New York is essentially a spiritual city, one of the most occult and esoteric cities on Earth. As David Ovason has suggested in The Secret Architecture of our Nation’s Capital, New York – like Washington DC (the main focus of his study) – is laid out according to a whole matrix of secret symbolism and occult geometry.
As we shall see, the mythology of the stellar lights plays an essential part in the foundation and history of the federal city. The deeper meaning of the zodiacal symbolism which radiates through Washington, D.C., is so subtle that it has remained hidden until even today – secretly enshrined in zodiacs set in marble, plaster, concrete, glass and paint within the fabric of the city. This raises a number of vital questions. Is there some secret behind the efforts of the builders of this city to ensure that so many stars should fall to Earth? Why should astronomers and astrologers make so much effort to weave their magic art on this city?
These questions are perhaps even more pertinent to America’s most famous and most ‘magical’ city, New York, which as this article suggests, is similarly designed around arcane stellar and geometrical – or ‘stars and stripes’ – imagery. Once the deeper psychological symbolism of the “stars” and the stellar connection is pointed out, and the occult meaning of “stars falling to earth” known, New York is revealed as one of the major Urizenic centres on the planet, a vast topography mapped along Zodiacal lines, filled on every street corner with pentagrams, and mythological references to Prometheus, Lucifer, and other Urizenic figures.
Stars, and star-worship, are of course of significance in Blake’s work, symbolising both Urizenic processes and Urizenic control and dominion over this world. As Damon has noted, for Blake “the stars symbolize Reason. They are the visible machinery of the astronomical universe”, and as such “they are assigned to Urizen”. This identification of Urizenic rationality with the “stars” is of special significance in New York, a city filled with “stars” and with star-worship, as we’ll see. As Damon observes, all stars belong to Urizen, and all people who want to become “stars” are his followers: from Hollywood to Wall Street, his people are to be found and his logo (the star-shaped pentagram) shines forth. There is a reason why those who aspire to celebrity and fame are called “stars”, and its rooted in the ancient Urizenic alignment between a sense of inner void or lack, and a desire to be “more than Man”, as Blake puts it – to be a “star”. This kind of inner “lack” is recognized by stars such as George Michael, who acutely observed that ‘It’s not what you have that makes you a star, it’s what you don’t have.” In a word, belief in stars represent “want”.
On a cognitive level, Urizen is constantly linked to the “Starry Heavens” in Blake’s work, emblematic of the cyclical programs of rational, mathematical sequencing that today is associated with specifically “left hemisphere” processes and values. This is the underlying reason why so many rationalists and left-brain thinkers have been drawn to astronomy, or, in earlier times, astrology. They seem to have found in these vast repetitive movements and trajectories a reflection of their unconscious need for order and predictability.
The repetitive, “mill”-like aspect of rationality was repeatedly alluded to by Blake. As he notes in his poem Milton, in a passage referring to the dominance of Urizenic systems of control within the psyche of man, “O Satan … art thou not Prince of the Starry Hosts [Urizen] and of the Wheels of Heaven, to turn the Mills day & night? … To Mortals thy Mills seem every thing” (Milton 4:12). As Damon observes, “The entire astronomical universe is a Mill” (Damon). Indeed, these “dark Satanic mills” denote the ascendancy and final domination of Urizenic rationality within the human brain: the “mills” are the Urizenic programs that Blake believed lay behind the God of orthodox Christianity (Logos) and the methodology of post-Newtonian science: the “Starry Mills of Satan”, as he refers to them in Milton (Milton 4:2) – both being expressions of dissociated, egoic rationalisation.
One other question that this imagery raises is: why is a city, and a country, ostensibly built on modern, commercial, and secular principles so relentlessly filled with esoteric symbolism? As Blake noted, every city is a spiritual city – every locus has spiritual dimensions, because they are products of the human imagination, and are therefore filled with symbols, forms, and sigils. It is through these non-verbal, visual forms that the true, underlying, story of the city is revealed.
Sinister (Left Brain) Sites: Urizen at the Rockefeller Centre
“How can the site of the most famous skating rink in the world be considered sinister? You know the one that’s in all romantic comedies … the best first date activity ever!? And what about that huge Christmas tree that we see in ALL holiday movies? That’s not sinister, that’s magical!”.
