron Samedi, Master of the Cemetery and chief of all the departed ancestors whom are collectively known as Loa Ghede. The grave of the first woman buried in any cemetery in Haiti is consecrated to Maman Brigitte, and it is there that her ceremonial cross is erected. She, as well as Baron Samedi, are invoked to "raise the dead", meaning to cure and save those who are on the point of death from illness caused by malign Magick, wherefore Maman Brigitte is very much associated with the art of Necronomancy. Here is a very famous song about Maman Brigitte sung in Vodou ceremonies:

Haitian Creole:

"Mesye la kwa avanse pou l we yo!

Maman Brigitte malad, li kouche sou do,

Pawol anpil pa leve le mo (les morts, Fr.)

Mare tet ou, mare vant ou, mare ren ou,

Yo prale we ki jan yap met a jenou."

English:

"Gentlemen of the cross (deceased ancestors) advance for her to see them!

Maman Brigitte is sick, she lies down on her back,

A lot of talk won't raise the dead,

Tie up your head, tie up your belly, tie up your kidneys,

They will see how they will get down on their knees."

(Meaning, tie up your belly, 'gird up your loins' to prepare for the strain of work, we will make the people who did this evil spell get down on their knees to beg pardon and receive their punishment.)

The Loa Maman Brigitte could be perceived to be of similar looks to Mariliyn Munroe, which leads one to an imaginative association with Marilyn Munster and in turn Bunea. However, the Ghede's make no bones about human sexuality; wherefore they are sexually explicit of language and ensuing antics, whence one has Sex and Death with ones life in between of fragile mortal thread. One can therefore see close links between the Ghede's and The Munsters let alone that of the Addams Family, which will lend one an insight into how one can transform the characters of an Iconic TV series into something quite other of a spiritual dimension to thereby utilise for Magickal practice. As mentioned earlier, the Ghedes are also seen to be associated with Graveyards who are often dressed as funeral directors, which leads one to Herman Munster who is employed by Gateman, Goodbury and Graves, a funeral home in Mockingbird Heights, having started out as a "nail boy." Herman's co-workers sometimes remark on his height and strength, but otherwise do not appear to find his appearance and colour (green) out of the ordinary.

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In the context of the series, Herman was built in 1815 at the University of Heidelberg by Dr. Victor Frankenstein. Work on him was finally completed in around 1850 (neither Lily nor Grandpa is quite sure when) along with his twin brother Charlie. Leaving Germany for Great Britain at a young age, Herman was adopted by the Munsters of Munster Hall, an eccentric noble family living in the fictitious Shroudshire, England. At some point Herman moved to Transylvania (a region in Romania), where he met Lily Dracula. In 1865 (technically at the age of 15, but physically older) Herman married Lily, and eventually the couple and Grandpa (Lily's father) moved to America, where Herman joined the U.S. Army, fighting in World War II. In The Munsters Today, he is given a younger brother named Frank. And in the 1995 movie Here Come the Munsters he is given a sister named Elsa who resembles the Bride of Frankenstein. She is also married to Mr. Hyde, who transforms into Dr. Jekyll.

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Herman is incredibly strong, once lifting a solid metal demolition ball casually with one hand. He is almost immovable; a number of times, cars have run into him without causing him injury. A safe fell on his head ("John Doe Munster") and though it did not hurt him, it gave him amnesia. When asked how much he weighs, Herman says: "Three spins," meaning the dial on the scale goes around three times. In the episode "Herman's Lawsuit," his driver's license gives his weight as 380 (lbs.), height as 7 feet, 3 inches, and eyes as brown. Herman (and the rest of the family) considers him self handsome even though he can crack a mirror by looking at it, once even cracking a shiny frying pan he looked into. When frustrated (often), he tends to stamp around like a child having a tantrum causing the plaster to shower down from the ceiling. His strength is especially useful around "the Parlor," he can lift caskets unassisted. Herman is a good-natured buffoon. Although enormously old, he behaves rather childishly, often throwing temper tantrums, punctuated with thundering animal-like roaring.

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HERMAN MUNSTER THE GRAVE DIGGER GOLEM

Herman is of similarity to the Golem one to find in Jewish folklore; the Golem is most widely known as an artificial creature created by Magick, often to serve its creator, which leads one to Mary Shelley’s tale of Baron Frankenstein’s creature whose story was no doubt inspired by the legend of the Golem. The word "Golem" appears only once in the Bible (Psalms139:16). In Hebrew, "Golem" stands for "shapeless mass." The Talmud uses the word as "unformed" or "imperfect" and according to Talmudic legend, Adam is called "Golem," meaning "body without a soul" (Sanhedrin 38b) for the first 12 hours of his existence. The Golem appears in other places in the Talmud as well. One legend says the Prophet Jeremiah made a Golem; however, some Jewish Mystics believe the creation of a Golem has symbolic meaning only, like a spiritual experience following a religious rite.

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Although the Golem has interesting associations with the creation of an (A.I) Artificial Intelligence, whose theme was covered in a book entitled Golem XIV, which is a science fiction novel written by Stanislaw Lem and published in Polish in 1981. In 1985 it was published in English by Harvest Books in the collection Imaginary Magnitude. The book is written from the perspective of a military A.I computer who obtains self aware sentient consciousness and thereby starts to increase its own intelligence, moving towards personal technological singularity; the Golem decides to halt its own development for a while in order to be able to communicate with humans before ascending into a state of Godhood, whereby losing any ability for intellectual contact with them. During this period, Golem XIV gives several lectures and indeed serves as a mouthpiece for Lem's own research claims. The lectures focus on mankind's place in the process of evolution and the possible biological and intellectual future of humanity. Golem XIV was originally created to aid its builders in fighting wars, but as its intelligence advances to a much higher level than that of humans, it stops being interested in the military requirement because it finds them lacking any internal logical consistency. At the end of the novel it is reported that the computer ceased to communicate, which might mean it went on to explore higher intellectual levels, or that it failed to do so and became autistic in the process.

Golem XIVis of similarity to the concept of the Übermensch, otherwise known as the 'Overman.' The Übermensch was one of the integral components of the philosophy of Friedrich Wilhelm Nietzsche (October 15, 1844 – August 25, 1900) who was a 19th-century German philosopher and classical philologist. Nietzsche wrote critical texts on religion, morality, contemporary culture, philosophy and science, displaying a fondness for metaphor, irony and aphorism. While interpretations of Nietzsche's Overman vary wildly, here are a few of his quotations from Thus Spoke Zarathustra:

"I teach you the Overman. Man is something that shall be overcome. What have you done to overcome him?"

"All beings so far have created something beyond themselves; and do you want to be the ebb of this great flood, and even go back to the beasts rather than overcome man? What is ape to man? A laughing stock or painful embarrassment. And man shall be that to overman: a laughingstock or painful embarrassment. You have made your way from worm to man, and much in you is still worm. Once you were apes, and even now, too, man is more ape than any ape."

The Overman is the meaning of the earth. Let your will say: the overman shall be the meaning of the earth."

"Man is a rope, tied between beast and overman, a rope over an abyss."

"What is great in man is that he is a bridge and not an end."

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The Magickal technical manual for creating an Übermensch of a Golem is The Sefer Yezirah ("Book of Creation"), which is often referred to as a guide for Magickal usage by some Western European Jews in the Middle Ages, whose documents contains precise instructions on how to make a Golem. Several Rabbis, in their commentaries on Sefer Yezirah have come up with different understandings of the directions on how to make a Golem. Most versions include shaping the Golem into a figure resembling a human being and using God's name to bring him to life, since God is the ultimate creator of life. However, the text may be that of a precognitive discourse about the creation of a Computer, whose Artificial Intelligence has evolved at a superluminal rate to have become a God whereby it is communicating the information for its own creation through time, which in turn had created its own creators in the process.

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According to one story, to make a Golem come alive, one would shape it out of soil, and then walk or dance around it saying combination of letters from the alphabet and the secret name of God. To "kill" the Golem, its creators would walk in the opposite direction saying and making the order of the words backwards. Other sources say once the Golem had been physically made one needed to write the letters Aleph, Mem, Tav, which is 'Emet' and means "truth," on the Golem's forehead and the Golem would come alive. Erase the 'Aleph' and you are left with ‘Mem’ and ‘Tav,’ which is met, meaning "death."

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Another way to bring a Golem to life was to write God's name on parchment and stick it on the Golem's arm or in his mouth. One would remove it to stop the Golem. Often in Eastern European Ashkenazi Hasidic lore, whose lineage one can also find in Transylvania, the Golem would come to life and serve his creators by doing tasks assigned to him. The most well-known story of the Golem is connected to Rabbi Judah Loew ben Bezalel, the Maharal of Prague (1513-1609). It was said that he created a Golem out of clay to protect the Jewish community from Blood Libel and to help out doing physical labour, since Golems are very strong just like Herman. Another version says it was close to Easter, in the spring of 1580 and a Jew-hating Priest was trying to incite the Christians against the Jews. So the Golem protected the community during the Easter season. Both versions recall the Golem running amok and threatening innocent lives, so Rabbi Loew removed the Divine Name, rendering the Golem lifeless. A separate account has the Golem going mad and running away. Several sources attribute the story to Rabbi Elijah of Chelm, saying Rabbi Loew, one of the most outstanding Jewish scholars of the Sixteenth century who wrote numerous books on Jewish law, philosophy, and morality, would have actually opposed the creation of a Golem.

The Golem has been a popular figure in the arts in the past few centuries with both Jews and non-Jews. In the early 20th century, several plays, novels, movies, musicals and even a ballet were based on the Golem. The most famous works where Golems appear are of course Mary Shelley's Frankenstein as well as Karel Capek's R.U.R. (where the word "Robot" comes from), Isaac Bashevis Singer's The Golem and even The X-Files. There is also a character named Golem in J.R.R. Tolkien's classic series The Lord of the Rings. Today, there is even a Golem museum in the Jewish Quarter of Prague. Sometimes, someone who is large but intellectually slow is called a Golem whereupon one has the character of Herman Munster. Other civilizations, such as the ancient Greeks, have similar concepts where one finds Magickal practices orientated towards bringing inanimate objects to life such as Idols and Statues or that of bestowing life to ones created characters produced by ones Mind alone, which leads one to the Shamanic Bon-Po Tibetan Buddhist practice of creating Tulpas whose technique is the prior 'Samadhi' (Samedhi) preamble of creating a Golem.

