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Bacchus Ophiuchus PolO and Pan THE GREEN MAN

Updated: May 25, 2021

Meet Bacchus The Roman version of Greek Dionysus Cupid and Valentine Jude Pete and Paul a Friend of Laddy Jockey DIE and D'Orion Gray they all remained below the DIA FRAME JFK They are the JOKERS ... Yup Rosemary's babies generations Birth The Children of Tomorrows Brave new WHIRL the Under Whirlpool is known as BLACK POOL the other side of the Black MIR ROAR Bacchus was the son of Jupiter, a god. His mother was a mortal named Semele. Jupiter was married to Juno but had an affair with Semele, resulting in the conception of Bacchus.

Bacchus is the GREEN MAN JAKE The Peg in the Rolf Harris LEG OPHIUCHUS ODIN PETER PAN CUPID and VALENTINE the AVATAR the Birth of the Pharmaceutical Industry EUGENICS the result of years of pornography paedophilia poisoning predicative programming and preparation very very few will find it above their guttural desires back to the true Kingdom of above the DOME Most will fall into The GARDEN of earthly delights

Jupiter and Mercury MJ Mick Jagger and Michael Jackson Rule the MUTABLE CROSS the ages of Transmutation they will now close as Pandora's box and as the medusa our DIA FRAME does we learn how to Open and Shut to conduct our own transmutation through the last leg door of Pisces Opposite VirgO aka CORONA and VICTOR the last 77 dub LL spin we are being thrown back onto a new tilt which means the under whirl for those that dont get OFF the merry Go Round in time... this is called ALCHEMY and VitiCulture is VC Victoria Cross or CV Cruella de Vile aka CV 322 Skull n Bone cross is the spinning doors out of the FLESH back to Spiritual beings to become Gods again and VC 223 the Right left Spin of Cupid Gemini and Valentine Sagittarius the masculine axis of the mutable cross feed off Virgo ruled by Mercury Mutable Black earth GRAPES CORONA AMY as Gemini Cupid 💘 and Pisces Mutable Water White ruled by Jupiter as Sagittarius Valentine

Alchemy from Grape Flesh to Wine Spirt AME Amy Wine House

Amy Wine House represents VIRGO she didn't make the opposite axis we leave now Pisces she went from Plump Ripe harvest to a REHAB Mess predicative programming for the Rosemary baby generations to Not make it outta here ... Wine must turn to Spirit and Grapes Flesh our lungs must Breathe through the DIA FRAME back to our higher selves no longer consumed in Lust and desire and ego that stop us passing through the invisible veil

Corona and VicTOR VC/CV Skull n Bone spin 322 223 VitiCulture

MJ JM 322 223 Mercury Jupiter Mutable CROSS From Black Flesh Grapes to White Sprit Water

Cruella de Vil CV VC VitiCulture Black VirgO White Pisces

The same person Black VirgO and White Pisces


the medieval forerunner of chemistry, concerned with the transmutation of matter, in particular with attempts to convert base metals into gold or find a universal elixir.

"occult sciences, such as alchemy and astrology" chemistry, magic, sorcery, witchcraft, enchantment

a seemingly magical process of transformation, creation, or combination. "finding the person who's right for you requires a very subtle alchemy"

Viticulture (from the Latin word for vine) or winegrowing (wine growing) is the cultivation and harvesting of grapes. It is a branch of the science of horticulture. While the native territory of Vitis vinifera, the common grape vine, ranges from Western Europe to the Persian shores of the Caspian Sea, the vine has demonstrated high levels of adaptability to new environments, hence viticulture can be found on every continent except Antarctica.

Duties of the viticulturist include monitoring and controlling pests and diseases, fertilizing, irrigation, canopy management, monitoring fruit development and characteristics, deciding when to harvest, and vine pruning during the winter months. Viticulturists are often intimately involved with winemakers, because vineyard management and the resulting grape characteristics provide the basis from which winemaking can begin. A great number of varieties are now approved in the European Union as true grapes for winegrowing and viticulture.

