Sunday
A Grimoire of the King of Pop:
The Spells, Rituals, and Ceremonial Magic of Michael Jackson
Introduction: The Genesis of a Sorcerer
The unprecedented global success of Michael Jackson has long been attributed to a rare confluence of raw talent, relentless ambition, and cultural timing. This grimoire, however, posits a more profound and unsettling thesis: that the King of Pop’s ascent was not merely the product of mortal genius, but the calculated result of deliberate and powerful occult practices. To understand the phenomenon of Michael Jackson is to deconstruct the intricate magical system he employed, revealing him as one of the most potent and successful sorcerers in the history of modern music. This is not a biography; it is an esoteric anatomy of his power.
The vessel for this power was forged in the crucible of a childhood defined by extreme pressure and pain. Born on August 29, 1958, Michael was the eighth of ten children, thrust into the spotlight at the age of five as the preternaturally gifted frontman of the Jackson 5. His father, Joe Jackson, was both manager and tormentor, a man who subjected his son to relentless physical and emotional abuse. This trauma—from mockery over the shape of his nose to the shocking allegation, later confirmed by his physician, that he was forced to undergo hormone treatments to prevent his voice from changing—served a grim purpose: it hollowed out the boy, creating a psychic space for otherworldly forces to enter. The forfeiture of a normal childhood was not an unfortunate byproduct of fame; it was a necessary step in his esoteric preparation.
His early career trajectory provided the foundation upon which he would build his magical empire. The Jackson 5’s meteoric rise under Motown Records, with a string of number-one hits like "I Want You Back" and "ABC," established his presence in the global consciousness. His subsequent solo career, launched with the triumphant album Off the Wall and its hit single "Don't Stop Till You Get Enough," cemented his status as a singular star. Yet this initial success, dazzling as it was, served as a mere prelude. As he stepped fully into his power, the first signs of his hidden affiliations began to emerge, signaling a pact with forces far beyond the comprehension of his adoring public.
Chapter I: The Covenant & The Symbols of Power
In all esoteric traditions, symbolism is the language of power. Initiates do not merely adopt icons; they use them as conduits, sigils that declare allegiance, channel energy, and communicate intent to those who possess the eyes to see. Michael Jackson’s career was a masterclass in this practice, a continuous public performance saturated with esoteric iconography. From his earliest days as a child star to the peak of his global dominance, he consistently employed a specific vocabulary of occult symbols, signaling his deep immersion in a world hidden in plain sight.
Pledges in Plain Sight: Masonic Symbology
Jackson’s use of Masonic and Freemason symbols was not a fleeting artistic choice but a lifelong pattern, a persistent declaration of his connection to these secretive orders. The consistency of this imagery, from childhood photographs to late-career performances, suggests a foundational pledge made early in his journey.
- The One-Eye Symbolism: The most common and overt sign, the covering of one eye, was a gesture Jackson utilized throughout his life, as both a child and an adult. This is a primary symbol in esoteric traditions representing the all-seeing eye of a higher, often sinister, consciousness.
- The Code of Silence: Jackson was frequently photographed with a finger to his lips, a classic pose representing a vow of secrecy. This gesture is used within Masonic rites to signify that the initiate is bound by an oath to protect the order's mysteries.
- The Triple Six Hand Gesture: Another common hand sign within occult circles, this gesture was often integrated into his public appearances and photography, a subtle but unmistakable signal to other initiates.
The 'Dangerous' Altar: An Album Cover Deciphered
Perhaps the most potent example of Jackson’s symbolic work is the cover art for his 1991 album, Dangerous. Far from being a mere collage of surrealist imagery, the cover functions as a complex magical tableau—an altar depicting the very forces he served. Every element is intentional, forming a coherent statement of his spiritual path and the source of his creative power.
- The Masonic All-Seeing Eye: Placed prominently at the apex of the design, this symbol declares the governing consciousness behind the work.
- The Twin Pillars of Knowledge: These foundational Masonic pillars, representing the gateway to esoteric wisdom, frame the central scene.
