Rihanna, Shakespeare, the witch and the climatic change

You must not think I am so simple but I know the devil himself will not eat a woman.


 By Nicolas Bonnal

We are living a transition, dolorous for some, insignificant for the majority, from the human being to post-human synthetic being. This brave new world we already knew through literature is becoming a reality. It is no more a metaphor and we will know the End of Times when there will be no more practicable metaphors. The new babies, not to mention the clones or the future cyborgs, are meliorated through genetics and technology and the parents do not care if the future heirs will tolerate such imperfect genitors. We will be all driven by this new trend, for who will take the risk to have a not perfect child in a so risky new capitalistic world?

But there is another change: as Dostoyevsky wrote in the idiot, the figure of the Antichrist will not be a face, but a network. Dostoyevsky alludes of course to the Book of revelations: "and there fell a great star from heaven, burning as it were a lamp...And the name of the star is called Wormwood: and the third part of the waters became bitter... and many men died of the waters (Rev., 8, 11)

The corruption of man's soul would be linked to a physical corruption of the world, in Dostoyevsky's vision. So we would have fewer vital forces (ironically, it's the message we find in Kubrick scathing masterwork Doctor Strangelove when it comes to the fluoridation of the water).  Lebedev, the Dostoyevsky's character, speaks of the railways network, but we can imagine that all the networks match nowadays. We are briefed, educated and conditioned by cognitive networks, and our friends are the visages we capture in our new networks (in French, Facebook sounds like face's goat...).

Today's man doesn't live and get his memories on natural, familial, or national roots; he gets his culture, his souvenirs, hi sensitiveness from the wires. We become indeed artificial artefacts like the replicates of Blade runner, those poor cyborgs whose memories have been fabricated artificially. The American "civilisation" in which a boy speaks one minute daily to his parents and is connected (possessed: in Hebrew the word is the same for the two notions) nine hours to its networks, tech-toys and TV programs has now entered every country, like viruses, sowing a curious new kind of humanity.

The wires have taken the place of the roots. This new paradigm of course has created a new kind of culture, even a new kind of showbiz. I recently evocated Lady Gaga, but who is she? We could know who were Edith Piaf and Dalida, Kate Bush or Enya. But who is Gaga and who is Rihanna? They write nothing, they have no culture, they can hardly dance, and they look like puppets controlled by invisible wire-pullers and big teams of digital effects engineers. Of course they are geniuses and they attract billions of dollars and millions of connected fans and techno-nerds. As one adorer of these times remarks about this new generation of "artists", "the jungle scene hosts such copious and rapid mutations that singling out its stars denies the collective intelligence that drives its recombinant creativity; citing Brian Eno, he says that we should speak not of "genius" but of "scenius." The expression of "jungle scene" illustrates the new kind of showbiz which surrounds us.

Clearly the new paradigm tries to sell a new universal religion which serves the purpose of the New World order. The new religion is mixed with Satanism and it remixes (like a music producer) and recycles old myths, witchcraft and pagan imagery, the two columns and the Masonic pavement, old laces and new tricks. It is therefore dominated by women with double personalities, "alters", like we use to say nowadays. Doctor Jekyll has become Mrs Hyde; the good girl has turned very bad. Yet the price to pay is still very high for those who entertain us and try to program always younger audiences: see the fate of Michael Jackson, Whitney Houston, Amy Winehouse or Aliyah, another queen of the damned, who died in the Caribbean zone, one the most important on this planet today (see sports, music, leisure, holidays, tax paradises), being the afro-disiac Black Atlantis of today and tomorrow. Yet the puppets are sacrificed in a global indifference; nobody will commit suicide, for the audience too is digital. Who laments now Denver's victims?

An important term for the witchcraft is the alteration of the climate : the "green-eyed monster" creates a greenhouse effect. It corresponds too with the analysis of Dostoyevsky and with Book of Revelation. Here too we are not confronted to a metaphor but to a reality. Here we come with one of our best witches, Rihanna, always escorted with her pets, the Baphomet, the Goat, the all-seeing eye, always dancing amidst spots and speckles (to understand that point, read Genesis, 30, 33). I won't comment this fauna but the so-called "Rihanna curse"! It is connected with the song Umbrella, a dark (umbra, the shadow, in Latin) celebration well-explained by soviet-born writer Daniel Estulin in his meticulous book The Tavistock Institute. I just want to underline the powers of one of our preferred witches!

The song was in effect connected to natural disasters in many countries during its promotion: there were rainfall and flooding in England, so the media, following the well-named The Sun, referred to "Rihanna Curse" A similar situation occurred in New Zealand, with one of the worst storms in the story of the now famous Middle-Earth. And finally in Romania the song corresponded with a hot and dry period, then with another storm. A critic said that ""Umbrella" is a monster, so much so that I'll even confess to spending a portion of a rainy afternoon practicing the hook."

More poetically, Shakespeare wrote a few centuries ago, as if he knew we would have some climatic change:

The spring, the summer,

The childing autumn, angry winter, change

Their wonted liveries; and the mazed world,

By their increase, now knows not which is which.

The immense writer insists. For no natural disorder comes hazardously. It emanates form the wrong activity of men (and women!).

And this same progeny of evils comes

From our debate, from our dissension;

We are their parents and original.

In his book, our friend Estulin underlines the pathetic role of the dark satanic songs in our present subculture. They look like conscious invocations, as when the stars, yesterday Bob Dylan, today Rihanna, Eminem or the rappers appeal to the mysterious figure of Rain man, so rich in its hidden significances. This Rain man looks very important and the audiences utter his name with fervour and enthusiasm. I won't say he is the devil, for the devil nowadays, as quips a friend of mine, is a too good scapegoat! He is a new deity of the New World Order's pandemonium, or pantheon, who expects his experts and theologians. Anyway the connection between witchcraft, new world (or Scotland) order and thunder is already present in our old classics!

FIRST WITCH. When shall we three meet again? In thunder, lightning, or in rain?


Nicolas Bonnal

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Author`s name Dmitry Sudakov