Theophany (from Ancient Greek meaning ("appearance of a deity") is the manifestation of a deity in an observable way.

This term has been used to refer to appearances of the gods in ancient Greek and Near Eastern religions. While the Iliad is the earliest source for descriptions of theophanies in classical antiquity (which occur throughout Greek mythology), probably the earliest description appears in the Epic of Gilgamesh.

A specific usage for Christians and Jews, with respect to the Bible: theophany refers to a manifestation of the Abrahamic God, a revealed presence sensed by a person.

The Jungle Book Animal Farm Dr WHO Doolittle Never Ever land The Orchard NEIL KLIMS Under WHIRL MAD MAX The WATER BABIES The earthly Delights of the GARDEN the AIN TREE ANUS ENTRY awaits all those who just cant get past DESIRE LUST and EGO the MIR ROAR takes immense courage we are contracting and that takes balance self control and the ability to see through the ILLUSIONS of DECEIT

The Light of LUCY FER

Will I AM Blake BLACK

Tyger Tyger, burning bright,

In the forests of the night;

What immortal hand or eye,

Could frame thy fearful symmetry?

In what distant deeps or skies,

Burnt the fire of thine eyes?

On what wings dare he aspire?

What the hand, dare sieze the fire?

And what shoulder, & what art,

Could twist the sinews of thy heart?

And when thy heart began to beat,

What dread hand? & what dread feet?

What the hammer? what the chain,

In what furnace was thy brain?

What the anvil? what dread grasp,

Dare its deadly terrors clasp!

When the stars threw down their spears

And water'd heaven with their tears:

Did he smile his work to see?

Did he who made the Lamb make thee?

Tyger Tyger burning bright,

In the forests of the night:

What immortal hand or eye,

Dare frame thy fearful symmetry?

"In the midst of colossal aerial buildings, with neither foundations nor roof-tops, covered with teeming, quivering vegetation, this sacred flora standing out against the dark blues of the starry vaults and the deserts of the sky, the God so often invoked appears in his still veiled splendor."

Who Is Bacchus?

Bacchus was essentially a copy of the Greek god Dionysus. He was the god of agriculture and wine and the son of Jupiter (Zeus in Greek mythology). He wandered the earth, showing people how to grow vines and process the grapes for wine.


Bacchus is often confused with Dionysus. They represent the same symbology and myths, as Bacchus is the Roman version of the Greek god.

Legends and Stories

When exploring the myths surrounding Bacchus, it’s easy to see that he is a duplicate of Dionysus. Their myths are virtually identical except for the names of supporting roles.

The Birth of Bacchus

Bacchus was the son of Jupiter, a god. His mother was a mortal named Semele. Jupiter was married to Juno but had an affair with Semele, resulting in the conception of Bacchus.

Juno learned of the affair and sought revenge against the woman who seduced her husband. Mortals were unable to view gods in their original form. Instead, gods transformed their appearances when they associated with mortals. Knowing very well of this, Juno tricked Semele into seeing Jupiter in his true form and she was burned up by seeing him in his divine form. She had not yet given birth to Bacchus, so Jupiter sewed the baby to his thigh and carried him until he was ready to be born.

Bacchus and Wine

Bacchus was known as the god of agriculture and wine. He spent his childhood in training by Silenus, a great lover of wine. After his training was complete, he chose to share his knowledge with the masses and traveled the world teaching others how to grow the necessary components and turn them into wine. He did this until he took his place at Olympus.


There are many statues and painted works of art dedicated to Bacchus. He is usually shown as a middle-aged man with a beard and a full head of hair that’s been crowned with an intricate headpiece filled with grapes and vines. He is also often shown with a glass of wine, presumably made by him.


Bacchus is most often associated with wine and vines. It is uncommon to see him pictured without them. Another symbol for the god is his staff, which was topped with a pinecone. He often carried this staff and used it while traveling the world. He is also associated with celebration, as he always had a procession filled with followers who would dance while he made wine.