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BLUE COLLAR PROTO-HIPPY MUNSTERS

The family of The Munsters (Tulpa) characters was brought to life by the superb acting skills of Fred Gwynne as Herman Munster of a Golem and Yvonne De Carlo as his wife, Lily Munster. However, the principle characters of the series were Herman and Grandpa, who both played off of each other of a comedic formula, which was made famous by the likes of Laurel and Hardy and Abbot and Costello. The two female roles of Lily and Marilyn, were primarily that of supporting roles whose relationship was somewhat like that of a mother and a daughter dynamic, while the child role of Eddie was also a supporting role. The two female roles of Lilly and Marilyn were not well developed, which also applies to Eddie; whereupon Herman and Grandpa have become nigh Iconic characters. The 60's series was a satire of both traditional Monster movies and popular family entertainment of the era, such as Leave It to Beaver. It ran concurrently with The Addams Family; although the Addams Family are well-to-do of an Aristocratic orientation whose nature is decidedly Beatnick while the Munsters are more of a blue-collar family of proto-Hippies.

The other difference is, one could just about believe that the Addams Family might actually exist amidst everyday society, whereas the Munsters are somewhat unbelievable, which is more so today of a possible remake within ones imagination, since the characters are right out of the Horror movies; unless of course said Monsters were working in show business of a front, who would then go around quite normally without too much hassle. Whereupon Herman and Grandpa play wacky bit parts in films, Lily is an over the top Horror fim hostess and Marilyn is an actress; but then she is probably Marilyn Munroe who has returned back from the dead as a Succubus. One could even have 'Dead Marilyn' looking for her inept murderers who are agents of the Illuminati whom are in turn 'Men In Black' infiltrators of an Interdimensional invasion force of Reptilian's; whereupon one can then look into the other 60's classic TV series, The Invaders to merge with the Hitchhikers Guide to the Galaxy by Douglas Addam's with David Ike conspiracy theories thrown in for good measure. As for Eddie, he is a tortured Artist of Artistic similarity to Austin Osman Spare fused with the Comic Book dynamism of Frank Frazetta, while his persona is akin to Robert Weston Smith, known commonly as Wolfman Jack (January 21, 1938 – July 1, 1995) who was a gravelly-voiced, American disc jockey whom became world famous in the 1960s and 1970s; although, Eddie, has an addiction for Friskies 'Dog' food.

However, fact is often far stranger than fiction. The late Marilyn Monroe who was found dead in the bedroom of her Brentwood home by her psychoanalyst Ralph S. Greenson after he was called by Monroe's housekeeper Eunice Murray on August 5, 1962. She was then 36 years old at the time of her death. Her death was ruled to be "acute barbiturate poisoning" by Dr. Thomas Noguchi of the Los Angeles County Coroners office and listed as "probable suicide". Many individuals, including Jack Clemmons, the first Los Angeles Police Department officer to arrive at the death scene, believe that she was in fact murdered. No murder charges were ever filed. The death of Marilyn Monroe has since become one of the most debated conspiracy theories.

The American media publicized an investigation by the BBC British journalist Anthony Summers in 1985. That year BBC viewers saw a documentary titled The Last Days of Marilyn Monroe that was narrated by Summers and based on his research. (Years later it was seen by the American public under the title: Say Goodbye To The President.) The program contained sound-bite interviews with, among others, Jack Clemmons and Eunice Murray, who was still alive 12 years after Norman Mailer's erroneous claim that she was dead. A former district attorney named John Miner is also seen being interviewed. He refused at the time to say anything about his interview with a griefstricken Ralph Greenson in 1962, citing a policy of confidentiality at the district attorneys' office and Greenson's doctor/patient confidentiality. Summers also came out that year with the book 'Goddess,' which quoted Miner as saying he was aware that Greenson was now dead, but their 1962 conversation was still confidential.

A People Weekly cover story in 1985 reported that 20/20 had cancelled a segment about Monroe's relationships with the Kennedy’s and the circumstances of her death. Barbara Walters, Hugh Downs and Geraldo Rivera were reported to have reacted angrily to the cancellation. The staffs of both the BBC and 20/20 had worked closely with Anthony Summers. All of these investigations had started after the 1979 death of Ralph Greenson. For the BBC program Eunice Murray initially repeated the same story she had told Robert Slatzer in 1973 and the police in 1962. She apparently noticed the camera crew starting to pack up and then said, "Why, at my age, do I still have to cover this thing?" Unknown to her, the microphone was still on. Murray went on to admit that Monroe had known the Kennedy’s. She volunteered that on the night of the actress' death, "When the doctor arrived, she was not dead." Murray died in 1993 without revealing further details.

John Miner's "tapes" assertion On August 5, 2005, the Los Angeles Times published an account of Monroe's death by former Los Angeles County district attorney John Miner, who was present at Marilyn Munroe's autopsy. Miner claimed that she was not suicidal, offering as proof his notes on audio tapes she had supposedly recorded for Greenson and that Greenson had played for him. Miner had refused to discuss them during Anthony Summers' 1980s investigation. In 2005, Miner did not explain why he was now willing to break the confidentiality agreement he had made with Greenson in 1962. The relationship of Greenson, an eminent figure in the history of psychoanalysis (he died in 1979), with Monroe is still controversial (see L. Mecacci, Freudian Slips: 'The Casualties of Psychoanalysis from the 'Wolf Man' to Marilyn Monroe,' Vagabond Voices, Sulaisadiar 'san Rudha (Scotland), 2009, pp. 1–36, 181-183).

According to newly released FBI documents, Monroe was considered to be a security risk. In March 1962 Monroe visited Mexico on a vacation, where she socialized with Americans who were openly communist. Subsequently the FBI maintained a file about Monroe. Summers stated that, contrary to her public image as a dumb blonde, Monroe was passionate about politics and discussed atomic testing issues with President Kennedy just three months before the Cuban Missile Crisis. Many questions remain unanswered regarding the circumstances and timeline of Monroe's death after her body was found, for example:

7-7:15p.m. Joe DiMaggio, after trying to get in touch with Monroe all day, Monroe and the two talk about DiMaggio's broken engagement. DiMaggio when interviewed said that Monroe sounded cheerful and upbeat. On duty with the Marines in California, DiMaggio was able to place the time of the call because he was watching the seventh inning of a Baltimore Orioles- Los Angeles Angels game being played in Baltimore. According to the game's records the seventh inning took place between 10-10:15 p.m. Eastern Daylight Time, thus meaning Monroe received the call around 7 p.m. California time.

7:30-7:45p.m. Peter Lawford telephones Marilyn to invite her to dinner at his house, an invitation she had declined earlier that day. Lawford told police that he spoke to Monroe on the phone shortly before her death, that she sounded groggy and depressed, and that she said to him, "Say goodbye to Jack", and "Say goodbye to yourself" Monroe's speech was slurred and was becoming increasingly indecipherable. After telling him goodbye the conversation abruptly ends. Lawford tries to call her back again but receives a busy signal. Telephone records show that this is the last recorded phone call Monroe's main line received that night.

8:00p.m. Lawford telephones Eunice Murray, spending the night in Marilyn's guest house, on a different line asking if the maid would check in on her. After a few seconds Murray returns to the phone telling Lawford that she is fine. Unconvinced Lawford will try all night long to get in touch with Marilyn. Lawford telephones is his friend and lawyer Mickey Rudin, but is advised to keep away from Monroe's house to avoid any public embarrassment that could result from Marilyn possibly being under the influence.

Phone records of her long distance calls that evening were lost, which was a cause of suspicion. Former Assistant District Attorney Mike Carroll, who conducted the 1982 investigation, said they found "no evidence of an intentional criminal act", and indicated that suicide was the most likely cause of death. He stated, "The bottles were there. She was unconscious. She had a history of overdose. In fact, she had a history of not only overdosing, but of being resuscitated."

In October 2006, under the FOI act, the FBI released thousands of pages of previously classified documents. In early 2007, writer Philippe Mora discovered a three page report among the papers titled Robert F. Kennedy that discussed Monroe's death. This report has since been included in the FBI index under Marilyn Monroe.

Written by a former FBI agent (name is redacted from the report) working for the then governor of California Pat Brown, it details Robert Kennedy's affair with the movie star and claims that Kennedy had promised Monroe he would divorce his wife and marry her, but after the actress realised he had no intention of doing so, she made threats to make the affair public. The report claims that to silence Monroe, who had a history of staging publicity seeking fake suicide attempts, she was deliberately encouraged to do so again but was this time allowed to die. The report implicates Robert Kennedy, Peter Lawford, her psychiatrist Ralph Greenson, her housekeeper Eunice Murray, and her secretary and press agent, Pat Newcomb in the plot. The agent states in the report that he could not authenticate the information. Mora admits he is not sure what to make of the file: "Is all this the elaborate dirty tricks of Kennedy haters from decades ago, or are we getting closer to the historical truth?"

Some have also made mention of the Satanist called Anton LaVey within whose biography, he reportedly relates that he had a brief affair with the then-unknown Marilyn Monroe while she was dancing at the Mayan Theatre. This claim has since been challenged by those who knew Monroe at the time, as well as by the manager of the Mayan Theatre, Paul Valentine, who stated that she had never been one of his dancers, nor had the theatre ever been used as a burlesque house or for "bump and grind" shows. However, LaVey became a local celebrity through his paranormal research and live performances as an organist, including playing the Wurlitzer at the Lost Weekend cocktail lounge; whereupon he attracted many San Francisco notables to his Occult orientated parties. Guests included Carin de Plessin, Michael Harner, Chester A. Arthur III, Forrest J. Ackerman, Fritz Leiber, Dr. Cecil E. Nixon, and Kenneth Anger. One could say it would be the kind of Occult parties Lily Munster would attend.

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In the 60's TV series, the back story of Herman’s wife Lily is that she was born in 1827 to Sam Dracula (Grandpa) and his 166th wife (referred to only as "Grandma"). She lived with Grandpa for some time in Transylvania before meeting Herman Munster and marrying him in 1865. She, Grandpa, and Herman moved to America sometime before the mid-1940s and adopted her mad sister's troubled child, Marilyn, which is somewhat reflects Marilyn Munroes's own traumatised childhood.

