Iggy Pop Playlist

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Iggy Pop is an American singer, songwriter, musician, record producer, and actor. Since forming The Stooges in 1967, Iggy’s career has spanned decades and genres. Having paved the way for ‘70’s punk and ‘90’s grunge, he is often considered “The Godfather of Punk.”

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King and Prince of Disks (Tarot Triptych)

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Name:  King of Disks, Prince of Disks
Astrology: Taurus
Qabalah: Vau of He

Chris Gabriel April 26, 2025

The King of Disks is a man of the land, and each representation rests amid fertile soil. The fruits of the labor abound, this is a man made rich by his hard work and at the height of earthly power: growth and accumulation. The work of the suit was all investment for these ultimate returns.

In Rider, the King looks demurely upon the pentacle he balances  upon his knee. His cloak is verdant, covered in grapes and vines, his crown is rosy, and his cowl is scarlet. His other hand holds a sphere topped scepter. The throne is adorned with four Bulls and the ground below him is full of flowers and vines. His castle stands in the background.

In Thoth, we have the Prince of Disks working the field, lowly compared to the King who enjoys the harvest. Doing the labor needed to produce fruit, he is naked but for his helmet, which is topped with a winged bulls head. He is riding in a bull drawn chariot surrounded by vegetable life: onions, tomatoes, flowers, and wheat. He grasps a sphere within which there is a tesseract and bears a scepter topped with the globe and cross. Both he and his bull look ahead.

In Marseille, we find a unique King. Unlike the other three he wears no crown, just a hat to keep the sun from his eyes. A simple and hardworking man, he sits in nature rather than in the palace. There is soil under his feet, life is sprouting from it. He holds one coin, and looks aside to another in the distance. He has chosen the ploughshare over the sword.

The suit of Disks deals with the material world and the things that make it up. Through the course of the suit, we watch the seed grow, change, wither, and then flourish. The King of Disks enjoys these processes and cycles, and is made rich by them. This is how one can master people as well, not by dictating their behaviour, but by putting them in the right environments, providing the proper conditions, and allowing them to grow on their own. A good farmer does not always need to intervene, they simply give nature freedom to flourish.

The Prince is the younger King, actively farming, knowing with absolute certainty that his hard work will produce a brilliant harvest. In many ways, this is the situation of any working person. We work aware of the season we are in, we plant seeds and work the fields to accumulate wealth, to later direct others, and to eventually retire. Most Kings will fight to the death to retain their power and control, the King of Disks is the opposite. He does what must be done and retires happily.

History gives us examples of Kings and leaders who abandoned the palace in favor of the plough. George Washington, the first president of the United States, established democracy instead of making himself king. This decision brought comparison to the Roman consul and dictator Cincinnatus, who after overcoming an invasion over the course of sixteen days immediately relinquished power and returned to his farm. 

When we pull this card, we may meet a figure who embodies the King of Disks, an older, wealthy, simple man. We may also need to embody this sort of natural wisdom in order to enjoy the fruits of our labor.

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Chris Gabriel is a twenty four year old wizard and poet who runs the YouTube channel MemeAnalysis.

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The Magdalen and Gnostic Gospels

Mary Magdalene in Ecstasy, Artemisia Gentileschi. 1617.

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Molly Hankins April 24, 2025

The Gnostic Gospels, discovered in Egypt in 1945, includes 52 texts allegedly omitted from the Bible that were authored in the first or second century A.D. Information in these texts suggests that Jesus was married to Mary Magdalen and had a family with her, which corroborates the information channeled by Tom Kenyon and his wife Judi Sion in The Magdalen Manuscript. In this book,Mary Magdalen herself tells the story of her life with Jesus, then known as Yeshua, his true purpose for incarnating on Earth and her role as both his divine counterpart and a practicing priestess of the Temple of Isis.

