Topic: Babylon Working

The influence of the Discordian Society and Robert Anton Wilson’s "Illuminatus!" trilogy is analyzed. The discussion connects these "trickster" philosophies to Aleister Crowley and Jack Parsons' "Babylon Working." It is suggested that the goal of these groups is to break down objective reality through chaos to initiate a new age centered on a "mother goddess" or Babylon entity.

The conversation explores the possibility of occult rituals designed to engineer births that draw dark entities into physical bodies. Reference is made to Jack Parsons and the "Babylon Working" as historical precedents for using human vessels as meat suits for Archons. Icke confirms his belief that such practices are a reality within the inner circles of the elite to strengthen communication with non-human realms.

Referencing Diana Pasulka's research, the discussion explores the use of occult rituals, Latin phrases, and Roman deity imagery in modern space launches at Cape Canaveral. Ryan Bledsoe confirms that intelligence contacts have admitted to performing rituals based on cardinal directions and equinoxes. The segment links these practices to the legacy of Jack Parsons and the "Babylon Working" rituals associated with the creation of the Jet Propulsion Laboratory.

In 1946, rocket scientist Jack Parsons and L. Ron Hubbard performed the Babylon Working ritual to manifest the "Whore of Babylon" into reality. Marjorie Cameron subsequently appeared and became Parsons' partner, later miscarrying a child that some speculate was an attempted "Moonchild" or homunculus. These rituals took place near the Trinity site, further linking early aerospace development with sex magic and the invocation of entities.

A detailed synchromystic analysis links Super Bowl 57 in Phoenix to Jack Parsons' 1946 Babylon Working rituals. The event occurred exactly 77 years after the original rituals and featured numerous numerical correspondences involving the number seven. The segment highlights the simultaneous "alien mania" and weather balloon incidents that occurred during the game, suggesting a coordinated effort to heighten societal adrenaline.

Rihanna's Super Bowl halftime performance is decoded as a manifestation of the "Scarlet Woman" archetype from Thelemic occultism. Her red attire, pregnancy reveal, and the timing of her birth—42 years after the Babylon Working—are cited as evidence of a mass ritual. Popehead argues that these "rhyme schemes" in reality are not always minutely planned by men but are domino effects triggered by setting specific occult intentions.

The discussion shifts to the metaphysical origins of technology, suggesting that rituals serve as the "blueprint" for technological advancement. Knowles draws parallels between modern UFO events and ancient myths of "The Watchers" or the "Kibiri" falling to earth to teach metalworking and weaponry. He posits that world events are driven by fragmented power structures seeking favor from extra-dimensional entities known historically as daemons.

Knowles details the 1946 Babylon Working performed by Jack Parsons and L. Ron Hubbard, linking it to the US Army’s Project Diana, which bounced radar off the moon. He suggests Hubbard may have used military intelligence to time the ritual with high-tech experiments. The segment also notes the appearance of "ghost rockets" over Scandinavia during this period and Hubbard’s service on the USS Algol.

The 1946 Babylon Working performed by Jack Parsons and L. Ron Hubbard is linked to the U.S. Army's Project Diana, which bounced radar signals off the moon. Knowles suggests Hubbard used military intelligence knowledge of Project Diana to time his occult rituals in the Mojave Desert.

A comparison is drawn between modern alien abduction accounts and ancient fairy folklore, noting similarities in missing time and the theft of infants. The segment also connects the concept of human-alien hybrids to historical occult rituals like the Babylon Working performed by Jack Parsons and L. Ron Hubbard.

The segment details the 1946 Babylon Working performed by Jack Parsons and L. Ron Hubbard, which aimed to manifest the goddess Babylon and usher in the Aeon of Horus. Weishaupt explains how these rituals were intended to destroy monotheistic constraints on sexuality and spirituality, potentially laying the groundwork for a modern "Religion of the Antichrist."

The conversation touches on the potential for disinformation in the work of figures like Tom DeLonge and the broader political war within the paranormal community. Burns suggests that the revelation of these truths could lead to the end of traditional religious institutions, including the Catholic Church under Pope Francis.

The concept of a Gnostic apocalypse is defined as a "great revealing" of the reality underpinning a false paradigm. The discussion touches on the mainstreaming of Jack Parsons and the Babylon Working as evidence of esoteric momentum. Knowles argues that society has entered a "never-ending ritual" that will reach a crisis point at events like the Super Bowl.

In 1946, Jack Parsons and L. Ron Hubbard performed the Babylon Workings, a series of rituals intended to open a portal. This event is linked to the 1947 Roswell incident and the subsequent rise of UFO sightings. Some researchers propose that modern alien depictions in Hollywood are a disinformation campaign to mask the reality of demonic entities manifesting through these portals.

The symbolism of the lion in pop culture is traced back to the Sumerian goddess Inanna and the Babylonian Ishtar. Reference is made to the "Babylon Working" rituals performed by Jack Parsons and L. Ron Hubbard, which involved visions of a goddess riding a beast. The researchers suggest that in certain occult contexts, the lion represents the apex of the food chain and is associated with primal fear and cannibalism.