Moloch takes a bow

From Who Runs The World and The Real Obama

On July 15, 2000, Austin, Texas-based filmmaker Alex Jones and his cameraman, Mike Hanson, infiltrated the Grove and successfully made it out with documented evidence. With a hidden camera, Jones and Hanson were able to film the Cremation of Care ceremony. The footage was the centerpiece of Jones' documentary, Dark Secrets: Inside Bohemian Grove. Jones claimed that the Cremation of Care is an "ancient Canaanite, Luciferian, Babylon mystery religious ceremony," and that the owl statue is Moloch. The Grove and Jones' investigation were covered by Jon Ronson in Channel 4's four-part documentary, Secret Rulers of the World.


From 10 Records for the Thinking Hardcore Fan

Man Is The Bastard- Thoughtless (Gravity, 1995)
The influential but relatively low-profile Man Is The Bastard is often credited as the first band to play power violence, a guttural hybrid of grindcore and hardcore. As interpreted by bands like Spazz and Houston's own Knucklescraper, power violence is fun, almost comical, but on Thoughtless it is the vehicle for powerful expressions of unholy rage. The dark sound of MITB's unconventional instrumentation- two basses, no guitar- and the black-metal screech with which they augment the standard butch roar give the band an air of evil, but their lyrical content (including a selection from Allen Ginsberg's Howl on the terrifying eleven-minute dirge "Moloch") marks them as mere messengers of darkness- prophets of the bleak future guaranteed by the unchecked spread of industrial capitalism.


Allen Ginsberg reading from 'Howl'




From Dear America - How Allen Ginsberg's letters were an extension of his poetry

Ginsberg was much more polarizing than most poets, even most avant-garde poets, because he did not see himself as simply an artist. While he was very learned about English literature—not for nothing was he a favorite student of Lionel Trilling and Mark Van Doren at Columbia in the 1940s—he did not want his writing to be approached with the discriminating, hypothetical intelligence we ordinarily bring to literature. His writing was, instead, a kind of speech, directed not to the “poetry reader” but to the whole mind and soul. He was a prophet who used verse to chastise and exhort his people, as in the famous lines from “Howl”:

Moloch whose love is endless oil and stone! Moloch whose soul is electricity and banks! Moloch whose poverty is the specter of genius! Moloch whose fate is a cloud of sexless hydrogen! Moloch whose name is the mind!


When he chose to call 1950s America by the name of the evil god to whom the Canaanites sacrificed their children, Ginsberg deliberately claimed for himself the mantle of the Hebrew prophets. The message he delivered to his Cold War generation is exactly the one that Amos gave the Israelites:

I hate, I despise your feast days, and I will not smell in your solemn assemblies. Though ye offer me burnt offerings and your meat offerings, I will not accept them: neither will I regard the peace offerings of your fat beasts. Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols. But let judgment run down as waters, and righteousness as a mighty stream. Have ye offered unto me sacrifices and offerings in the wilderness forty years, O house of Israel?
But ye have borne the tabernacle of your Moloch and Chiun your images, the star of your god, which ye made to yourselves.


Hardly a middle schooler in America is unfamiliar with the line about judgment and righteousness, because Martin Luther King Jr. quoted it in his “I Have a Dream” speech. But for obvious reasons, King did not draw out the implication of Amos’s metaphor, which is that the waters of judgment are about to drown a sinful people.



From The BBC has been here before

In those days independent film-making had difficulty getting it on to any channel, and Last Grave did make it, in an edited form, to the Man Alive slot. But Curran (who in 1976 apologised to Mary Whitehouse about a Dr Who episode), and his bureaucrats immediately followed Last Grave with a propaganda film, specially made by the apartheid government. That, in its turn was followed by a roundtable discussion. This featured a former Robben Island prisoner, one of Last Grave's directors and a missionary on one side; and the South African deputy secretary for information, the embassy information director and a black supporter of apartheid on the other. This, surely, was the apotheosis of the BBC's "unique balancing act", and its desire to avoid "compromising public confidence". Moloch, Belial, and Beelzebub had all been assured a decent slice of the action.


From Moloch's Altar: Child Sacrifice and the War on Terror

The international Terror Warriors, and their multitude of sycophants, worship war: it thrills them, it arouses them, it imbues them with a sense of power and purpose and righteousness and superiority. Whatever their professed faith — and almost all of them make a great show of their devotion to a great benevolent deity in the sky — their true god is Moloch: earthbound, blood-steeped, ravenous for sacrifice. And his devotees — our elites, our "leading citizens," our "great and good" — are happy to obey, eagerly offering up their god's favorite dish — innocent flesh — on his blazing altars.


From Hamas, Hezbollah & their Molochian Divine

The leaders of Hamas, and Hezbollah, as well as Iran's Mullahs and Syria's Baathists rulers are all with no doubt divine in their sadism, cruelty, worship for power and influence, and deception, but only in accordance with the doctrine and rituals of "The Deity Moloch." Apparently this is the God they actually worship, affiliate to, and offer on his alters their own people as sacrifices.

Who is the "God Moloch"?
According to history books and religious references, "Moloch" was a well known notorious Phoenician Deity to whom child sacrifices were made throughout the ancient Middle East. Moloch's worship was the sacrifice of children, and the usual expression for describing that sacrifice was "to pass through the fire," a rite carried out after the victims had been put to death. This ritual was popular in ancient Phoenician Carthage.
Moloch was represented as a huge bronze statue with the head of a bull. The statue was hollow, and inside there burned a fire which colored the Moloch a glowing red. Children were placed on the hands of the statue. Through an ingenious system the hands were raised to the mouth (as if Moloch were eating) and the children fell into the fire where they were consumed by the flames. The people gathered before the Moloch were dancing on the sounds of flutes and tambourines to drown out the screams of the victims.