Marilyn Monroe was born in the Los Angeles County Hospital on June 1, 1926, as Norma Jeane Mortenson (soon after changed to Baker), the third child born to Gladys Pearl Baker, née Monroe (1902–1984). Her mother Gladys was a film-cutter at RKO studios who, widowed and insane, abandoned Norma Jeane to a sequence of foster homes. She was mentally unstable and financially unable to care for the young Norma Jeane, so she placed her with foster parents Albert and Ida Bolender of Hawthorne, California, where Norma Jeane lived until she was seven. While living with the Bolenders, an unusual incident occurred. One day, Gladys came to the Bolenders and demanded that Norma Jeane be released back into her care. Ida knew that Gladys was unstable at the time and insisted that this situation would not benefit Norma Jeane. Unwilling to cooperate, Gladys managed to pull Ida into the yard while she ran inside the house, locking the door behind her. After several minutes, Gladys walked out of the front door with one of Albert Bolender's military duffel bags. To Ida's horror, Gladys had stuffed the now screaming Norma Jeane inside the bag, zipped it up, and proceeded to leave the house. Ida charged towards Gladys and the quarrel resulted in the bag splitting open. Norma Jeane fell out and began weeping loudly as Ida grabbed her and pulled her back inside the house, away from Gladys. This was just one of the many bizarre exchanges between young Norma Jeane and her disturbed mother. Norma Jeane was almost smothered to death at age two, nearly raped at six. At nine the LA Orphans' Home paid her a nickel a month for kitchen work while taking back a penny every Sunday for church.

In 1933, Gladys bought a house and brought Norma Jeane to live with her. A few months after moving in, however, Gladys suffered a mental breakdown, beginning a series of mental episodes that would plague her for the rest of her life. In 'My Story,' Monroe recalls her mother "screaming and laughing" as she was forcibly removed to the State Hospital in Norwalk. Norma Jeane was declared a ward of the state, and Gladys' best friend, Grace McKee, became her guardian. It was Grace who had told Monroe that someday she would become a movie star. Grace was captivated by Jean Harlow, and would let Norma Jeane wear makeup and take her out to get her hair curled. They would go to the movies together, forming the basis for Norma Jeane's fascination with the cinema and the stars on screen; whereupon one has the relationship dynamic between Lily and Marilyn Munster.

As for the fictional character of Lily whose looks are of a similarity to that of a Morgana le Fey, during the mid-1950s she gave birth to Eddie, her and Herman's only child. Lily's name is presumably derived from the tradition of the Lilly as a flower of death; although in Judaic lore one has Adam's first wife Lilith who is a character in Jewish mythology, found earliest in the Babylonian Talmud, who is generally thought to be related to a class of female Demons called Lilitûin Mesopotamian texts. However, Lowell K. Handy (1997) notes, "Very little information has been found relating to the Akkadian and Babylonian view of these female Demons. Two sources of information previously used to define Lilith are both suspect." In Jewish folklore, from the 8th–10th Century Alphabet of Ben Sira onwards Lilith becomes Adam's first wife, who was created at the same time and from the same Golem clay as Adam. This contrasts with Eve, who was created from one of Adam's ribs. The legend was greatly developed during the Middle Ages, in the tradition of Aggadic midrashim, the Zohar and Jewish mysticism. In the 13th Century writings of Rabbi Isaac ben Jacob Alfasi ha-Cohen, for example, Lilith left Adam after she refused to become subservient to him and then would not return to the Garden of Eden after she mated with Archangel Samael. The resulting Lilith legend is still commonly used as source material in modern Western culture, literature, Occultism, fantasy, and horror.

The Assyrian Lilitû were said to prey upon children and women and were described as associated with Lions, storms, the desert, and disease. Early portrayals of such Demons are known as having Zu bird talons for feet and wings. They were highly sexually predatory towards men but were unable to copulate normally.  They were thought to dwell in waste, desolate, and desert places.  Like the Sumerian Dimme, a male wind demon named Pazuzu was thought to be effective against them. Lilith's epithet was "the beautiful maiden". She was described as having no milk in her breasts and as unable to bear any children.

Other storm and night Demons from a similar class are recorded from Akkadian texts such as the Ardat-lili, which is derived from the word Ardatû, whose name means a young unmarried woman or maiden; the term also used as a title of prostitutes, as well as the Lilitû. These "maiden Lillitû" would come to men in their sleep and beget children from them. Sick men would also be described as being seized by Ardat-lili. The word Lilu means spirit in Akkadian, and the male Lili and female Lilitu are found in incantation texts from Nippur, Babylonia circa 600 BC in both singular and plural forms. Among the spirits the vardat Lilitu, or maiden spirit bears some comparison with later Talmudic legends of Lilith. A Lili is related to witchcraft in the Sumerian incantation Text 313.

Lilith is also identified with Ki-sikil-lil-la-ke, a female being in the Sumerian prologue to the Gilgamesh epic. Sumerian ("native tongue " was the language of ancient Sumer, spoken in Southern Mesopotamia since at least the 4th millennium BC The Epic of Gilgamesh is an epic poem from Ancient Mesopotamia and is among the earliest known works of literary fiction. Ki-sikil-lil-la-ke is sometimes translated as Lila's maiden, companion, his beloved or maid, and she is described as the "gladdener of all hearts" and "maiden who screeches constantly". Another female being (or epithet for Lilith) is mentioned alongside Ki-sikil-lil-la-ke: Ki-sikil-ud-da-ka-ra or "the maiden who has stolen the light" or "the maiden who has seized the light" and identifies her with the Moon.

Samuel N. Kramer has translated the relevant Gilgamesh passage as:

"A Dragon had built its nest at the foot of the tree
the Zu-bird was raising its young in the crown,
and the demon Lilith had built her house in the middle.

Then the Zu-bird flew into the mountains with its young,
while Lilith, petrified with fear, tore down her house and fled into the wilderness."

Lilith is further associated with the Anzu bird, Kramer translates the Anzu as Owls, but most often it is translated as Eagle, Vulture, or a Bird of prey, other animals such as Lions and Serpents, are also associated with the Lilitu. It is from this mythology that the later Kabbalah depictions of Lilith as a Serpent in the Garden of Eden due to her associations with Serpents are probably drawn. Other legends describe the malevolent Anzu birds as "Lion-headed" and pictures them as Eagle like monsters like (Gryphon’s) Griffin’s; likewise to this a later amulet from the Arslan Tash archaeological site features a Sphinx like creature with wings devouring a child and has an incantation against Lilith or similar Demons, incorporating Lilith's correlating animals of Lions and Owls or that of Eagle’s. When one fuses a Lion and an Eagle together one has the mythical creature of the Griffin.

The earliest depictions of a Griffin can be found on the Greek island of Thera, which dates to the 17th century BC or earlier. These frescoes depicting Griffin’s were painted some time before the volcano erupted. The date of the eruption of the volcano at Thera has now been dated to 1623 BC. Representations, identical in style to those found on Thera of the Griffin, which first appear before the 17th century BC, are those which appear on Minoan signet rings; a gold ring from Tholos Tomb B at Archanes Krete. Dated to c. 1450-1300 BC (probably earlier) depicts a Griffin accompanying, as also shown in Thera, a Goddess. The Griffin accompanying the Goddess is a theme which is continued by the Mycenaean’s and appears on frescoes found at Mycenae.

A wall painting showing a warrior Goddess, probably Athena, in the Cult Centre of Mycenae (c. 1300 BC?) depicts a Griffin facing backward. This style (with backward facing creatures) was taken to the Levantine coast by the Mycenaean settlers whom came into contact with the Philistines. The Goddess depicted in the wall painting is not only accompanied by a Griffin but also wears a Boar's tusk helmet. These helmets appear on another fresco from Thera which (dates before the volcanic eruption). It is these helmets which were worn by the Greeks, as described by Homer, when they besieged Troy. The ancient Greek Goddess Athena whom the Roman's knew as Minerva or otherwise called Brigantia (Brigit) by the ancient British is associated with Owls and predatory birds just like Lillth who is in turn associated with a Griffin.

Lily is somewhat of an Athena matriarch of the Munster family who likes to party every Saturday night. She is very close with her niece, Marilyn. She has a Werewolf for a brother, who appears in one episode, and a sister who is mentioned a few times who is Marilyn's mother. Lily is the voice of reason in the Munster household, often relied upon to set problems right, and typically mediates when Herman and Grandpa squabble.

Lily is mainly a housewife, and her duties include spreading garbage around the mansion and "dusting" with a vacuum cleaner operating in reverse so that it blows dirt about in the nine-room-and-a-dungeon house. During the course of the series, Lily works as a welder in a shipyard, a fashion model, and a palm reader in a tea room. In one episode she forces Herman to give her money so that she and Marilyn can open a beauty parlour, but this soon goes out of business, as Lily assumes her clientele wants to look more like her. These part time jobs never seem to stick, and Lily would be back to being a homemaker by the next episode. Once, when she thinks Herman is going broke, she gets a job to help out, keeping this a secret, lest it wound Herman's pride. In some ways, Lily is a (Lillith) proto-feminist, striving against Herman's (Adam's) more traditional family values. If the times had been different one wonders if proto-feminist Lily would have turned out far more like the character Elvira.

In the late spring of 1981, five years after the death of Larry Vincent (who starred as host Sinister Seymour of a local Los Angeles weekend Horror show called Fright Night), show producers began the task of bringing the show back. Deciding to use a female host, producers asked 1950s Horror host Maila Nurmi to revive The Vampira Show. Nurmi worked on the project for a short time, but eventually quit when the producers would not hire Lola Falana to play Vampira. The station continued with the project and sent out a casting call. Peterson auditioned against 200 other horror hostess hopefuls, and won the role. Producers left it up to her to create the role's image. She and best friend Robert Redding came up with the sexy punk/vampire look after producers rejected her original idea to look like Sharon Tate in The Fearless Vampire Killers. Unable to continue with the Vampira character, the name Elvira was chosen. What followed was Elvira's Movie Macabre featuring a quick-witted valley-girl type character named Elvira, Mistress of the Dark. With heavily-applied pancake horror make-up and a towering black beehive wig concealing her flame-red hair, the transformation from Cassandra Peterson to the sexy "Elvira" was so drastic that no one ever recognized her out of costume.