The Garden of Earthly Delights is a story about moral and sin in a particular time. The painting however is timeless. The journey that the visitor sets out on in the interactive documentary is a personal one. Beneath the surface we aim to invite the visitor to reflect upon and question their sins and morals.

The interactive documentary Jheronimus Bosch, the Garden of Earthly Delights provides an in-depth tour though The Garden of Earthly Delights. Accompanied by high resolution images of the painting, the exciting story of this masterpiece unfolds.

Besides the exploration of the art historical story of the painting we will give insight to the creative process of Jheronimus Bosch. In a web interface the visitor will be taken on an audio-visual journey, including sound, music, video and images to enrich the storytelling. The visitor of the interactive documentary will get a better understanding of what it was like to live in the Late Middle Ages, and for example of what importance religion was in daily life. The interactive documentary can be read like a book, one can come back after a visit and pick up the book again from the shelf to further explore.

The interactive documentary Hieronymus Bosch, The Garden of Delights is part of the transmedia tryptich: ‘Hieronymus Bosch’. The transmedia tryptich consists of the documentary film ‘Hieronymus Bosch, touched by the devil’, the interactive documentary ‘Hieronymus Bosch: Garden of Earthly Delights’ and the Virtual Reality documentary ‘Hieronymus Bosch, the Eyes of the Owl’.


A LIE N THE VISITORS ALEF TAV TAV is the last V 22 Venus fly Trap for Victory the last leg completed into the world of the BARBERS BAR BAR the ELLY 77 HIEROPHANT THE JOKER you have been FRAMED Nelly Packed her bags This French film explains the Mary POPOV we live now.. mad max whirl we enter AINTREE is the ANUS under the DORION GRAY DIA FRAME BELT JFK jelly fish KUT today is the splitting of the MilkyWay snake of the two whirls you gotta be both sides of the MIRROAR to be above the circus ... death of the Old generations cause Rose Marys babies are born and they know only below the belt coding WHAT DID YOU EXPECT??? by 2025 only 17 percent of the White Europeans will be left Only the gypsy's will survive cause if you don't know how to be a snake charmer you wont be in the Cobra gypsy Clan

Just an example of french Cinema but when you see through the mirror all films tell us where we head

Jupiter et Sémélé

Jupiter et Sémélé (1894–95; English, Jupiter and Semele) is a painting by the French Symbolist artist Gustave Moreau (1826–1898). It depicts a moment from the classical myth[1] of the mortal woman Semele, mother of the god Dionysus, and her lover, Jupiter, the king of the gods. She was treacherously advised by the goddess Juno, Jupiter's wife, to ask him to appear to her in all his divine splendor. He obliged, but, in so doing, brought about her violent death by his divine thunder and lightning. The painting is a representation of "divinized physical love" and the overpowering experience that consumes Semele as the god appears in his supreme beauty which has been called "quite simply the most sumptuous expression imaginable of an orgasm".[2]

Of this work, Moreau himself wrote, "Semele, penetrated by the divine effluence, regenerated and purified by this consecration, dies struck by lightning and with her dies the genius of terrestrial love, the genius with the goat hooves".[citation needed]

Moreau described his canvas thus:

"In the midst of colossal aerial buildings, with neither foundations nor roof-tops, covered with teeming, quivering vegetation, this sacred flora standing out against the dark blues of the starry vaults and the deserts of the sky, the God so often invoked appears in his still veiled splendor."