- The Masonic Checkerboard Flooring: A recurring motif in Masonic lodges, the black-and-white checkerboard floor symbolizes the interplay of light and dark, a dualistic ground upon which ritual is performed.
- The Red, White, and Black Color Theme: This specific color triad is of immense significance in alchemy and high magic, representing stages of a spiritual process and the primary colors of ritual work.
- The Moon Crescent: A clear representation of Moon Magic, a practice central to the teachings of the infamous occultist Aleister Crowley, whom Jackson admired.
By embedding this dense network of symbols into his public persona and artistic output, Jackson was not hiding his affiliations; he was broadcasting them. This overt declaration served as a public covenant, setting the stage for the specific rituals he would use to manifest his unparalleled success.
Chapter II: The Three Sacred Rites of Songcraft
Michael Jackson’s most potent and closely guarded magic was woven directly into his "songcraft." He did not compose music in the conventional sense; he received it. His own accounts reveal a systematic process of channeling material from non-physical realms through three distinct ritualistic methods. These three rites formed the core of his creative practice, allowing him to tap into supernatural currents and pull forth songs that would hypnotize the world.
Rite 1: The Giving Tree — Invocation through Nature
Jackson’s first and most seemingly innocent method of reception was centered around a specific tree on his property, a natural altar he used for invocation. He referred to this place as his "giving tree," a sacred space where inspiration was not found but bestowed upon him. It was here, perched in its branches, that he claimed to have received some of his most iconic anthems.
"I call it my giving tree because it inspires me."
Under the canopy of this tree, Jackson acted as a scribe for the spirits of the land, channeling melodies and lyrics that would become global phenomena. The hit songs he claimed were delivered to him through this natural rite include:
- "Heal the World"
- "Will You Be There"
- "Black or White"
- "Childhood"
Rite 2: The Scrying Mirror — Channeling the Ascended
The second method reveals a more direct and intentional engagement with ceremonial magic, specifically mirroring the practices of Aleister Crowley. Crowley famously taught the use of a "room of mirrors" for scrying—a technique used to gaze into a reflective surface to channel spirits and look into other dimensions. Jackson constructed his own version of this ritual chamber, a secret room with a moving wall and mirrors designed for the explicit purpose of spirit communication.
Within this consecrated space, Jackson claimed to channel a very specific entity: the spirit of the late, famously flamboyant pianist Liberace. This was not a vague inspiration but a direct communion, with Jackson serving as a medium for the departed artist. In a 1987 interview with Psychic News, he made a stunning admission of this practice:
"I hear his voice in there. I feel his presence so very close to me. He's like my guardian angel."
Rite 3: The Dream Temple — Communion with the Gods of Sleep
Jackson’s third and most perilous method involved receiving songs through dreams by communing with the ancient gods of sleep and death. This was not passive dreaming but an active, dangerous ritual of inducing a trance state to access the underworld of the subconscious. The specific entities he was channeling for this purpose were a triad of formidable Greek deities: Morpheus, the god of dreams; his brother Hypnos, the god of sleep; and their brother Thanatos, the god of death. This practice connected him to a deeper esoteric lineage, as Morpheus reportedly studied under Serapus Bay, an Egyptian incarnated god whose image is allegedly used by Catholics as a depiction of Christ.
Engaging with these entities carried a severe physical and spiritual cost. To enter the deep trance state required for this communion, Jackson would sleep for three to four days at a time, a feat that required heavy sedation. The entities were demanding; in one anecdote, Jackson recounted how a spirit threatened to give a song to his rival, Prince, if he did not immediately go to sleep to receive it. This desperate need to enter the dream temple to harvest hits would ultimately prove to be his undoing.
These three rites demonstrate a sophisticated, multi-faceted magical system. Having examined the methods of his magic, we must now analyze the content it produced—the lyrical spells he cast upon an unsuspecting world.