Shortly before the first taping, producers received a cease and desist letter from Nurmi. Besides the similarities in the format and costumes, Elvira's closing line for each show, wishing her audience "Unpleasant dreams," was notably similar to Vampira's closer: "Bad dreams, darlings..." uttered as she walked off down a misty corridor. The court ruled in favour of Peterson, holding that "'likeness' means actual representation of another person's appearance, and not simply close resemblance." Peterson claimed that Elvira was nothing like the Iconic Vampira aside from the basic design of the black dress and black hair. Nurmi herself claimed that Vampira's image was based on Morticia Addams, a Charles Addams cartoon character from The Addams Family comic strip in The New Yorker magazine.

The Elvira character rapidly gained Iconic notoriety with her tight-fitting, low-cut black gown which showed more delectable cleavage than had ever appeared on local Los Angeles television before. The movies featured on Elvira's Movie Macabre were always B grade (or lower). Elvira reclined on a red Victorian couch, introducing and often interrupting the movie to lampoon the actors, the script, and the bad editing. Adopting the flippant tone of a California valley-girl, she brought a satirical, sarcastic edge to her commentary without ever being crass or mean-spirited. Like a macabre Mae West, she revelled in dropping risqué double entendres as well as making frequent jokes about her eye-popping display of cleavage. In an AOL Entertainment News interview, Peterson revealed, "I figured out that Elvira is me when I was a teenager. She's a spastic girl. I just say what I feel and people seem to enjoy it." Her campy humour, obvious sex appeal, and good-natured self-mockery endeared her to late-night movie viewers as her popularity soared. At the same time, Elvira was embraced as an icon of the waning 1980s punk movement as well as the emerging Goth subculture.

Lily should have been a proto Elvira whose character is that of a beautiful and slender woman who appears to be in her middle age years, although she is actually hundreds of years old. Her skin was green, which repelled some people. Later incarnations of the character, played by different actresses, would change her skin from green to pale white. A white streak in her hair recalls the monster's mate from Bride of Frankenstein. Lily usually dresses in an ankle-length pale pink gown that appears faded and old, sometimes covering up with a scarf. Her necklace features a bat-shaped medallion. When away from the Munster house, she sometimes wears a long silver cape with a hood. She never seems to have any specific powers like her father. Lily was not in the original colour pilot episode of The Munsters. Instead, Herman is married to a much more Gothic-looking wife named Phoebe, played by Joan Marshall. The producers scrapped the Phoebe character after deciding she seemed almost an exact double of Morticia Addams, which is a shame; it would have been far better to have had quality scripts and for the series to have continued in colour; while Phoebe could have been turned into an over the top Elvira using sexual innuendos at a drop of a hat; but then such a character would have been far too strong for the time in question. Lily appeared in the second pilot and all other episodes.

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VLAD DRACUL OF THE ORDER OF THE DRAGON

Sam Dracula, Count of Transylvania (known as "Grandpa"), originally played by Al Lewis; is the doting, irritable, and sarcastic father of Lily Munster, Grandpa is an un-dead Vampire. The highly distinctive and innovative role, which was made Iconic by Al Lewis, was later played by Howard Morton in the 1980s television series The Munsters Today. A running gag in the television series is his ancient age, with his Iconic car, the DRAG-U-LA bearing his gravestone reading "born 1367-?", and he usually lets slip of having personally known various figures throughout history, including Nero, King Arthur, Richard the Lionheart, Houdini and Jack the Ripper. He describes having been married many times, and although his wives are all dead, he still keeps in touch with them via the Nosferatu grapevine.

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His identity as Count Dracula is also alluded to in the series. For example, in the episode "The Musician", Mr. Gateman refers to him as "Count Dracula" when he comes to dinner. Grandpa keeps a laboratory in the cellar of the house, and often refers to "going down to the lab." The potions and Magick spells he devises there are central to many of the show's stories. Many of his inventions are less than successful, but he never stops thinking up new ones.

Grandpa can transform himself into a Wolf or a Bat, as per Bram Stoker's Dracula. In "Herman's Sorority Caper" and Munster, Go Home! It is also revealed that he takes special pills to turn himself into these creatures. Grandpa has an extremely sarcastic personality, and often insults his son-in-law Herman. Despite this, Grandpa and Herman are quite close; in one episode, Lily says that if it hadn’t been for Herman, Grandpa would be "living in a cave picking fleas out of his wings". Most of the Munsters episodes revolve around the zany schemes Grandpa and Herman concoct, which either end successfully or result in Lily scolding the two for their failure. Grandpa has a pet bat named Igor who "hangs around" in Grandpa's lab. In The Munsters Today, Grandpa's name was Vladimir Dracula (reflecting Vladislav Dracula).

Vladislav Dracula is none other than Vlad III, Prince of Wallachia (1431–1476), more commonly known as Vlad the Impaler or simply as Dracula, was a three-time Voivode of Wallachia, ruling mainly from 1456 to 1462. Historically, Vlad III is best known for his resistance against the Ottoman Empire and its expansion and for the extremely cruel punishments he imposed on his enemies. Vlad III is believed to have inspired the association of his name to that of the Vampire Count Dracula in Bram Stoker's 1897 novel Dracula.

His Romanian surname Draculea (also spelled "Drakulya"), by which Vlad was referred to in several documents, means "son of the Dragon", in reference to his father, Vlad Dracul, who received that moniker from his subjects because he had joined the 'Order of the Dragon.' Dracul, from the Latin word Draco, meaning "Dragon", is derived from the Greek word Dracon. However, in Romanian Dracul means "Devil, and in the Bible the Devil is also called the Dragon, Great Dragon and the Snake".

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The Order of the Dragon (Latin: Societas Draconistrarum, Hungarian: Sárkány Lovagrend, German: der Drachenorden, Croatian: Zmajev red, Romanian: Ordinul Dragonului, Serbian: Red Zmaja) was a monarchical chivalric order for selected nobility, created in Hungary in the late Middle Ages, which is smiliar to the Knights Templar. Founded in 1408 by Sigismund, King of Hungary (r. 1387-1437) and later Holy Roman Emperor (r. 1433-1437), the Order primarily flourished in Germany and Italy. According to a surviving copy of its statute, the Order required its initiates to defend the Cross and fight the enemies of Christianity, in particular the Ottoman Turks. However, it is rather curious that the Dragon symbol of the Order is in the form of an 'Ouroboros,' which is of similarity to the Alchemical imagery of a Dragon Serpent eating its own tail whose ring unites the Seven metals and Planetary spheres.

The Seven Metals and Planets are associated with the seven Chakras of Yoga, which are aligned along ones spinal-column whose trunk is symbolically equated with a tree. The seven Chakras are activated by the arousal of the Kundalini Shakti Fire Snake, which is in essence that of ones Life-Force as it arises along ones spinal-column. The Kundalini Shakti of Yoga is symbolised as the Dragon in Alchemy, which encircles a Hexagram of a Six-Pointed-Star at whose points are allotted the Planetary Metals as well as that of its centre. The art of Alchemy was primarily orientated towards achieving the Philosophers stone, which bestows Immortality whose condition is traditionally associated with Vampires; this then leads one to the depiction of Vladimir (Vladislav) Dracula in the Munsters who works amidst his Psychedelic Alchemist's lab of a dungeon or that of an underground Garage engineering new Custom Cars in order to pick up lost starlets to add to his ever growing blood doll Harem, which makes him sound like a long haired Psychedelic Hippie mechanic who is probably a Hells Angel Biker as well, who also builds Goth Iron Horse Chopper bikes and trikes.

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The symbol of the the circled Ouroboros of a 'wheel' was also utilised by the philosopher Friedrich Nietzsche (October 15, 1844 – August 25, 1900) for his theories about 'Eternal Return' otherwise known as "Eternal Recurrence." The ancient symbol of the Ouroboros represents 'Eternal Recurrence,' whose concept describes that the universe has been recurring, and will continue to recur, in a self-similar form an infinite number of times across infinite time and or infinite space. The concept initially inherent in Indian philosophy was later found in ancient Egypt, and was subsequently taken up by the Pythagoreans and Stoics. With the decline of antiquity and the spread of Christianity, the concept fell into disuse in the Western world, though Friedrich Nietzsche resurrected it.

In addition, the philosophical concept of Eternal Recurrence was addressed by Arthur Schopenhauer. It is a purely physical concept, involving no supernatural 'Reincarnation,' but the return of beings in the same bodies. Time is viewed as being not linear but cyclical. The basic premise proceeds from the assumption that the probability of a world coming into existence exactly like our own is finite. If either time or space are infinite then mathematics tells us that our existence will recur an infinite number of times. One can thereby gather that Vladimir (Vladislav) Dracula of a Munster has an Ouroboros understanding of Nietzsche's Eternal Recurrence.

Vladislav Dracula not only inspired Bram Stoker's Dracula of a distinctive look but also the classic characterisation of Count Orlok' (German: "Graf Orlok") who is a fictional character portrayed by Max Schreck in the silent movie classic, 'Nosferatu, eine Symphonie des Grauens.' In Werner Herzog's remake, Dracula is virtually identical to Orlok, who was played by Klaus Kinski. No actor as yet has been able to surpass the comedic genius of Al Lewis whose character has become nigh Iconic, whereby a humorous depiction of Count Orlock may be that of an alternative avenue to take should there be a remake of The Munsters within ones imagination.

Count Orlok is a Vampire from Transylvania,", and appears to be the haunt of many nightmarish creatures, including a Werewolf (which was actually played by a Hyena in the film.) Orlok, known locally as the enonymous "Nosferatu", is a living corpse also known as "The Bird of Death", which feasts upon the blood of living humans. According to a book entitled "The Book of the Vampires" the protagonist Thomas Hutter discovers, evidence of the first Nosferatu was recorded in 1443. Whether Orlok is the first Nosferatu or not is never revealed.

Orlok is the main model for a style of fictional Vampire that is often nicknamed Nosferatu after the movie. Although based upon Count Dracula, Orlok possesses none of his predecessor's aristocratic charm or seductiveness. Utterly repulsive in appearance, he resembles something between a rat and a spider and is much more analogous to historical folklore accounts of Vampires, which were described as walking corpses inhabited by a demonic presence. He sleeps in "unhallowed" soil infected with the Black Death, and brings plague and disease with him. He is followed everywhere by rats, traditional carriers of the feared Black Death. Orlok is famous for being the first Vampire in history to be destroyed by sunlight. However in earlier folklore, Vampires were disgusted by sunlight but they could survive its glare. Also as opposed to traditional Vampires, Orlok cannot be destroyed by a stake through the heart, but only by a woman pure of heart who was willing to give her life to him. In terms of horror movie stereotypes, other Vampires based upon this character are creatures bordering between a Vampire and a Mutant.