Moreau's work depicts an intricate, intense, and startling mystical world, haunting and heavily laden with symbolic imagery. Its iconography is drawn from the ancient myth, from Symbolist writings and from his own personal interpretations, which are deliberately meant to be mysterious and ambiguous. Jupiter is represented conventionally, seated “in Majesty” with the hapless and bloodied Semele astride his right thigh. His gaze is severe, wide-eyed and fixed straight ahead in fierce prepossession. His throne and surrounding court, however, present an unorthodox and extravagant profusion of architectural and vegetal elements which — while depicted in fine, realistic, even jewel-like, detail — give the overall impression of a dream-like fantasy world. Everywhere a profusion of vivid colors vies with dark shadows for prominence. Countless teeming gods, goddesses and allegorical figures seem to exist at different scales, independent of, and oblivious to, one another. The eye must accommodate bizarre shifts in proportion as it ranges across the canvas. Among the figures are three immediately at the feet of Jupiter: a figure of "Sadness" (cradling a bloodied sword), a Great Pan, and a female “Death” holding aloft a white lily. (Moreau: “At the foot of the throne, Death and Sorrow form the tragic basis of Human Life, and not far from them, under the aegis of the eagle of Jupiter, the great Pan, symbol of Earth, bows his sorrowful brow, mourning his slavery and exile, while at his feet is piled the somber phalanx of the monsters of Erebus and Night….”) Jupiter's right foot rests on a snake biting its own tail. A frightful Hecate, with her polos and crescent moon, appears in the lower left corner. Among the other figures are a three-headed demon and several winged, angelic figures

Baháʼí Faith

In his 1914 publication entitled The Reconciliation of Races and Religions, Thomas Kelly Cheyne, FBA (1841 – 1915), an ordained minister in the Church of England and Oxford University scholar, described theophany within the context of the Baháʼí Faith.[8][9] Cheyne wrote, " feels that a theology without a theophany is both dry and difficult to defend. We want an avatar, i.e. a 'descent' of God in human form".[9] Cheyne described Baháʼu'lláh as a "human being of such consummate excellence that many think it is both permissible and inevitable even to identify him mystically with the invisible Godhead."[9]:4,5 He wrote that Baháʼu'lláh was a "true image of God and a true lover of man, and helps forward the reform of all those manifold abuses which hinder the firm establishment of the kingdom of God."[9]:4,5 He said, "We want Messiah badly now; specially, I should say, we Christians want "great-souled ones" (Mahatmas), who can "guide us into all the truth" (John xvi. 13). One thousand Jews of Tihran are said to have accepted Baha'u'llah as the expected Messiah. They were right in what they affirmed."[9]:36–37 At Oxford University, on December 31, 1912, Professor Cheyne met ʻAbdu'l-Bahá (1844 – 1921) KBE, who was Baháʼu'lláh's son and who led the Baháʼí Faith from 1892 until 1921.[10] A 1991 article in the Journal of Bahá’í Studies (JBS), described "Bahá’í theophanology" as "acceptance of the Prophet, or 'Manifestation of God,' who speaks on behalf of God."[11]

The author wrote that Bahá’u’lláh wrote a series of epistles in the 1860s to kings and rulers, including, Pope Pius IX, Napoleon III, Tsar Alexander II of Russia, Queen Victoria, and Naser al-Din Shah Qajar, in a "forceful, theophanic voice" calling them to undertake reforms.[11] These letters were published in a compilation entitled Summons of the Lord of Hosts in 2002.[12] The JBS article described Bahá’u’lláh's "theophanology" as "progressivist". He claimed "spiritual authority" in these letters in which he warned western leaders of the dangers facing humanity should they choose to not act on his guidance. For example, in his c.1891 Tablet—"Words of Paradise"—he wrote, "Strange and astonishing things exist in the earth but they are hidden from the minds and the understanding of men. These things are capable of changing the whole atmosphere of the earth and their contamination would prove lethal."

Rosemary's Baby

is a 1968 American psychological horror film written and directed by Roman Polanski, and starring Mia Farrow,


Rosemary becomes pregnant, due the last week of June. The elated Castevets insist that Rosemary go to their close friend, Dr. Abraham Sapirstein, a prominent obstetrician, rather than her own physician, Dr. Hill. During her first trimester, Rosemary suffers severe abdominal pains and loses weight. By Christmastime, her gaunt appearance alarms Hutch, who has been researching the Bramford's history. Before sharing his findings with Rosemary, he falls into a mysterious coma. Rosemary, unable to withstand the pain, insists on seeing Dr. Hill, while Guy argues against it, saying Dr. Sapirstein will be offended. As they argue, the pains suddenly stop and Rosemary feels the baby move.