If you’re not surprised that a center called “Rockefeller” contains tons of occult and even Luciferian symbolism, as well as references to a New World Order, then you should read on because I will reinforce what you’re already thinking, and everybody likes that.
This complex of 19 commercial buildings is situated between Fifth and Seventh avenues in New York City and is famous for its Art Deco style. It is one of the last building projects in the United States to have incorporated a program of public art.
The submissions chosen all fit a particular philosophy and some artists have been asked to change their work so it fits the theme of the Rockefeller center which is: Luciferianism.
“Lucifer’ means ‘light-bringer’ and this should begin to clue us in to his symbolic importance. The story is that God threw Lucifer out of Heaven because Lucifer had started to question God and was spreading dissension among the angels. We must remember that this story is told from the point of view of the Godists (if I may coin a term) and not from that of the Luciferians. The truth may just as easily be that Lucifer resigned from heaven.” – Max More
Modern Luciferianism takes its roots from Gnostic teachings as well as ancient Egyptian and Babylonian paganism. The ‘God’ of the material world is seen as a stubborn and sadistic figure who seeks to keep mankind in perpetual darkness while Lucifer is the savior of humanity by giving it the gift of knowledge. If we reinterpret the Adam and Eve story through Luciferian glasses, the serpent is actually the “undercover savior” who defied God and gave humans the opportunity to become gods themselves. He is credited to have unleashed man’s awesome potential.
“Luciferianism represents a radical revaluation of humanity’s ageless adversary: Satan. It is the ultimate inversion of good and evil. The formula for this inversion is reflected by the narrative paradigm of the Gnostic Hypostasis myth. As opposed to the original Biblical version, the Gnostic account represents a revaluation of the Hebraic story of the first man’s temptation, the desire of mere men to ‘be as gods’ by partaking of the tree of the ‘knowledge of good and evil’.” – Carl A. Raschke
Luciferians seek during their lifetime to reach a higher level of being by obtaining illumination (often represented by a torch). An illuminated person or (Illuminatus) has gained enough mystic knowledge and spiritual attainment to reach a god-like status. Ancient Mystery religion promise the “opportunity to erase the curse of mortality by direct encounter with the patron deity, or in many instances by actually undergoing an apotheosis, a transfiguration of human into divine“ (Raschke).
Luciferians do not necessarily worship “the Devil” as a metaphysical entity. Lucifer symbolizes the cognitive powers of man, its potential to reach godliness by its own means. Luciferians believe that those attributes will eventually dethrone God and bring humans to their rightful place, as deities. This doctrine is fully embodied by humanism and its technological counterpart transhumanism.
Clothed in an acceptable phrasing inside a Judeo-Christian context (“humanist” sounds less threatening and evil than “Luciferian”), these philosophies are now part of popular culture. Through technological advancements and scientific breakthrough, extremely wealthy figures like Ray Kurzweil are publicly seeking to reach technological immortality. Transhumanist intellectual Max More has stated in his essay:
“God, being the well-documented sadist that he is, no doubt wanted to keep Lucifer around so that he could punish him and try to get him back under his (God’s) power. Probably what really happened was that Lucifer came to hate God’s kingdom, his sadism, his demand for slavish conformity and obedience, his psychotic rage at any display of independent thinking and behavior.
Lucifer realized that he could never fully think for himself and could certainly not act on his independent thinking so long as he was under God’s control. Therefore he left Heaven, that terrible spiritual-State ruled by the cosmic sadist Jehovah, and was accompanied by some of the angels who had had enough courage to question God’s authority and his value-perspective.
Lucifer is the embodiment of reason, of intelligence, of critical thought. He stands against the dogma of God and all other dogmas. He stands for the exploration of new ideas and new perspectives in the pursuit of truth.” – Max More
So, what does all of this have to do with the Rockefeller Center? The sculptures, the bas-reliefs, and the murals all refer to the same theme: the triumph of Man over God through the acquisition of knowledge.
This statue depicts Prometheus, a Titan of Greek mythology known for his great intelligence. He has however betrayed the god Zeus by stealing fire and giving it to mankind. He is, therefore, credited to have taught mankind the arts of civilization such as writing, mathematics, agriculture, medicine, and science. Zeus then punished Prometheus for his crime by having him bound to a rock while a great eagle ate his liver every day only to have it grow back to be eaten again the next day.