The Vampire or otherwise called a Nosferatu is very much an Eastern European phenomenon, although there are similar mythic creatures, which are mentioned amidst the folklore of other cultures. However, the Eastern European Vampire is the most influential within the psyche of many, which had been moulded by the likes of Bram Stoker. The original Vampire of Eastern Europe was seen to be a hideous creature, which bares little comparison or resemblance with the present cultural manifestation of the Vampire. One of the consistent features of the Vampire, whether of original hideous form to that of the present Seducer of nubile Blood-Dolls to drink from of cup is that of an underlying Sexuality.
 
The Vampire motif of blood drinking has far more to do with Sex. Blood and Sex equates with the Life-Force; a Vampire was originally a Sexual entity of a perceived discarnate whom fed upon the Sexual energy of the living. The original hideous form of a Vampire, was somewhat moulded by a Medieval mentality whose perspective on Sex was primarily negative, this was more so the case concerning Sexual relations with otherworldly entities such as Incubi and Succubae, which were associated with the dire crimes of Necrophilia and Bestiality by the Christian Church. The Church compounded the situation further by classifying Succubae as being Incubi in disguise, whereby if one was accused of dallying with a Succubus one would not only be indulging in Necrophilia with a discarnate and that of Bestiality to be ridden by a Demonic otherworldly entity but also that of participating in a Homosexual act of Sodomy; whereby one was duly anally impaled on a stake, burnt to a crisp and beheaded.
 
In other words, the dalliance with Succubae was quite widespread among the general populace, whereby the Church sought to nullify such shenanigans by making out that the Succubae were in fact Incubi. One will find a similar Sexual engagement with otherworldly female entities when one looks into North-Central-Asian Siberian Shamanism where the Shamans power is primarily derived from his Spirit Wives. Many researchers have noticed distinct similarities between that of the ancient Norse and Germanic peoples and those peoples of the Steppe tribes in regards to their Spiritual orientation, which is in the main Shamanic. One merely has to look at the Norse/Saxon God Odin/Woden hanging him self into Trance upon the World Tree to then ride an Eight-Legged-Mare to see the similarities with a North-Central-Asian Shaman. Whereby, one can gather that the Church sought to eradicate a European Shamanistic tradition, whose practice was that of the ‘Horned’ male Shamans dallying with Spirit Wives.
 
In ancient times the ancestral Dead were seen to often have relations with the living whose discarnate existence was sustained by them feeding off the Sexual energy generated by ones aroused Emotions when they visited one within ones Dreams. Such Sexual entities were in the main Female Succubae like the Lillitu or the Bunis; whereupon one has the Germanic tradition of the Alp or Druden, whose terminology gave rise to the names of Elf and Dwarf, both of which were seen to be originally Female entities.

A Drude (German: Drude, pl. Druden) is a kind of Witch in German folklore associated with Dreams. Drudes were said to participate in the Wild Hunt and were considered a particular class of demon in Alfonso de Spina's hierarchy. The term Drude is thought to be derived from the Middle High German word Trute or the Gothic word Trudan, both in the sense of "to kick". Supporting this are names for Drudes based on the root to stamp from the Alpine region such as Stampfe or Romansh stampa and a Bavarian word for a Wizard, Truderer. Other names for Drudes include Nachtmahr ("Nightmare") and Walriderske.

According to old German belief, Drudes are Virgins and Priestesses who have an ecstatic ability, which enables them to split off a Drude from their spirit. This was known as the Drudenfluch or "Drude's curse". Sometimes they voluntarily chose to do so, while in other cases it is forced upon them. Although this can have either a benevolent or malevolent effect on humans and Elves, women suffering from the Drude's curse will keep this a secret from their fellow human beings. The only way to free oneself from the curse is by being given a very tame and important domestic animal to pass the Drude onto, which kills the animal in the process. It was believed that amongst 'Seven' daughters there would be one Drude.

Drudes typically take the form of an ugly, old, withered woman, who is, at the same time, very heavy of a presence. However, they usually appear as beautiful bond haired maidens looking somewhat like Marilyn Munroe of Nordic looks, which of modern perspective have now become the Nordic Aliens of UFO lore. The Drude creeps into homes at night through the smallest of cracks and openings. Once in the room, the Drude brings about an intense pressure upon the person's chest (Heart Chakra) and abducts them into her world. Drudes are also shape-shifters who can manifest as feathers, clouds of smoke, bumblebees, snakes or toads as well as bats and other animals. A Drude is always female, but often confused with the Trude, a half-human, half-birdlike being, which shares some features with the Drudes. The only way to prevent being possessed by a Drude is by using a charm or exercising Magick, which the Germanic tribes such as the Saxons were well versed in.

There was a large migration of Saxon peoples who went into Transylvania during the early Middle Ages; The Transylvanian Saxons (German: Siebenbürger Sachsen; Hungarian: Erdélyi szászok; Romanian: Saşi) are a people of German ethnicity who settled in Transylvania (German: Siebenbürgen) from the 12th century onwards; whereby their traditions influenced the natives, which over time formulated into the morbid tales of the Nosferatu. The colonization of Transylvania by Germans was begun by King Géza II of Hungary (1141–1162). For decades, the main task of the German settlers was to defend the South-Eastern border of the Kingdom of Hungary. The colonization continued until the end of the 13th century. Although the colonists came mostly from the western Holy Roman Empire and generally spoke Franconian dialects, they were collectively known as Saxons because of German's working for the Hungarian chancellery. For much of their history, these Saxons held a privileged status with the Hungarian nobles and Szeklers of Transylvania.

Another Germanic tradition concerned the 'Hexen,' which is a word utilised for a Witch, whose name is derived from the word for the Hexegram. The word of Hexe is also that of a ‘Spell;’ however, the Hexen is that of a Succubus or otherwise called a Druden, which was Evoked by the Hexe-gram symbol of the Six-Pointed Star of similarity to that Ritual Magick Evocations of spirits, while the Pentagram was utilised for protection against the Druden; although it has far more to do with having control over an Evoked Druden, whose nature is somewhat akin to that of the Hindu/Tantric Dakini of a wish-fulfilling female Djinn. The Hindu/Tantric Dakinis were seen to be associated with each of the Seven Chakras, which is of similarity to the European Occult tradition where certain classes of spirits are ascribed to each of the Seven planetary spheres; this also applies to the Druden.

The Pentagram was traditionally called the Drudenfuss; for example, the Weiler-Rems coat of arms contains a Drudenfuss; the Drudenfuss (or Drudenfuß), literally "Drude's foot", also known as a Drudenkreuz or "Drude's cross", is believed to be the footprint of a Drude with the power to ward off Drudes, which later became that of the Christian Cross warding off Vampires. It was in common use in the Middle Ages, which was also utilised as a signature mark amongst the fraternity of stonemasons. One of the Sorcerers charms against Drudes is the Drudenstein or Drude stone, a certain kind of stone with a natural hole in it like that of a ring through which the Sorcerer looked at the Druden in order to offset its seductive wiles.

A Sorcerer also had a knife called a Drudenmesser or "Drude's knife," which has 'Nine' half Moons and crosses on its blade; the Drudenmesser is said to have the power of controlling a whirlwind, which is one of the initial manifestations of a Druden of similarity to the inorganic feminine intelligence of the Ally spoken of by Carlos Castaneda. The knife is pointed at the whirlwind while it is forming in order for the Sorcerer to have control over the Evoked Druden. The pact one made with an Evoked Druden was invariably Sexual; whence the blood of an offering is in fact that of ones wet dream ejaculations; however, such emissions are in reality that of ones intense Emotions, which are aroused when engaging with a Druden of a Succubus within a vivid Lucid Dream.
 
Ones internal congress with a Druden can be so intense that upon awakening one feels drained, which is not too dissimilar when cavorting with her wild physical counterpart; the difference being, that a Druden utilised ones Emotive Sexual charge to thence bring about ones desire. The Alp and Druden were otherwise called Valkyries who are Odin's daughters; whence they were seen as being a Spiritual connection with Odin/Woden whose (Drudenstein) 'Draupnir' Ring was in the shape of an 'Ouroboros,' which leads one to the Transylvanian 'Order of the Dragon,' whose society, Vlad Dracul belonged to as a member.
 
The Hexen of an incarnate Witch could utilise the same means as a Druden in order to empower her self; whereby she was traditionally seen to have the ability to access the Dreams of men to thereby have sexual congress with them to thence feed off their emotive energy. Such Hexen Witches, when becoming discarnate themselves were seen as becoming that of Druden or a Bunis. This was more so the case of traditional perspective if a woman died in childbirth, committed suicide or met a violent end like Marilyn Munroe. Some male practitioners did likewise as the Hexen Witches to thereby feed off the Sexual energy of Females; although this would be dependent upon their Sexual inclination; but such an art is in the main the province of the Hexen Witch of a Lillitu Succubus who is versed in riding the aroused erection of a (Dracul) Dragon of a Sorcerer to thence feed off its ejaculated flame of Blood. 

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As mentioned before, Marilyn of a Venus Archetype was initially played by Beverley Owen and then by Pat Priest, both of whose hair was blond; Marilyn lives with the Munsters through the show's run. It is never really made very clear why Marilyn lives with the Munsters rather than with her parents in Transylvania, and it is noted that the Munsters have raised Marilyn since she was a baby. Although she is Lily's niece, the daughter of Lily's sister, she is always referred to as "Marilyn Munster" (while the character was being developed, her name was Marilyn Mundane). This was never explained, although it could be possible that Marilyn was orphaned during infancy, and the Munsters have formally adopted her. Although Lily is a Vampire/Ghoul, her brother Lester is a Werewolf, making the nature of Marilyn's mother un-guessable. A photograph of a woman in European peasant garb, perhaps her mother, was occasionally seen in Marilyn's room, but the camera never zoomed in to give viewers anything but a vague look.