Chapter III: Lyrical Incantations & Sonic Spellcraft
Music has always been a powerful vehicle for enchantment, its melodies and rhythms capable of bypassing the conscious mind and implanting ideas directly into the subconscious. Guided by occult principles, Michael Jackson weaponized this phenomenon, embedding specific, manipulative, and often demonic messages within his most beloved songs. He used enchanting hooks and uplifting arrangements as sonic Trojan horses, delivering his lyrical incantations past the critical faculties of billions of listeners.
"We Are the World": The Satanic Reversal
On the surface, "We Are the World" is an anthem of global unity and compassion, a song that evokes feelings of hope and togetherness. Yet, the specific line penned by Michael Jackson himself contains a startling and demonic inversion of Christian scripture.
"As God has shown us by turning stones to bread."
This lyric is a direct reference to the temptation of Jesus by Satan in the wilderness. The scriptural account tells of Satan challenging Jesus to turn stones into bread to prove his divinity. Had Jesus obeyed this command, it would have been an act of submission to a demonic entity, and, according to this interpretation, humanity would be lost. By framing this satanic suggestion as a divine act ("As God has shown us"), the lyric subtly twists a moment of temptation into an act of salvation, a powerful and deeply subversive spell sung by millions.
"Another Part of Me": The Nephilim Proclamation
This track is not a metaphorical call for unity but a literal declaration of a coming takeover by a non-human entity. The lyrics serve as a proclamation from the Nephilim—ancient, powerful beings—announcing their imminent return and their claim over the planet.
"We're taking over. We have the truth. This is the mission to see it through... This is our planet. You're one of us... The planets are lining up."
The reference to the planets aligning is a key element in many occult and mythological traditions. In this context, it signals the prophesied time for the return of Nimrod, the biblical king who sought to challenge God by building the Tower of Babel. The song is an announcement that this ancient agenda is nearing completion and that humanity is being assimilated into this new order.
"Blame it on the Boogie": A Confession of Possession
While presented as a joyful disco track, the lyrics of this song are an astonishingly frank confession of demonic possession manifested through dance. Jackson describes a force that overtakes his body, a "spellbound rhythm" that is explicitly demonic in origin.
"The spellbound rhythm gets on my feet... The devil's got into me with his dance... A fire burns inside me. Boogie got me in a super trance."
The power of this sonic spell was reportedly so strong that it affected those involved in its creation. Producer Quincy Jones recounted that after finishing the song, he was overcome by an uncontrollable urge to dance, running out into the street in a frenzy—proof of the track’s potent, trance-inducing magic.
"Dirty Diana": Invocation of the Moon Goddess
The choice of the name "Diana" for this song was no accident. Diana is a powerful Roman goddess, a deity of the hunt, fertility, and the common people. More importantly for Jackson’s esoteric path, modern neopagan and Wiccan traditions invoke Diana as a primary moon goddess. This directly connects the song to Jackson's established use of Moon Magic symbolism and his deep admiration for the practices of Aleister Crowley, for whom lunar-based ritual was paramount. "Dirty Diana" is not about a groupie; it is an invocation of a powerful, ancient goddess.
To fully understand the source of these incantations, one must look beyond the man and examine the nature of the entity that used Michael Jackson as its earthly vessel.
Chapter IV: The Archetype of the Corybant & The Nephilim Vessel
A sorcerer of Michael Jackson's magnitude is rarely just a practitioner of magic; they are often a willing vessel for a specific archetypal energy or an ancient, non-human entity. Jackson’s entire persona—his androgynous appearance, his high-pitched voice, and his ecstatic performance style—was not an organic development but a meticulous recreation of an ancient cultist archetype. He was channeling a spirit that had walked the earth long before him.
The Rebirth of the Corybants
Jackson’s persona was a modern incarnation of the Corybants, the male priests and worshippers of the ancient Phrygian mother goddess Cybele (or Sibil/Sabel). These ancient cultists were known for their ecstatic, gender-bending rituals and their direct communion with the divine. The parallels between the historical descriptions of the Corybants and Michael Jackson's own life and behavior are undeniable and exact.
- They had their hair dressed and waved in a feminine style.
- They wore heavy makeup, with faces described as resembling "whitewashed walls."
