David Bowie's Blackstar

May you be welcome to the first patron-exclusive post of The Firelink Conspiracy!

This article will mainly be about a peculiar song with an even more peculiar clip - David Bowie's Blackstar. It would, perhaps, be more apt to say this article will be a (not fully comprehensive) analysis of Bowie himself.

A disclaimer: I will not underestimate your knowledge nor your intelligence. I know all who read this are capable enough to either understand what I write or to seek further clarification on his own. I will not go out of my way to appease those who will not care nor agree with what I have to say with my writings; but write to you as if you were a close friend. You're free to question or to disagree with me, or to filter the information I present to you according to your own gut and brain.

Before talking about the song & clip, I'll delve deep into who Bowie was, and what he stood for.

Bowie was an occult-obsessed satanist. That shouldn't be surprising to those in-the-know about the inner workings of the cultural industry; but Bowie is one of the most eccentric figures of his batch.

Bowie - like the majority of 20th and 21st century satanists - was enamored by Aleister Crowley, a man who called himself the “Beast 666” (that is, the antichrist as was described in the Book of Revelation, the emissary of satan on Earth). A whole article will be written about Crowley in the future; but what should be understood for the context of this one is that Crowley was, essentially, the father of modern-day satanism, the man who brought the deeper layers of the evil side of the esoteric realm to the surface - and whose admirers, many of whom were celebrities, made popular through their work (Bowie being one of them, of course).

From the lyrics of Bowie's song Quicksand:

“I’m closer to the Golden Dawn
Immersed in Crowley’s uniform”

Just in this excerpt we can pinpoint a reference to the secret society of the Golden Dawn (a kabbalistic order), followed by one to Crowley himself (who was a member of the Golden Dawn). The meaning being that Bowie followed in Crowley's footsteps.

I will avoid directly discussing politics in my work, so the following segment will be brief.

Bowie was a fascist. In the song cited previously (Quicksand), Bowie speaks of “portraying (Heinrich) Himmler's sacred realm” (a leading member of the Nazi party and military leader of the SS), and he boasts being “living proof of Churchill's lies”. I could dedicate an entire article to Quicksand alone.

The German national-socialists were deeply entrenched in the occult world, Hitler himself having been a follower of Blavatsky, the founder of Theosophy whose doctrine was the basis for Ariosophy. To put it bluntly - Hitler enacted the archetypal role of antichrist, a leader of men who may present himself as a saviour but who is, in fact, a harbinger of chaos and destruction. Adorning the floor of the headquarters of the SS was the Black Sun. That is, a Blackstar.

The Alchemical Rebis or Magnum Opus is the perfect being - Rebis meaning, quite literally, the merging of opposites (from the Latin res bina, meaning dual or double matter). The Rebis is often represented as an androgynous or hermaphroditic man who's in control of nature personified. Following this paragraph will be a short analysis of an illustration depicting the Rebis. Not to be repetitive, but I could and likely will write an entire article about the Rebis alone.

The Rebis stands on top of a Dragon - the Dragon being nature personified; its culmination, its raw energy made manifest. To conquer the Dragon means to conquer nature (which can also mean men's animalistic impulses), allowing one to bend it to his will.

The Dragon rests on a circle whose surface bears the numbers 43 - 4 being the number of the material world (represented by the square), and 3 being the number of Heaven (represented by the circle). 3 is also the number of the Trinity, that is, of God (the triangle). The 43 is an evocation of the cosmic law of “as above, so below”; which means that as is on Earth, so is in Heaven; the Microcosm shall be the same as the Macrocosm. This same symbolism is what informed the design of the Egyptian pyramids, which have four sides and a golden triangular top (43, the golden triangular top representing the Heavens). The pyramids were structures designed to host the body of Pharaos (Egyptian kings) and ensure their souls would ascend to Heaven, thus, the evocation of the 43 as a sacred number.

And lastly, alongside various symbols of opposing forces, are the sun and the moon. The cycle of night and day is a Rebis; and the eclipse (the rare conjoining of the two celestial bodies) is its inversion, its negative form. It is often represented in esoterically charged works of fiction as an augur of evil, particularly as the protagonist force of a ritual (examples include Berserk, Dark Souls - though the morality of the eclipse is not purely evil -, A Song of Ice and Fire, the Wheel of Time book series, Neon Genesis Evangelion, and many, many more). The eclipse is the Dark Sun, the Black Star, the Black Sun.

This sun is dark because black represents the primordial chaos; the supreme unity of all things; the primal energy of nature (like the Dragon itself).

To be clear, the Rebis himself is not evil. He can be either the ultimate good or the ultimate evil; the Christ or the antichrist. And he is nearly universal; for instance, when a man marries a woman, they become a Rebis; the union of marriage is sacred and manifests the idea of the Rebis. To put simply, the Rebis is the master work, the magnum opus, the perfect union.

The synthesis of all of the information laid previously is that Bowie believed himself to be the antichrist - the Alchemical Magnum Opus, the successor to Crowley, his spiritual father. It is no accident that he presented himself as an androgynous, alien-like man whose right eye - the eye representing, esoterically, a window to the soul - was often painted with a thunderbolt (representing the presence of Lucifer, the Lightbringer, an antichrist). Knowing all of this, one could even be led to think his heterochromia was not caused by an accident, lol.