Contrary to what’s included in the Bible, the Gnostic Gospels tell us that Magdalen was not a prostitute - she was an Initiate and priestess of the Temple of Isis, as was Yeshua’s mother Mary. Initiates were practitioners of tantric alchemy trained to use the subtle energies of sexual energy to activate the human light body. This work, described in detail in a previous article, is a means of achieving magical,healing abilities and, ultimately, immortality. According a portion of the Gospel of Thomas, a roughly 1500 year old manuscript housed in the British Library, not only was Magdalen married to Yeshua and the mother of his child, they were both practitioners of alchemical tantric magic and she was the founder of the Judeo-Christian church. 

Study of these gospels has proven controversial and difficult to verify historically - much of it is written in code and parts of the manuscripts have clearly been censored. However, channeled material supported by historical and archaeological record has proved to be a unique way of tracing human history. The most famous example is Dorothy Eady, a mid-20th century British historian who worked for the Egyptian Department of Antiquities. Following a head injury as a young girl, she recalled a past life as a fellow Isis Initiate in a  relationship with Pharaoh Seti at the Temple of Abydos. As an adult working in Abydos, she was able to accurately remember details from her past life and provide information to the Department of Antiquities to determine where onsite archaeological digs should take place.

In the same way Eady’s insights were supported by excavation and written historical record, much of what is shared in The Magdalen Manuscript is found  in parts of the Gnostic Gospels. After the crucifixion, Yeshua’s followers split into several groups and authored their own records of their time with him, which became known as the gospels. At that time Christianity was being heavily persecuted by the Roman empire  but under Emperor Constantine in the 4th century A.D. a specific form of Christianity was adopted by Rome, the version taught by the apostle Paul. All other gospels were systematically destroyed or hidden, losing nearly all records of Yeshua’s life as a young man and his relationship with Magdalen.

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“The material world is an illusion, a game for our souls to explore and evolve in, and achieving ecstatic states of bliss is how we transcend it.”

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It was during the early years of their relationship, according to Magdalen, that Yeshua also became an Initiate and was able to strengthen his Ka, or light body. In another book of channeled material, The Law of One from the Egyptian sun god Ra, much reference is made to souls getting lost in the third density of Earth. This is why more advanced, inter-dimensional beings are working to help the human collective achieve karmic escape velocity. Christ’s crucifixion can be interpreted as serving the same purpose, and some Biblical scholars interpret Yeshua and Ra to be different expressions of the same being.

The Magdalen Manuscript states that the purpose of Yeshua’s resurrection was to, “cut a passage through death itself,” allowing others understand the true nature of life and death and thereby “follow his trail of light” so as not to get lost in third density. His teachings were the means of escaping the wheel of karma, and his resurrection was the ultimate miracle proving that any of us could follow these teachings and achieve the same state of being. Indeed, every miracle he performed was intended to be a demonstration that his level of Christ consciousness is available to all of us, but this idea was omitted by the Roman-adopted version of Christianity. Instead of the story of Yeshua’s life and death serving as an example for all mankind, the narrative was revised to deify him and suggest that perfection and power were impossible to achieve.

Magdalen, through Kenyon’s channeling, clarified that those who witnessed Yeshua’s resurrection were seeing his light-body, which he had strengthened enough through personal and tantric spiritual practice to appear even though his physical body had died. After his resurrection, she and Yeshua’s mother and their young child were not safe under Roman rule, so they fled to France. They eventually made their way to what is now England to seek the protection of The Druids, who had connections to the Isis priesthood. The early Judeo-Christian church, founded by Magdalen, was a hybrid of Judaism, Paganism and Christianity. There is some surviving evidence, including a mosaic floor at a fifth century synagogue called Beit Alpha near Galilee in Israel, where Yeshua was from and where he taught. 

The mosaic depicts the zodiac with Pagan symbols, and Yeshua appearing in the center as the sun god Helios, the Greek equivalent to the Egyptian god Ra. There are also several traditional Jewish symbols depicted, including a temple and shofar which  Magdalen Manuscript’s claim that early Judeo-Christianity was established first in the Jewish region of Galilee and later amongst the Pagan-practicing Druids. This early expression of Christianity united multiple religious systems and revered the holy physical union of Magdalen and Yeshua. The separation from Jewish and Pagan influence and glorification of celibacy came with the later, distorted version adopted under Constantine. 