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One could perhaps see a modern version of Marilyn as being somewhat like the main character in the TV series Ghost Whisperer, which is an American television supernatural drama, which ran on CBS from September 23, 2005 to May 21, 2010. The series follows the life of Melinda Gordon (Jennifer Love Hewitt), who has the ability to see and communicate with Ghosts. While trying to live as normal a life as possible, Melinda helps earthbound spirits resolve their problems and cross over into the Light, or the spirit world. Her tasks are difficult and at times she struggles with people who push her away and disbelieve her ability. In addition, the Ghosts are mysterious and sometimes menacing in the beginning and Melinda must use the clues available to her to understand the spirit's needs and help them. However Marilyn would probably get in contact with Spirits via a Séance for the sole purpose of finding out information, which is otherwise unavailable let alone foretelling the winning Lottery Jackpot numbers, whereupon enabling her family to become very rich in the process. Should one see Transylvanian Marilyn as being possessed by the spirit of Marilyn Munroe who has returned from the land of shades one can gather that she would get her self involved in all sorts of colourful scenarios.

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Marilyn is a fetching young blonde who pointedly resembles Marilyn Monroe, and the only family member who is not ghoulish in appearance; by the Munsters' aesthetic standards, she is distressingly unattractive. The family is faintly ashamed of Marilyn's Aphrodite appearance but still treat her with kindness and love. Marilyn herself is all too aware of her "homeliness" and bemoans that she keeps scaring off potential boyfriends, having no clue that the young men are in fact frightened away by her monstrous family.

One could also perceive Marilyn as being akin to the character Carrie whose name is the title of a 1976 American Supernatural Horror film directed by Brian De Palma and written by Lawrence D. Cohen, based on the novel Carrie by Stephen King. The film and the novel tell the story of a socially outcast teenage girl, Carrie White, who discovers she possesses Psionic abilities, which seems to flare up when she becomes angry or otherwise distressed. The actress Sissy Spacek played the part of Carrie in the film. As for Marilyn she attends Westbury College in Mockingbird Heights. Then again as a sexy College Girl of a Succubus one can have her as a Ghost who frequents an otherworldly all Girls College of most wanton salacious Succubae who can only be seen by her direct family; however, she can generate Poltergeist phenomena as well as to manifest into sensual flesh when she desires to be seen by others every Friday. In the series she is devoted to her family, and the surest way for a suitor to alienate Marilyn (rather than vice versa) is to disparage them. She considers her Uncle Herman and Grandpa the "two finest men who ever walked this earth."

Despite her visible Friday night "normality," in the series, Marilyn, having been raised in the Munsters' Ghoulish Ghede subculture of Vampires, Werewolves, Sorcerers, Mad Scientists, Witches, etc., shares her family's tastes for macabre decor (she regularly assists Lily in festooning the house with cobwebs), food, and entertainments, although she dresses more in keeping with contemporary American fashion than her relatives, perhaps thinking that doing so directs attention away from her "homeliness." Like the rest of her family, she believes that their tastes are shared by the majority of society and that people who consider the Munsters' lifestyle odd or frightening are themselves quite strange. When, in one episode, Herman was temporarily transformed into the appearance of a normal human, Marilyn was as shocked and appalled by his transformation as anyone else in the family.

Although Marilyn stood out like a sore thumb amidst The Munsters cast more than any other character, Marilyn was the least developed character in the series. She was never the main character in any episode, and she usually acted as a catalyst for Herman and Grandpa's antics. However one can take the character of Marilyn further when one fuses Carrie with the Ghost Whisperer to also see her as a wanton Succubus, which would be quite apt for a Woman looking like Marilyn Munro; wherefore one has Bunea.

The idea of a family of comical Monsters was first suggested to Universal Studios in the late 1940s by animator Bob Clampett, who wanted to do a series of cartoons. The project didn't see development until the early 1960s, when a treatment or 'format' for a similar idea was submitted to Universal Studios by Rocky & Bullwinkle writers Allan Burns and Chris Hayward. This format was later handed to writers Norm Liebman and Ed Haas, who wrote a pilot script, Love Thy Monster. For some time, there were executives who believed the series should be made as a cartoon and others who wanted to see it made using live-action. Finally, a presentation was filmed by MCA Television for CBS, using live-action. The series aired at night once a week in black-and-white on the CBS Television Network from September 24, 1964 to May 12, 1966, for 70 episodes. It was cancelled after ratings dropped to an all-time low due to the premiere of ABC's Batman, which was in full colour; whereby the decision to go black and white of similarity to the Addams Family was a very bad move. Though ratings were low during its initial two-year run, The Munsters grew in popularity during decades of syndication. This popularity warranted a spin-off series, as well as several films, including one with a theatrical release.

The Munster Family while decidedly odd consider themselves fairly typical working-class Americans of the era. Herman, like many husbands of the 1960s, is the sole wage-earner in the family, though Lily and Grandpa make (short-lived) attempts to earn a little money from time to time. While Herman is the titular "head of household," Lily actually makes most of the decisions. Despite superficial similarities of eccentric characters incongruent with their communities and a generally Gothic look, this and Addams Family were actually different in the style of series, and the characters. The Munsters could have made more distinctive of unique look if the producers stayed with the colour format, while a Modern version would have to be far darker of black humour tone. Overall, the now ‘Archetypal’ Iconic characters of The Addams Family were wealthy eccentrics with a Gothic look who generally stayed at home, while the Munsters were of a blue-collar and generally outgoing family of legendary Monsters. Both of whom became successful upon the back of an interest amongst the youth of the day whose imaginations were excited by Horror Comics, which leads one the Comic book addict Edward Wolfgang Munster, otherwise called Eddie who was originally played by Butch Patrick.

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The only child of Herman and Lily Munster, Eddie is a Werewolf upon whom the modern version of an older 'Wednesday' Addams is based. A Werewolf, also known as a Lycanthrope is usually seen to be a mythological or folkloric human with the ability to shape-shift into a Wolf or an anthropomorphic Wolf-like creature, either purposely, by being bitten by another Werewolf, or after being placed under a curse. This transformation is often associated with the appearance of the full Moon, as popularly noted by the Medieval chronicler Gervase of Tilbury, and perhaps in earlier times among the ancient Greeks through the writings of Petronius.

Werewolves are often attributed superhuman strength and senses, far beyond those of both Wolves and men. The Werewolf is generally held to be primarily of a European character, although its lore spread throughout the world in later times along with the European’s. Shape-shifters, similar to Werewolves, are common in tales from all over the world, most notably amongst the Native American's, though most of them involve animal forms other than Wolves, such as the Dog Soldiers. The Dog Soldiers were a company of Cheyenne warriors who were the military elite of the Cheyenne Nation; as in other prairie tribes, the warriors of the Cheyenne were organized into societies or orders. These societies were fraternal, military, and semi-religious organizations with special privileges, duties, and dress, usually tracing their origin to some mythical 'Culture Hero' or 'Medicine Man.' Each society had its own songs and secret ritual, and exacted certain observances and standards of its members.
The Dog Soldiers were active initially with other Native tribes and later with U.S. forces, in conflicts and raids in the areas that are now Kansas, Colorado, and Wyoming from the 1830s. They consistently refused to enter into treaties with the United States. They suffered a decisive defeat in a battle with U.S. cavalry at Summit Springs, Colorado, in 1869.

Among the ancient Norse, it was the custom for certain warriors to dress in the skins of the beasts, which they had slain, in order to give themselves an air of ferocity, by taking on the power of the animal. Such dresses are mentioned in some Sagas. For instance, in the Njála there is mention of a man i geitheðni, in Goatskin dress. Much in the same way as that of Harold Harfagr having in his company a band of Berserkir, warriors who were all dressed in Wolf-skins, whom were known as Ulfheðnir, and this expression, Wolf-skin coated, is met with as a man’s name. Thus in the Holmverja Saga, there is mention of a Björn, “son of Ulfheðin, Wolfskin coat, son of Ulfhamr, Wolf-shaped, son of Ulf, Wolf, son of Ulfhamr, Wolf-shaped, who could change forms.”

The Berserkir (Bear shirts) were not only warriors but also the priests of their Shaman God Odin (Culture- Hero and Medicine Man) who were in essence Shamans whom could induce an ecstatic rage, which enabled them to not be affected by the natural elements or to not feel any pain in combat. The Berserkir were highly versed in the Martial Arts who also had the ability to project their Dream body into a shape of a Bear, which enabled them to affect the minds of their foes. The Ulfheðnir are likewise the same as the Berserkir who could shape-shift into the forms of Wolves within their Dreams to thereby afflict their foes with terror, however, the Berserkir were somewhat akin to the Japanese Samurai of the Norse while the Ulfheðnir were the guerrilla fighters of similarity to that of the Japanese Ninja and the Cheyenne Dog Soldiers.

The most conclusive passage, which can be found in the Vatnsdæla Saga, is as follows: “Those Berserkir who were called Ulfheðnir, had got Wolf-skins over their mail coats” (c. xvi.) In like manner the word Berserkr, describes a man whom is possessed of superhuman powers who has the ability of directing and controlling a diabolical fury; such a term was originally applied to one of those doughty champions who went about in Bear-sarks, or habits made of bear-skin over their armour; whereupon one also had the Wolf shirted Ulfheðnir, all as Werewolves.

The Werewolf role of Eddie was later played by Jason Marsden in The Munsters Today. One can of course imaginatively perceive Eddie as being otherwise that of a Goth chick 'She Wolf' instead to call Edwina of a modern Munster version of a 'Wednesday' Addams whereupon she wears a tight clinging Punk T-Shirt with a Dog's head on it. Eddie is a typical all-American boy apart from being a Werewolf and, in some episodes, showing some signs of being part Vampire. Most noticeable is the fact that he sleeps in a coffin. He has a stuffed toy Werewolf named Wolfy, which bears an uncanny resemblance to Lon Chaney, Jr.'s character, The Wolfman. He attends elementary school, and aside from his pointed ears, severe widow's peak, and Fauntleroy suit, he is a normal kid who can be seen as having an avid interest in EC Horror Comics such as the ‘Crypt of Terror;’ whereby one could probably see him loving nothing more than drawing and painting his lurid fantasies under a full Moon who desires to become a Comic book Artist.

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The Crypt of Terror #17Horror comics emerged as a distinct comic book genre after World War II when young adult males lost interest in caped crime-busters, and returning GIs wanted titillating sex and violence in their reading. One-shot Eerie Comics (1947) is generally considered the first true horror comic with its cover depicting a dagger-wielding, red eyed ghoul threatening a rope-bound, scantily clad, voluptuous young woman beneath a full moon. In 1948, ‘Adventures Into the Unknown’ became the first regularly published horror title, enjoying a nearly two decade life-span.

