Mo is the cook for the homeless. His kitchen is located in the basement of a large church. There are catacombs with cubicles full of sleeping bodies. He represents the god Moloch who was the husband of Ianna who Belle’ mother wrote a play about. There was a creative psychic connection. Big John was the OCCUPY cook, and is on the board of Nightingale.
“I will be presenting my idea for a Labyrinth Walk in Ken Kesey Square to the Mayor and City Council. Shortly after I met Belle Burch I discovered her late mother, Catherine Vadertuin, co-authored a play ‘The Descent of Ianna’. Belle’s father founded a Labyrinth Walk where walkers were accompanied by Gamelan musicians. I believe the spirits of Ken and Catherine have guided me thru a maze to arrive at True Inspiration.”
I believe Catherine and I were destined to meet, but, our paths never crossed, until I beheld her daughter, Belle. She is the rebirth of Ianna ‘The Morning Star’.
Rabbinical tradition depicted Moloch as a bronze statue heated with fire into which the victims were thrown. This has been associated with reports by Greco-Roman authors on the child sacrifices in Carthage to Baal Hammon, especially since archaeological excavations since the 1920s have produced evidence for child sacrifice in Carthage as well as inscriptions including the term MLK, either a theonym or a technical term associated with sacrifice. In interpretatio graeca, the Phoenician god was identified with Cronus, due to the parallel mytheme of Cronus devouring his children.
Inanna was the most prominent female deity in ancient Mesopotamia. As early as the Uruk period (ca. 4000–3100 BC), Inanna was associated with the city of Uruk. The famous Uruk Vase (found in a deposit of cult objects of the Uruk III period) depicts a row of naked men carrying various objects, bowls, vessels, and baskets of farm products, and bringing sheep and goats, to a female figure facing the ruler. This figure was ornately dressed for a divine marriage, and attended by a servant. The female figure holds the symbol of the two twisted reeds of the doorpost, signifying Inanna behind her, while the male figure holds a box and stack of bowls, the later cuneiform sign signifying En, or high priest of the temple. Especially in the Uruk period, the symbol of a ring-headed doorpost is associated with Inanna.
Inanna as the planet Venus
Inanna was associated with the planet Venus, which at that time was regarded as two stars, the “morning star” and the “evening star.” There are hymns to Inanna as her astral manifestation. It also is believed that in many myths about Inanna, including Inanna’s Descent to the Underworld and Inanna and Shukaletuda, her movements correspond with the movements of Venus in the sky. Also, because of its positioning so close to Earth, Venus is not visible across the dome of the sky as most celestial bodies are; because its proximity to the sun renders it invisible during the day. Instead, Venus is visible only when it rises in the East before sunrise, or when it sets in the West after sunset.
Inanna is the goddess of love. In the Babylonian epic of Gilgamesh, Gilgamesh points out Inanna’s infamous ill-treatment of her lovers. Inanna also has a very complicated relationship with her lover, Dumuzi, in “Inanna’s Descent to the Underworld”.
Nimrod was worshiped as the Sun God. He was worshiped in numerous cultures and countries under a variety of names: Samas, Attis, Uti, Merodach/Marduk, Ninus, Bel/Baal, Moloch, Tammuz – the list is virtually endless. [He was also known as Dumuzi by the Sumerians and as RA by the Egyptians, as I have detailed in this article].
“The Assyrian material sheds new light on II Kings 17 where Adadmelech (to be read instead of Adrammelech) is the god to whom the Sepharvites burn/dedicate their children (verse 31). Adadmelech in this verse stands next to Anammelech who has been correctly related by scholars to Anath who bears the title ‘Queen of Heaven,’ the standard term for Ishtar in Akkadian (šarrat šamê; cf. Sumerian nin.anna.ak = Inanna). The pair Adad and Ishtar, or the ‘king’ and the ‘queen,’ are the ones to whom children are dedicated in the Assyrian-Aramean documents quoted above.” – The Cult of Moloch, Jewish Library;
Milton’s Paradise Lost
“First MOLOCH, horrid King besmear’d with blood
Of human sacrifice, and parents tears,
Though, for the noyse of Drums and Timbrels loud,
Their children’s cries unheard that passed through fire
To his grim Idol. Him the AMMONITE
Worshipt in RABBA and her watry Plain,
In ARGOB and in BASAN, to the stream
Of utmost ARNON. Nor content with such
Audacious neighbourhood, the wisest heart
Of SOLOMON he led by fraud to build
His Temple right against the Temple of God
On that opprobrious Hill, and made his Grove
The pleasant Vally of HINNOM, TOPHET thence
And black GEHENNA call’d, the Type of Hell.”
John McCahill / AKA Big John Bigsqurlnuts@gmail.com
As Occupy Wall Street rippled across the country, John researched the movement and decided to pass out fliers about Occupy at Saturday Market. He volunteered to do security duties when OE began but was quickly swept into kitchen duties. He ran the kitchen at various OE locations with help from a small group of volunteers, managing to feed hundreds of people each day with few resources. He has also organized meals at public gatherings and city council meetings. He was one of the original members of the Mayor’s Task Force on the Homeless, the organization that inspired the creation of Opportunity Village Eugene, a village of tiny houses for the unhoused. John started the Conflict Resolution Committee, which provided services to Occupy and community members. John has been the kitchen lead at the downtown Egan warming site since the Occupy camp closed in 2012. He is also a council member of the Community Village at the Oregon Country Fair and has years of training in human intervention and conflict resolution from Occupy Eugene, Egan and OCF. John oversees the Occupy Eugene twitter page with a following of over 3500 subscribers.