Following the account of her life and relationship with Yeshua, the second half of The Magdalen Manuscript provides a detailed analysis of world religions, alchemy practices and the commonalities between them and the original Judeo-Christian tenets. Many of these themes, largely erased from post-Constantine Christianity, are closer to a Vedic, Buddhist or Kabbalist worldview. The core message is that the material world is an illusion, a game for our souls to explore and evolve in, and achieving ecstatic states of bliss is how we transcend it. We all have the power to recognize life as a dream, awaken from it, and thereby enjoy it more.

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Molly Hankins is an Initiate + Reality Hacker serving the Ministry of Quantum Existentialism and Builders of the Adytum.

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M. Night Shyamalan

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Parting (Museum of Suspense II)

Giovanni Lanfranco, Mary Magdalene Raised by Angels, c. 1616, oil on canvas, Museo Nazionale di Capodimonte, Naples.

Ale Nodarse April 22, 2025

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A woman is borne aloft. She is called Mary Magdalen, and she floats. She rises naked, appearing, for a moment, like an air bubble brought to the surface of a stream. She does not move, but the artist clarifies her upward trajectory. One of three angels pulls at the cloth Mary sits upon  to raise her up, up and away. 

This seventeenth-century Magdalen (c. 1616) by the Italian painter Giovanni Lanfranco might count as one portrait of Mary Magdalen among many within the Museum of Suspense. Lanfranco himself was an eclectic observer of earlier painting. Merging disparate styles, his composition here draws readily upon medieval precedents. The image of the floating figure had stemmed from a thirteenth-century collection of saint’s lives, Jacobus de Voragine’s Golden Legend (Legenda Aurea), which included details of Mary Magdalene’s life after the death of her beloved Christ. This Mary chose to live in solitude and, as the Legend describes, forsake all food and drink; and yet, “every day she was lifted up in the air of angels” and given incorporeal sustenance. This continued until her death when her soul, as opposed to her body, parted indefinitely. In the 1616 canvas, Lanfranco leaves us to wonder if Mary ascends for a first or final time. His picture prompts us, in other words, to ask when. 

The picture is, of course, a material thing. Made of wood, canvas, and oil, it remains on the side of the ground. Likewise, the artist’s vision is a mortal one. Yet, just as  suspension challenges the division between ground and sky, so too does Mary’s body — liable, as it now appears, to drift. The artist’s vision entails a similar movement. To paint the miraculous, one wonders, did Lanfranco think of more “quotidian” blues. Did he once open his eyes under water? Did he look at the sun through the lens of the sea? Did he catch the billow of cloth in a wave? 

On the lower right of Lanfranco’s canvas, two small figures look up.

Our own mortal vision is set within the work. We are consigned to a lower realm. We are like them: those figures who, to the right of the dark outcropping, peer up. As one figure points and as the other raises a hand to forehead (as if to guard his vision from excessive light), we may recall when we have looked similarly to the sky above. The distance of cosmic events unfolding there, above — whether eclipse or ascension — may remind us of our proximity here, below. For a moment, the painting’s suspense might remind us of our shared conditions: of gravity, of departures, and of the periodic longing to overcome them both. 

In the Gospel of John, Mary Magdalene carries news of Christ’s ascension. “Do not cling to me,” Christ tells her, “for I have not yet ascended […].” Christ continues with an instruction to go to the apostles, “to go to my brothers and say to them, ‘I am ascending to my Father and your Father, to my God and your God.”¹ As the chosen messenger, Mary becomes another apostle. The painting of her departure may be said to recollect this moment, as her temporary ascension mirrors that of the man she once knew and sought to grasp. Apart from one’s own beliefs, the image finds poignancy in this lingering of leavings. Mary’s stance remains open. Her eyes turn skyward, and her arms outstretch — less certainty and more question. That question may be a familiar one: Who do we look up to when we look up and away?