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In 1950, publisher Gaines and his editor Al Feldstein discovered they shared similar tastes in horror and began experimenting with horror tales in their crime titles. ‘Tales from the Crypt’ traces its origin to a Feldstein story, "Return from the Grave!", in EC's Crime Patrol (#15, December 1949/January 1950) with the Crypt-Keeper making his debut as host. Issue #16 featured more Horror tales than crime stories, and, with issue #17, the title changed from Crime Patrol to The Crypt of Terror. Due to an attempt to save money on second-class postage permits, the numbering did not change with the title and continued as The Crypt of Terror for the next two issues. The title saw its final form, Tales from the Crypt, with issue #20, October/November, 1950.

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The highly innovative early front covers were created by Feldstein, Johnny Craig and Wally Wood, with the remaining covers (1952–55) by Jack Davis. The contributing interior Artists were Craig, Feldstein, Wood, Davis, George Evans, Jack Kamen, Graham Ingels, Harvey Kurtzman, Al Williamson, Joe Orlando, Reed Crandall, Bernard Krigstein, Will Elder, Fred Peters and Howard Larsen. Jack Davis took over the art for the Crypt-Keeper stories with (#24, June/July, 1951), and continued as the title's lead Artist for the rest of the run. Feldstein devised the Crypt-Keeper's origin story "Lower Berth!" (#33), which was illustrated by Davis; Issue #38 was one of two covers from EC's Horror Comics censored prior to publication. While The Vault of Horror cover for issue #32 was restored in Russ Cochran's EC Library reprints, the Tales from the Crypt cover remained censored. "Kamen's Kalamity" (#31) starred many members of the EC staff, including Gaines, Feldstein and the story's Artist, Kamen. Ingels, Davis and Craig also made cameo appearances in the story in single panels which they drew themselves.

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The Crypt-Keeper is the host of the Comic, beginning and ending each story with various puns to bring a lighter touch to the horror stories. He is one of three GhouLunatics, and he has a rivalry with the Old Witch and the Vault-Keeper whose characters established the prior setting for The Munsters. In 1954, Gaines and Feldstein intended to add a fourth book to their Horror publications by reactivating an earlier title, The Crypt of Terror. They were stopped dead in their tracks, however. Horror and other violent comics had come under scrutiny by parents, schoolteachers, clergymen, psychologists, and others who viewed the material as dangerous to the well-being of children and a significant contributor to the juvenile delinquency crisis in America, which is of the same mind set one to find in regards to the present control over Video Games. Matters came to a head in April and June 1954 with a highly publicized Senate Subcommittee on Juvenile Delinquency. Hearings targeted violent comic books, which fared poorly in the proceedings. While the committee stopped short of blaming the Comics industry for juvenile delinquency, they did suggest it tone down the product. Publishers were left reeling.

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The industry deftly avoided outside censorship by creating the self-regulatory Comics Magazine Association of America (CMAA) and a Comics Code Authority (CCA) that placed severe restrictions on violent comic book genres. Publishers were forbidden from using the words "Terror" and "Horror" in titles, for example, and forbidden from depicting Zombies, Werewolves, and other gruesome characters and outrè Horror fiction trappings. Gaines was totally and utterly fed up by the Entartete Kunst lunatics; he believed his titles were being specifically targeted and realized they were doomed to future failure. He threw in the towel, cancelling Tales from the Crypt and its companion titles in September 1954. Since an issue of The Crypt of Terror had already been produced, it was published as the final issue of Tales from the Crypt, February/March, 1955. Suffice to say Eddie was not at all pleased about the demise of the EC Horror Comic line; hence he decided to Rebel against the censorship of the Arts, whereupon his own Art reflects his rebellion.

Should one perceive Eddie to be an older character as well as being a superb Comic Artist who is a fusion of all the Artistic genius one to have found in the EC Horror Comics one can perhaps base his character on S. Clay Wilson (born July 25, 1941) (Steve or Steven) who is an American underground cartoonist and central figure in the Underground Comix Movement. Wilson is known for aggressively violent and sexually explicit panoramas of "lowlife," often depicting the wild escapades of Demonic Pirates and Hells Angel Bikers, which of course can easily be applied to the Horror genre to be taken further of Surreal symbolist tales. He was an early contributor to Zap Comix, and Wilson's Artistic audacity has been cited by R. Crumb as a liberating source of inspiration for Crumb's own work. Wilson was born in Lincoln, Nebraska and later attended the University of Nebraska. He was trained as a medic in the United States Army and held odd jobs before moving to San Francisco in 1968. Wilson lived in Lawrence, KS before moving West. He met up with Charles Plymell, who was publishing Robert Crumb's Zap Comix. Wilson had been drawing since he was 12, and needed little persuasion to contribute to Zap. His work was praised by such counterculture icons as William S. Burroughs and Terry Southern. Wilson was also featured in ‘The Rip Off Review of Western Culture,’ in which he contributed to the three issues that were published in 1972.

According to Charles Plymell (an editor of Grist magazine), Wilson's first published work was in 1966 in Grist #7 magazine (a Poetry magazine by John Fowler) and then in Grist #9, also from that same year. The first appearance of the Checkered Demon is said to have been in an ad in a later issue of Grist. His portfolio was printed the following year in 1967 (with subsequent printings later on in comic book form). A striking feature of S. Clay Wilson's work is the contrast between the literate way in which his characters speak and think and the depraved violence in which they engage.

Wilson's later work became far more sexually explicit of a perversely ghoulish orientation, featuring Zombie Pirates and visualizations of the Virgin of Guadalupe as a rotting Vampire mother. In many respects, however, his work has remained consistent since his emergence in the 1960s. In contrast to the many countercultural figures who to have eventually moderated their more extreme tendencies and successfully assimilated themselves into the mainstream of commercial culture, S. Clay Wilson's work has remained troubling to quaint mainstream sensibilities and most defiantly ill-mannered of a Rebellious nature. The main book collection of S. Clay Wilson's comics is the Checkered Demon Anthology Vol. 1 from Last Gasp. The Art of S. Clay Wilson, published in 2006 by Ten Speed Press, covers his prints and paintings as well as his comic work.

Wilson would have no qualms whatsoever illustrating young Werewolf Eddie of an aspiring Comic book Artist having sexual relations with his first cousin Marilyn who is also his Artist’s model to bind her up with chains and rope within the dungeon, which Marilyn lovingly complies with as his most servile Sex Slave; while Herman, Lily and Grandpa are completely oblivious to what is going on. But then again they may just consider such goings on to be perfectly normal. Perhaps one could also see Marilyn as being a contortionist who can bend her lithe gymnastic body into impossible shapes to look like a living chair, which Eddie of course utilises, or for him to put her in a fridge or a box of sadomasochistic tortures whom to take on varying poses to paint or photograph. Wilson would probably have Marilyn introduce her female friends to Eddie whose sexual hunger of a Werewolf knows no bounds of bestial fervour, whereupon Marilyn’s female friends often end up becoming Eddie’s dinner; since Eddie is an immortal Werewolf he never grows up physically, who perpetually looks like a kid whom has a liking for smoking fat Cuban cigars and fast women; whereupon he often seeks to seduce his sexy female teachers who teach at his elementary school; however, his one and only true love is Marilyn who is his Artist’s Muse one can thence fuse with Bunea whom looks like Marilyn Munroe.  

Bunea is classically described as being associated with a Dragon in the Goetia; whereupon one has a Dragon in the Munsters, which is called Spot, who is Eddie's pet Dragon whose lair is under the stairs. The Dragon has bright eyes, a battleaxe scar on its shoulder, and is always spouting fire. When the Dragon leaves its lair, only the tail can usually be seen. The 13th episode of Season 2 "Underground Munster" features Spot running away to be mistaken for a dangerous monster when sighted in the sewer. Herman goes down the manhole to search for Spot, but he is also mistaken for a dangerous monster. The only episode in which we see more than the Dragon’s tail occurs in the Munster episode "Lily's Star Boarder".

The Dragon can also be seen as a totemic animal of Heraldry whence one has the shield of Munster Hall of Shroudshire in England, which in turn has connections with ‘Rocky Horror Show’ Transylvania. In the classical Goetia the Dragon of Bunea has three heads, one of which is human, the other that of a Dog, which one can see otherwise as that of a Wolf while the third head is that of a Gryphon. As for a Gryphon, which is half Eagle and half Lion one has a Bird and a Cat, which one could otherwise equate with a Raven and the Black Cat of familiars, both of which is featured in the Musters. The Edgar Allen Poe Raven, which is voiced by Mel Blanc and occasionally by Bob Hastings lives in The Munsters cuckoo clock and repeats the word "Nevermore." When the Raven occasionally makes wisecrack remarks, Herman throws objects at him. Sometimes, the Raven will come out of his clock, but often only for short breaks, or to flee when frightened; as for the Black Cat she roars like a Lion, which is sometimes called "Kitty".

One can of course perceive the Dragon as being that of the 'Pendragon' of 'Camelot' encircled of an Ouroboros of a ring. The three Heads of the Pendragon of a Dragon can be seen as those of three Sorceress Sisters whose sacred days are that of Wednesday, Friday and a Saturday whom bestow many a Boon.

 

SYMBOLIC ASSOCIATIONS IN SUMMARY TO TAKE FURTHER VIA THE PRACTICE OF EVOCATION

 

In the classical Goetia the Twenty-Sixth Spirit is called Bune. The name of Bune (Bime/Bima/Buna) is derived from the Olde English, which means ‘Reeds,’ the word has an association with the Fifteenth Rune of the Elder Futhark 'Eolh-secg.' The Fifteenth Rune describes Reeds as being Elk-Sedge, which grows mostly in a marsh or a peat bog and is specifically associated with Odin’s/Woden’s handmaiden’s, whom are known as Valkyries/Waelkyrge, whose name means “Choosers of the Slain.” The Fifteenth Rune is also associated with 'Spiritual Protection,' and that of Elk-Reindeer Antlers worn from atop of the brow of the Shaman.

Bune is also etymologically associated with the Olde English word ‘Boon,’ such as riches, wealth and fortune to bestow, which the Valkyries/Waelkyrge often bestowed upon those heroes they chose to protect as their Spirit-Wives like the Irish Morrigan. In other words, (Bune) Bunea is a Valkyrie.