“Prometheus [the name means Forethought] was a not a fool, but why else would he rebel against Zeus? He tried to trick Zeus (who knows all and sees all) with a false sacrifice. How foolish can you get? Prometheus also stole fire from Zeus and gave it to the primitive mortals on the earth. Zeus did not punish Prometheus alone, he punished the entire world for the effrontery of this rebel god.” – Stewart
The Judeo-Christian equivalent of this myth is Lucifer, who has brought the gift of consciousness to humanity, as the serpent in Adam and Eve.
Blessed with great intelligence
Blessed with great intelligence
Saw great potential in mankind
Saw great potential in Adam and Eve
Defied Zeus’ authority
Defied God’s authority
Called the “Fire Bringer”
Called the “Light Bringer”
Severly punished by Zeus (tied up and had liver eaten by eagle daily)
Severly punished by God (expelled from the Heavens)
Humanity suffered the wrath of Zeus
Humanity suffered the wrath of God
Prometheus is the Hellenic equivalent of the Judeo-Christian Lucifer and is often used as the symbol of enlightenment.
Some classically-educated Free Masons and those inspired by their work used “luciferian” in the scholarly sense of “bringing enlightenment”, invoking Prometheus who stole fire from the gods to bring to man. Polemicists linked such Masonic usage with sects worshiping Lucifer, which have had persistent groups of followers since the Middle Ages.
Paul Manship’s sculpture featured in the Sunken Plaza of the Rockefeller Center portrays Prometheus holding the fire stolen from Zeus and gliding towards humanity. He lies inside a ring in which are outlined the signs of the Zodiac. Behind the statue is an inscription saying:
“Prometheus, teacher in every art, brought the fire that hath proved to mortals a means to mighty ends.”
“Mighty ends” means reaching enlightenment and achieving godliness. This artwork basically sums up the Luciferian doctrine and acts as the central figure around which the Rockefeller Center’s art program revolves around.
Flanking the statue of Prometheus are Youth and Maiden. These are the first humans created by from Prometheus out of clay.
This is the setting: Prometheus (aka the Hellenic Lucifer) is located at the center of the Sunken Plaza and is flanked by his creation, mankind. In other words, we are Prometheus’ sons and daughters.
Urizen or the Demiurge
On top of the entrance of the GE Building is this impressive Art Deco frieze. It depicts a bearded man holding a huge compass and a quote from the Book of Isaiah. This is a direct reference to William Blake’s “Urizen” engravement, where God is a bearded man holding a compass.
This image is featured in Blake’s “Book of Urizen”, released in 1794. This English author is known for his rich mythology, cryptic poems, and prophetic imagery. This particular piece represents Urizen, the god of the material world. His traits are almost identical to the Gnostic god called “demiurge”, an inferior creator deity, who built a flawed world which imprisons man into the material realm. The Book of Urizen reflects the basic tenants of Luciferianism, where the Good versus Evil struggle as described and Judeo-Christian philosophies are inverted.
“Blake’s work is thus an unprecedented and confounding critique of the very cornerstones of Judeo-Christian civilization: the Word and the Law. Evil is traditionally represented as a turning away from the one or the other – from Satan’s non servatim to the eating of the “forbidden fruit”, but here the Word and the Law are literally presented as manacles closing away the boundless possibility of the universe to the dull prison of the senses and the holy books.
Science and religion cease to be opposing forces in Blake’s understanding, instead becoming obstacles to true knowledge – one by binding sight in the laws of the material universe, the other by binding thought in the words of the holy books. In this sense, the only possible ‘Good’ as far as Blake is concerned, is the rebellion of sight – growing to see multiple possibilities through ecstatic vision. For Blake this probably meant mystical and artistic gnosis, but intellectually it can be applied to all kinds of pluralist, multilateral thinking, if not to literal ‘mind-expansion’.”- Daniil Leiderman
The Gnostic god featured at the entrance of the GE building holds a huge compass which is used as a tool of creation. We find here a not-so-subtle reference to Freemasonry, where the compass is used by the “Great Architect” to shape the physical world.
Under Urizen we find the quote from the Book of Isaiah:
“Wisdom and knowledge shall be the stability of thy times”. – Book of Isaiah 33:6
The book of Isaiah as a whole contains prophecies of future times, predicting the fall and punishment of Babylon (both ancient and future “Babylon the Great”). The quoted verse describes what will sustain people in these prophesied times of great tribulations: knowledge and wisdom. Isaiah’s cryptic text describes a time where “nobody in Jerusalem shall be ill”, seemingly referring to times where science and technology would be advanced enough to cure man’s sickness. In this context, the “great tribulations” refer to the coming of a New World Order, where all countries would be united under a single world government, an admitted goal of the Rockefeller family.