Three months later, Hutch's friend, Grace Cardiff, informs Rosemary that Hutch is dead. Before dying, he briefly regained consciousness and said to give Rosemary a book on witchcraft along with the cryptic message: "The name is an anagram". Rosemary eventually deduces that Roman Castevet is an anagram for Steven Marcato, the son of a former Bramford resident and a reputed Satanist. She suspects that the Castevets and Dr. Sapirstein belong to a Satanic coven and have sinister intentions for her baby. Guy discounts her suspicions and throws the book away, making her suspect that he is conspiring with them.

Terrified, she goes to Dr. Hill for help. Assuming that she is delusional, he calls Dr. Sapirstein, who arrives with Guy to take her home. Rosemary locks herself into the apartment, but coven members somehow infiltrate and restrain her. Dr. Sapirstein sedates a hysterical Rosemary, who goes into labor and gives birth. When she awakens, she is told that the baby was stillborn. As Rosemary recovers, she notices her pumped breast milk appears to be saved. She stops taking her prescribed pills, becoming less groggy. After Rosemary heard an infant crying, Guy suddenly mentions that new tenants with a baby have moved into the building.

Believing her baby is alive, Rosemary discovers a hidden door leading into Minnie and Roman's apartment. The Castevets, Guy, Dr. Sapirstein and other coven members are gathered around a bassinet draped in black. Peering inside, Rosemary is horrified and demands to know what is wrong with her baby's eyes. Roman proclaims that the child is Adrian, Satan's son. He urges Rosemary to mother her child, promising her that she won't have to join the coven. When Guy attempts to calm her, saying that they will be rewarded and can conceive their own child, she spits in his face. After hearing the infant's cries, however, Rosemary gives into her maternal instincts and gently rocks the cradle.

In 2154, humans have depleted Earth's natural resources, leading to a severe energy crisis. The Resources Development Administration (RDA) mines a valuable mineral unobtanium on Pandora, a densely forested habitable moon orbiting Polyphemus, a fictional gas giant in the Alpha Centauri star system.[10] Pandora, whose atmosphere is poisonous to humans, is inhabited by the Na'vi, a species of 10-foot tall (3.0 m), blue-skinned, sapient humanoids[37] that live in harmony with nature and worship a mother goddess named Eywa.

To explore Pandora's biosphere, scientists use Na'vi-human hybrids called "avatars", operated by genetically matched humans. Jake Sully, a paraplegic former Marine, replaces his deceased identical twin brother as an operator of one. Dr. Grace Augustine, head of the Avatar Program, considers Sully an inadequate replacement but accepts his assignment as a bodyguard. While escorting the avatars of Grace and fellow scientist Dr. Norm Spellman, Jake's avatar is attacked by a thanator and flees into the forest, where he is rescued by Neytiri, a female Na'vi. Witnessing an auspicious sign, she takes him to her clan. Neytiri's mother Mo'at, the clan's spiritual leader, orders her daughter to initiate Jake into their society.

Colonel Miles Quaritch, head of RDA's private security force, promises Jake that the company will restore his legs if he gathers information about the Na'vi and the clan's gathering place, a giant tree called Hometree,[38] which stands above the richest deposit of unobtanium in the area. When Grace learns of this, she transfers herself, Jake, and Norm to an outpost. Over the following three months, Jake and Neytiri fall in love as Jake grows to sympathize with the natives. After Jake is initiated into the tribe, he and Neytiri choose each other as mates. Soon afterward, Jake reveals his change of allegiance when he attempts to disable a bulldozer that threatens to destroy a sacred Na'vi site. When Quaritch shows a video recording of Jake's attack on the bulldozer to Administrator Parker Selfridge,[39] and another in which Jake admits that the Na'vi will never abandon Hometree, Selfridge orders Hometree destroyed.