And this is most expressed in his final and most deranged music video, Blackstar.

The clip starts with an astronaut whose helmet bears a fire symbol (a reference to Lucifer/Prometheus, to Gnosis) lying before an eclipse.

Bowie played a lot with themes of space exploration and aliens throughout his career. Not to prolong myself, this has to do with the nature of space as an extension of the primordial chaos, of the void; of the astronaut as the man (dressed in white) who explores that void (searching for Gnosis, knowledge - light - hidden in the dark); and of the aliens as representations of archons (Gnostic demons who serve the demiurge).

Shortly leaving the topic at hand, Bowie's alter personas are highly demonic in nature - Bowie performed rituals where he'd empty his mind to give space to foreign entities, which would in turn possess him; and his alter personas are, quite simply, the demons manifesting in his body (this is what he believed happened). To those familiar with MKULTRA, this surely reads familiar, and it is no accident, as the experiments were based on the same satanic esoteric principles.

“At the centre of it all, at the centre of it all Your eyes, your eyes”, sings Bowie, while the eclipse is focused on.

Bowie is refering to the eclipse as the eyes of the demiurge, who is the god he (and the kabbalists and satanists) worships; the god the antichrist is a messenger of. A god who embodies both good & evil, who stands in opposition to Christ - who preached the distillation of good from evil (this is the conflict between the Old and the New Testament).

And then comes a Rebis.

A highly androgynous figure with an angled face and a monobrow.

He has a tail (a Dragon's/a lizard's tail).

He was summoned by the eclipse, which was cast by a ritual (as we'll soon see). He walks towards the astronaut to provide him with (dark) Gnosis, with dark enlightenment.

Bowie appears dressed as the demiurge himself; the blind, stupid god of duality (bandages cover his eyes, and dark buttons take their place). Behind him are men - one white, one black - dancing frenetically as though they are possessed by demons. This scene takes place in a triangular wooden cellar (a reference to the false heaven realm of the demiurge, his lair); and on its wall there is a circular window from which light comes (the circle representing Heaven).

The white man is dressed in a black short; and the black man is dressed in a white short. Behind them is yet another androgynous woman dressed in black & white. The unholy trinity, whose union is the demiurge himself, Bowie. Next to them is a cage, which represents the material (which traps the soul).

The antichrist comes to Earth from the abyss of outer space like the beast of Revelation - the antichrist of the Bible - came to the Earth from the deep sea (a different way to represent the abyss). He carries the skull of the astronaut, which was adorned with gemstones (representing his enlightenment). He travels to a large city emblematic of the capitals of antiquity.

We see a person covered with wax, whose head became a candle - yet another symbol of hidden knowledge, for the candle illuminates the dark.

A coven of witches performs a dark ritual to summon the antichrist (they are symbolically forming the womb, the feminine-powered circle within the red-black space, to birth him).

As Bowie, the demiurge, is called upon, he appears from the false heavens with a satanic bible; his veil not blinding him anymore. The following verses speak of Bowie himself; he is not an actor, nor a musician, but the antichrist enacting the demiurge's will through these roles.

“How many times does an angel fall?
He trod on sacred ground, he cried loud into the crowd
I can't answer why (I'm a blackstar)
Just go with me (I'm not a filmstar)
I'ma take you home (I'm a blackstar)
Take your passport and shoes (I'm not a popstar)
And your sedatives, boo (I'm a blackstar)
You're a flash in the pan (I'm not a marvel star)
I'm the Great I Am (I'm a blackstar)”

As part of the ritual for the summoning/powering of the demiurge, a scene that mocks Christ's execution takes place, as three men dressed as demonic scarecrows dance provocatively and laugh maniacally while tied to wooden crosses. The subverted Christ wears a shirt with a black and white stripe pattern, symbolizing the demiurgic duality.

An apostle of the dark Rebis (of the antichrist) dressed in black holds the astronaut's skull (which was given to her by the antichrist) and employs it in a ritual to empower the witches who had beckoned him. Then they all bow down to the apostle and perform a frenetic dance in all fours - the final part of the ritual. In fact, the coven of witches is an inversion of Christ's group of apostles - satanic women instead of Christian men. The antichrist is also a woman (though an androgynous one) when Christ was a man.

Finally, an empty-headed beast is birthed; the final form of the antichrist - or rather, the supreme earthly manifestation of the demiurge -, who now has the power to rule the world. As happened in Revelation, the beast is empowered by the Dragon (in this case, the Dragon is the tailed Rebis, the first form of the antichrist). The song ends with a fascist dictatorship installing itself as a world government - Bowie's ideal world order.

And this is the end of the analysis. I'm sorry for exposing you to this depressingly evil song. You should probably cleanse your body, mind and soul. Go take a shower and hug your loved ones. Listen to a beautiful song. Think of Christ's universal love, if you're a Christian like I am.

I hope my words were constructive to you; and I wish you the best. Thank you!