I doubt the poet Mary Oliver sought to paraphrase Christ’s words within John, but a shared concern resides within her own instruction. “To live in this world,” she writes: 

you must be able 
to do three things:
to love what is mortal;
to hold it

against your bones knowing
your own life depends on it;
and, when the time comes to let it go, 
to let it go.²

In the moment of the Magdalene’s parting, there is something of all three. The time that comes — the time to “let it go” — has not yet arrived. It remains instead the painting’s question: a when which is also our own.

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¹John 20:17, English Standard Version. 
²Mary Oliver, “In Blackwater Woods,” American Primitive (Back Bay Books, 1983)

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Alejandro (Ale) Nodarse Jammal is an artist and art historian. They are a Ph.D. Candidate in History of Art & Architecture at Harvard University and are completing an MFA at Oxford’s Ruskin School of Art. They think often about art — its history and its practice — in relationship to observation, memory, language, and ethics.

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Larry Levan Playlist

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Larry Levan was an influential American DJ who defined what modern dance clubs are today. He is most widely renowned for his long-time residency at Paradise Garage, also known as “Gay-Rage”, a former nightclub at 84 King Street in Manhattan, NY.

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Hannah Peel Playlist

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Mercury Prize, Ivor Novello and Emmy-nominated, RTS and Music Producers Guild winning composer, with a flow of solo albums and collaborative releases, Hannah Peel joins the dots between science, nature and the creative arts, through her explorative approach to electronic, classical and traditional music.

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The Eight of Swords (Tarot Triptych)

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Name:  Interference, the Eight of Swords
Number: 8
Astrology: Jupiter in Gemini
Qabalah: Hod of Yod

Chris Gabriel April 19, 2025

Interference is the perfect name for this card. If the Ace of Swords is pure Signal, the Eight is pure Noise. The message is lost, the image is blurred, the static drowns out the song.

In Rider, we see a woman in bondage. She is blindfolded and white ropes tie up her red dress. She is standing in mud and surrounded by eight swords. A castle sits on a mountain in the distance.

In Thoth, there are two sabers atop a medley of 6 swords. The background is the deep purple of Jupiter, and the erupting fragmented spikes are the orange of Gemini. This is Jupiter in its detriment.

In Marseille,  a small flower sits at the center of eight crosshatched swords. For Jodorwosky, this was the achievement of an empty and receptive mind: overstimulation leading to trance. To Eliphas Levi, this is the Intelligence of the Prince.

The best path to grasping the nature of Interference is to take its name literally. Let us consider the two sabers in Thoth as AM and FM. These are pure and directed signals but when we listen to radio, we are often assaulted with static, which are the six interfering swords. The same applies to  VHF and UHF, AC and DC, etc. Two streams of energy disrupted by background interference.

This is the nature of the fallen Jupiter in Gemini: when domiciled in Sagittarius, Jupiter launches arrows of belief into the distant unknown. When in Gemini it gets lost in immediate multiplicity,missing the tree for the forest. The grand spiritual faculty no longer focuses on the Heavens, but on what surrounds the body.

Rider shows us a grim image of confusion, a very occult view of the situation. Without divine clarity we are blinded, bonded, and beset on all sides. This is the same trouble Hamlet is afflicted by. The Prince who has guided us through the suit of Swords has shown time and time again to lose his contact with the signal, to the point where the Ghost of his father has to return and remind him of his duty after he gets thrown off track.

We can look at this dynamic more positively with another technology, stereo sound. The Eight of Swords is like a record needle, moved wildly by left and right waves of the vinyl but still producing a singular, coherent, Sagittarian sound.

In our lives we experience this very often. When you go into a room but forget what you were going to do, this is background interference overtaking clarity. When you intend to use your phone for a given purpose, but notifications and bright visuals distract you, this is interference. It can happen at greater and greater scales to the point where you have wasted your whole life on distractions, and like the figure in Rider, you are left tied up, blinded, and alone.

When pulling this card, clear your mind, beware of external distractions, and maintain your direction.

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Chris Gabriel is a twenty four year old wizard and poet who runs the YouTube channel MemeAnalysis.

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