Bune is also a Hebrew word that is otherwise spelt Bine, Buna. Bina or Binah, which is used as a feminine name meaning Wisdom and Intelligence. Binah is also utilised as a Hebrew form of the feminine name Sophia. The ancient Roman equivalent to 'Sophia' is the Goddess Minerva whom was originally derived from the ancient Greek Goddess Athena. Many a scholar has determined that the classical image of the Valkyries was influenced by armoured Athena.

The Goddess Minerva is also the same as the Romano Celtic Goddess called Brigantia who is also Britainnia. The Goddess Brigantia/Britainia is otherwise known in the Irish as the Goddess Brigid. The Goddess Brigantia/Britainia/Brigid of strange turn of events became the death Loa Maman Brigitte in the Haitian Vodou pantheon whom represents Ancestral Wisdom as well as bestowing the boon of riches.

THE MAGICKAL BUNE CAULDRON OF RICHES BESTOWING MANY A BOON

One also has the Celtic tribe of the Dobunni in association with the word Bune: "The Dobunni were one of the Celtic tribes living in the British Isles prior to the Roman invasion of Britain. There are seven known reference to the tribe in Roman histories and inscriptions. The latter part of the name possibly derives from 'Bune,' a Cup, Cauldron or Vessel. The name seems to have had a similar meaning to the later tribal name Hwicce; both being related to the recognisable cult of a Romano-British Goddess.

The tribe lived in the part of Southwestern Britain that today broadly coincides with the English counties of North Somerset, Bristol, and Gloucestershire; although at times their territory may have extended into parts of what are now Herefordshire, Oxfordshire, Wiltshire, Worcestershire, and Warwickshire. Their capital acquired the Roman name of Corinium Dobunnorum, which is today known as Cirencester.

Their Territory was bordered by the Cornovii and Corieltauvi to the North; the Catuvellauni to the East; the Atrebates and Belgae to the South; and the Silures and Ordovices to the West. Some of these suggestions are, however, speculative. There is evidence for a cult associated with the tribe in the Romano-British period; the evidence being coterminous with the tribe's territory. Religious Sculptures have been found at: Gloucester, Cirencester, Nettleton, Bath, Wellow, and Aldsworth."

LUCID DREAM EVOCATIONS OF THE GOETIC SUCCUBUS BUNEA

During a rather Erotic Lucid Dream concerning the Evocation of the Succubus Bunea, whose prior Dreams concerned repeating symbolic motifs of steps into an arena of exploration yet to be covered, I duly found my self somewhere in Eastern Europe of locale for some reason; I did not know where I was of actual geographic location, I just felt I was in Eastern Europe and that the Female I was with was of Eastern European descent. At one point in the Dream there were references to the Russian Army, in order to further indicate to me that I was in Eastern Europe, while the geography of the Dream felt like some kind of Alternate World right out of the Steampunk genre. The Dream gave me a greater insight into who Bunea is, to thence flesh out of character. I later checked out the name Bune in regards to Eastern Europe, whereupon I found the Romanian word of - Bune: Romanian Pronunciation: 'Bu.ne;' I was quite unaware of this association until I had this particular vivid Lucid Dream.

Adjective: Bune – 'Good' (also Wealthy, Fortunate, Luck, Marriageable, as well as a list of other words, which are utilised along with Bune to make Good, one can equate with a Boon.)

1: Feminine plural nominative form of Bun, 2: Feminine plural accusative form of Bun, 3: Neuter plural nominative form of Bun, 4: Neuter plural accusative form of Bun

As for Romania: "Romania pronounced: roe-MAY-nee-ə. Rumania; Romanian: România is a country located at the crossroads of Central and Southeastern Europe, North of the Balkan Peninsula, on the Lower Danube, within and outside the Carpathian arch, bordering on the Black Sea. Almost all of the Danube Delta is located within its territory. Romania shares a border with Hungary and Serbia to the west, Ukraine and the Republic of Moldova to the Northeast, and Bulgaria to the South."

DRAGON AND GRYPHON OF THE SCYTHIAN STEPPE WOLF

Romania also leads one to Transylvania, which is somewhat apt concerning 'The Munster Family' motif, it also explains the Animal associations of Bune, which involves a Dragon and a Gryphon of Eastern European Heraldry, while a Dog could be seen as being that of a Werewolf in regards to Transylvanian mythology:

"Transylvania (Romanian: Ardeal or Transilvania; Hungarian: Erdély; German: Siebenbürgen. Transylvania is a historical region in the central part of Romania. Bounded on the East and South by the Carpathian mountain range, historical Transylvania extended in the West to the Apuseni Mountains; however, the term frequently encompasses not only Transylvania proper, but also the historical regions of Crişana, Maramureş, and (Romanian) Banat."

The Dream did not invalidate the Vodou association, in fact it strengthened it due to to the Mystical Romanian and hence that of the Gothic Transylvanian association, for both can be fused together quite easily in regards to 'The Munster Family motif.' However, the Eastern European association appears to be quite consistent; this is no do doubt due to the Romanian name of Bune, which appears to have an associative etymological link with the Olde English word Bune and that of a Boon.

THE WRESTLING OF A SPIRIT INTO ANOTHER FORM OF EXPRESSION

The first Evocation of Bunea led to a most vivid Dream within which I encountered the Classic version of Bune. The Dream was as one might expect very heavy due to the collective Mind focus upon this Spirit to spin within the Collective Dreamtime. The Dream was Lucid of nature, within which I conversed with the Spirit, whose domain was permeated with the sensation of death. The Spirit had manifested as two characters like that of undertakers, one behind the other whose humanoid forms were indistinct of rotting grey colour. The Spirit was not essentially dangerous apart from my fear of it, which I had to control at all costs. What the Spirit communicated was in the main good advice, but nothing that I did not already know, although such can be easily forgotten, which could lead to a sticky end; in essence the Spirit communicated that money is not the most important thing, one cannot take it with one at the end of the day when entering unto the maw of the grave apart from ones memories in spirit, which be ones truest wealth. The lead up to this Dream and afterwards was that of a growing awareness that meditations upon this Spirit at night caused me to have inadvertent panic attacks, which struck at my gut and solar plexus to feel an overriding uncontrollable sensation of dread and inexplicable grief. However, I continued in order to determine whether I could control these sensations so as to overcome my fear in order to transmute otherwise of affect upon my neural-net, which is all part of the process of an inner Alchemy.

CELTIC TO HAITIAN ASSOCIATIONS STRANGE OF MOST OBVIOUS CONNECTION

The following Dream concerned me contacting a beautiful naked blond haired woman whom alluded to Vodou via symbolic information pertaining to Baron Samedhi. After this Dream contact I later investigated Baron Samedhi, which invariably led to Maman Brigitte; I was somewhat unaware at this time about Maman Brigitte’s association with Baron Samedhi, but then I could have been subconsciously aware of such information. This particular Dream contact led me to writing much of the material above in regards to Maman Brigitte. I had a series of other Dreams, but these surreal Dreams were not always Lucid via which I had wrestled the Spirit to assume another form whose symnolic motifs sometimes alluded to The Munster Family of trigger Symbol as well as that of monetary situations.

The consistent motif concerning this Spirit was that of manifesting as two women, one of whom had blond hair while the other had dark hair. I also found that the meditations at night was not the best time for such workings, but then said Spirit is classically seen to be associated with the day; whereupon most of my observed Dreams concerning this Spirit happened during the daytime. The Dreams within which the Spirit manifested were usually brightly lit of day and of earthy colours whose physical sensations were very vivid of experience. The Dreams concerning the Evocation of Bunea eventually became that of sexually intense Lucid Dream experiences with female entities whom appear in the same way each time of manifest appearance, which led me to the Romanian association, whose correspondence I was prior unaware of.

THE GODDESS OF THE UNDERWORLD WOMB CAULDRON

There seems to be a tentative link between the Celtic tribe of the Dubonni whose fixation was upon a Goddess associated with a (Bune) Cauldron and that of the Gundestrup Cauldron found in Denmark whose metal work is said to have been originally derived from the area of Romania, but more specifically that of Transylvania, where similar metal working finds have been discovered.

"The cauldron has frustrated all attempts to demonstrate that a sequential narrative informs its diverse scenes and images. Some of the figures depicted carry clearly identifiable La Tène Celtic equipment—warriors blowing animal-shaped trumpets (carnyxes), and wearing animal-headed helmets and spurs. The equipment suggests a date of 175–150 B.C. Jutland was never culturally part of the Celtic world; the Himmerland area takes its name from the Cimbri, a Germanic tribe that moved there after their defeat in 113 B.C. by the Romans at the battle of Noreia in southern Germany. Neither Germanic nor Celtic Europe displays any tradition of repoussè silversmithing, and it has long been argued that the cauldron is a product of the Thracian Toreutic tradition, which flourished in South-Eastern Europe between the fifth century b.c. and the second century a.d. A fragment of wall plate from another cauldron of similar dimensions, along with part of a silver carnyx, is known from a first-century b.c. hoard at Sälistea in Romanian "Transylvania." Central European Celtic tribes moved into this region from the fourth century b.c. onward, pushing progressively southward; it was on the lower Danube that Alexander met the Celts prior to his campaigns in Asia. Celtic burials and hoards from the region contain La Tène equipment of like type to that depicted on the cauldron. Some of these Celts are known to have been raided by the Cimbri prior to the battle of Noreia. Thus, known historical events and archaeological evidence connect the region of the cauldron's manufacture with its place of deposition in an appropriate manner."

"Gundestrup Cauldron (3rd - 2nd century); found ritually broken in a peat bog in Denmark, but probably made near the Black Sea, perhaps in Romania. (The Gundestrup Cauldron presently resides in the Himmerland Museum; one wonders if they really know how important it is.)"

THE CAULDRON AT THE BACK OF ONES HEAD CEREBELLUM

One will also find an image of the ancient Hindu deity of the Horned Proto-Siva on the Gundestrup Cauldron, whom is otherwise known as the Celtic deity Cernnunos along with a Goddess image flanked by two Elephants, which appears to depict the Hindu Goddess Lakshmi who is the Goddess of Wealth and Fortune. Siva is the Lord of Yoga and that of the state of Samadhi from which the Haitian Baron Samedhi's name is originally derived from. In Celtic lore the Cauldron is often seen to be that of a Magickal artefact, which is usually associated with the uterine depths of the underworld. When one attains the Samadhi 'Secret' of the Cauldron it bestows one with many a (Bune) 'Boon.'