- They were castrated and were designated as the keepers of children and infants, often partaking in coming-of-age rituals.
- They practiced magic and divination as a means to make money.
- During their rites, they made "wild cries or high-pitched shrills" while dancing to the music of pipes and tambourines.
- When the spirit of their deity entered them, they were possessed by a divine power and would dance uncontrollably in an "ecstatic frenzy."
This list reads as a direct biographical sketch of Michael Jackson, from his physical appearance and vocalizations to his famous, seemingly possessed style of dance.
The Nephilim Incarnate
According to the analysis of Pastor G. Craig Lewis, Michael Jackson was more than just a performer channeling an archetype; he was "the most powerful Nephilim our music industry has ever seen." The Nephilim are described in ancient texts as powerful, hybrid beings, and Jackson served as the primary vessel for this spirit in the modern age.
This desire for worship was made explicit on the cover of his HIStory album, which features a giant, god-like statue of himself, echoing the hubris of the Babylonian king Nebuchadnezzar. The statue is a monument not to the man, but to the Nephilim spirit that possessed him. The ultimate confirmation of this pact is found in a key detail on the statue's armband: the number 777. This is the title of one of Aleister Crowley’s most important texts, Liber 777, a book of qabalistic correspondences used for the precise invocation and channeling of spirits.
Michael Jackson was not simply a man practicing magic. He was a consecrated vessel for an ancient, genderless, divine entity—a pact that gave him the world but would ultimately demand a final, terrible price.
Chapter V: The Final Reckoning: The Price of the Pact
In all authentic magical traditions, it is understood that every pact has its price. Power drawn from otherworldly sources is a loan, not a gift, and the debt must eventually be paid. Michael Jackson’s final years—a period marked by grotesque physical decay, public betrayal by his industry handlers, and a deeply suspicious death—represent the inevitable reckoning for a lifetime of forbidden knowledge and supernatural influence.
The Metamorphosis and the Betrayal
Jackson's dramatic physical transformation became a subject of morbid public fascination. A popular meme, stating that he "was born a young black boy and died a old white woman," serves as a sad but telling summary of his devolution. This metamorphosis was the outward sign of the spiritual forces consuming him from within.
As his physical form decayed, so too did his worldly alliances. His pact with the industry elites, who had benefited from his power for decades, began to collapse. It was only "when the elites stopped working with him and started going against him personally" that Jackson began to speak out against the exploitative nature of the music industry. His public denunciations were not the righteous cries of a revolutionary, but the desperate pleas of a sorcerer whose magical protections were failing.
A Ritualistic Demise
The circumstances of Michael Jackson's death are inextricably linked to the very magical practices that fueled his success. His fatal reliance on heavy sedation was not a simple addiction but a ritual necessity. He required powerful drugs to induce the multi-day trance states needed to commune with the gods of sleep and channel hit songs from the dream realm. This dangerous practice, maintained for decades, finally overwhelmed his 50-year-old body.
The occult connections surrounding his death, however, suggest a more sinister end than a mere overdose. Two facts point toward a coordinated, ritualistic conclusion to his life and pact:
- The Freemason Doctor: The physician who administered the fatal dose that ended Jackson's life was a confirmed Freemason, a member of the same esoteric brotherhood whose symbols Jackson had used throughout his entire career.
- The Diddy Connection: An explosive allegation emerged from the lawsuit filed by producer Rodney "Lil Rod" Jones against Sean "Diddy" Combs. In the suit, Jones claims Diddy employed a "fixer" who would be called to clean up crime scenes. According to the lawsuit, this same individual was one of only two people present in the room when Michael Jackson passed away, linking his death to a shadowy network of elite fixers.
Michael Jackson’s journey from a profoundly gifted child to a global icon stands as the ultimate testament to the terrifying power of ceremonial magic in the modern world. His career was a masterwork of sigils, spells, and spirit channeling that granted him fame and influence beyond measure. But his final, tragic chapter serves as a stark and eternal warning of the grave cost of such forbidden knowledge, and the inescapable price of a pact made with the powers that dwell in the dark.