Despite Grace's argument that destroying Hometree could damage the biological neural network native to Pandora, Selfridge gives Jake and Grace one hour to convince the Na'vi to evacuate before commencing the attack. Jake confesses to the Na'vi that he was a spy, and they take him and Grace captive. Quaritch's men destroy Hometree, killing Neytiri's father (the clan chief) and many others. Mo'at frees Jake and Grace, but they are detached from their avatars and imprisoned by Quaritch's forces. Pilot Trudy Chacón, disgusted by Quaritch's brutality, frees Jake, Grace, and Norm, and airlifts them to Grace's outpost, but Grace is shot by Quaritch during the escape.

To regain the Na'vi's trust, Jake connects his mind to that of Toruk, a dragon-like predator feared and honored by the Na'vi. Jake finds the refugees at the sacred Tree of Souls and pleads with Mo'at to heal Grace. The clan attempts to transfer Grace from her human body into her avatar with the aid of the Tree of Souls, but she dies before the process can be completed. Supported by the new chief Tsu'tey, Jake unites the clan and tells them to gather all of the clans to battle the RDA. Quaritch organizes a pre-emptive strike against the Tree of Souls, believing that its destruction will demoralize the natives. On the eve of battle, Jake prays to Eywa, via a neural connection with the Tree of Souls, to intercede on behalf of the Na'vi.

During the subsequent battle, the Na'vi suffer heavy casualties, including Tsu'tey and Trudy, but are rescued when Pandoran wildlife unexpectedly join the attack and overwhelm the humans, which Neytiri interprets as Eywa's answer to Jake's prayer. Jake destroys a makeshift bomber before it can reach the Tree of Souls; Quaritch, wearing an AMP suit, escapes from his own damaged aircraft, then later finds and breaks open the avatar link unit containing Jake's human body, exposing it to Pandora's poisonous atmosphere. Quaritch prepares to slit the throat of Jake's avatar, but Neytiri kills Quaritch and saves Jake from suffocation, seeing his human form for the first time.

With the exceptions of Jake, Norm and a select few others, all humans are expelled from Pandora and sent back to Earth. Jake is permanently transferred into his avatar with the aid of the Tree of Souls.

Grace Falls Pisces Notre Dame The FLOW becomes VirgO Flesh Alice WOLF

Yellow Eyes Tiger Woman

Chapter 9 AND ENDING


In which Dogville receives the long-awaited visit and the film ends

When the mobsters finally arrive, they are welcomed cordially by Tom and an impromptu committee of other townspeople. Grace is then freed by the indignant henchmen, and her true identity is revealed: she is the daughter of a powerful gang leader who ran away because she could not stand his dirty work. Her father motions her into his Cadillac and argues with her about issues of morality. After some introspection, Grace reverses herself and comes to the conclusion that Dogville's crimes cannot be excused due to the difficulty of their circumstances. Tom, who has become aware that the mobsters pose a threat to himself and the town, is momentarily remorseful, but rapidly descends into rationalization for his actions. Grace sadly returns to her father's car, accepts his power, and uses it to command that Dogville be removed from the earth.

Grace tells the gangsters to make Vera watch her children die, one by one, as punishment for destroying her figurines. She instructs them only to stop killing the children if Vera can refrain from crying, stating that she "owes her that". Dogville is burned to the ground and all of its inhabitants brutally massacred with the exception of Tom, whom she executes personally with a revolver right after he applauds the effectiveness of her use of illustration as an attempt to get her to spare him. After the massacre, the gangsters hear a barking sound from one of the houses. It is the dog Moses. A gangster aims a gun at the dog, but Grace commands that he should live: "He's just angry because I once took his bone." The chalk drawing of Moses becomes a real dog as his barks lead into the credits.

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