Swords into Plowshares
This relief refers to Isaiah 2:4 and depicts swords turning into plowshares. Here is the biblical verse:
“He will judge between the nations
and will settle disputes for many peoples.
They will beat their swords into plowshares
and their spears into pruning hooks.
Nation will not take up sword against nation,
nor will they train for war anymore”.
– Isaiah 2:4
Again, this is a subtle yet very direct allusion to a New World order. The verse describes a whole with one court for all nations, one government for all nations and the coming of an era of world peace.
The image of swords being beaten into plowshares is also prominently shown on one of the New World Order murals of the Denver International Airport. Members of the Rockefeller family have always been actors working towards a one world government and it is not surprising to find references to this plan etched on their buildings. David Rockefeller stated in his memoirs:
“For more than century, ideological extremists at either end of the political spectrum have seized upon well-publicized incidents to attack the Rockefeller family from the inordinate influence they claim we wield over American political and economic institutions. Some even believe we are part of a secret cabal working against the best interests of the United States, characterizing my family and me as “internationalists” and of conspiring with others around the world to build a more integrated global political and economic structure – one world if you will. It that’s the charge, I stand guilty, and I am proud of it”. – Memoirs, David Rockefeller
Question is: were they already aware of a plan for a New World Order in the 1930’s when the Plaza was built? Answer: Yes, yes they were. The idea isn’t new at all.
Guess why Atlas has been forced to carry the celestial world on his shoulders? Because he defied Zeus the god. The north-south axis of the armillary sphere on his shoulders points to the North Star as viewed from New York City. Laid across Atlas’s shoulders is a wide, curved beam that displays a frieze of the traditional symbols for Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, and Neptune. Adjacent to Earth (over Atlas’s right forearm) is a small crescent symbolizing the Moon. Affixed to one of the sphere’s rings are symbols for twelve constellations through which the Sun passes during the year.
This sculpture can be described as a Luciferian equivalent of Christ nailed to the cross. Atlas is sacrificing himself for his act of defiance against the gods.
The sculpture has caused its fair share of controversy. First, the nude and pagan statue was placed right in front of St. Patrick’s Church, which wasn’t well accepted at the times. Second, from behind, the statue looks like the crucified Jesus Christ.
Finally, Lee Lawrie has been accused of modeling Atlas’s face after Italian fascist dictator Benito Mussolini, who was in power at the time.
The same way Atlas defied Zeus in Mythology, the sculpture defies Christianity and even democracy in New York City.
The collection of artworks on display at the Rockefeller Center communicate a cohesive message that can be deciphered by analyzing the cultural and mystical references behind the symbols. The Rockefeller Center is full of impressive bas-reliefs, murals, and sculptures, with plenty of symbolism and imagery such as the mural representing ‘Thought’ as a godly figure sending its gift to man and the fate of the ignorant, and ‘Columbia’ holding a cup of Divine knowledge. The art program as a whole applauds an emancipation from the inferior god, celebrates the mythological figures who have been against God’s rule and glorifies Man’s quest to achieve godliness. Mankind’s progress in arts and science is considered to have been achieved DESPITE God, making the Rockefeller Center a virtual temple of worship for the Luciferian doctrine.
Luciferianism constitutes the nucleus of the ruling class religion. It accounts for the longevity of many of the oligarch’s plans, i.e. the New World Order. This plan has been discussed for centuries now and many political decisions are made to lead towards it. Luciferianism provides the world elite the religious legitimacy to carry out plans that would otherwise be morally questionable or simply condemnable. The elite however believe that divine knowledge can only be acquired by deserving people while the rest of the population must stay in a state of mindless stupor. That is probably why the unsuspecting masses come every year to celebrate Christmas in this Luciferian temple without even realizing it. While the Rockefeller Center celebrates man’s triumph over God’s tyranny, it also celebrates the Illuminati’s tyranny over the ignorant man.
This is an edited verse of ‘Sinister Sites – Rockefeller Centre’ by Vigilant Citizen. To read the full article, please click here.