This is a special Article, not directly from the Dangerous Album itself, but the same phase in Michael Jackson’s life and therefore part of the DANGEROUS KNOWLEDGE SERIES.
There have been some individuals out there, talking a lot of deceptive lies about Michael Jackson’s works, obviously following the same pattern and giving off the same energy as the dark minded people that manipulated things around and about Michael Jackson. These people now think they can take me on too and talk nonsense on some social media, like they know anything about me. They try to impersonate and imitate all my work and personal identity as a human being and a spiritual, very psychic Egyptian, especially the stuff that is reflecting facts from my life, including copyrighted property we published before anyone of those. They think, “oh let’s try the same methods of attack and harassment on Michael’s twin soul and see if it works”, and well see here, it does NOT.
I feel better than ever. My physical fitness and dancing skills have evolved in super fast ways I never even thought possible. I never thought ever that it’s possible to dance the way I can now, thanks to Michael! Soon, you are going to see this all on Video, in HD and clear. Michael is standing in front of me in spirit, as a real Angel, and he giggles and teaches me totally new to me, as his female counterpart, adjusted choreography, and it’s crazy how creative he is. And he enjoys it a lot, to teach me all this and work from beyond for earthly Entertainment in this way. It’s a priceless chance to conclude his Message, with his own Twin Soul educated and skilled to do so.
(Right after writing this, Michael takes me off the Keyboard and distracts me with dance steps and embracing me, and suddenly he channels this New Song through me and says, record and publish this Summer. It’s a fun song a light message, very funny. You will see!)
I keep going strong in my spiritual evolution, healing and work and nothing can stop this because this is God’s will for me, for Michael, for our soul, and for all other innocent souls and the Planet itself.
I A.M. ARCH FAITH
We came here, to bring this healing light, this personal love ray from the deepest of our soul, to share on a planetary level and do literal “twin flame energy work” on the Planet and all people’s consciousness, the whole energy field on and around this Planet Body. Osiris and Isis style like an ancient Egyptian Magical Resurrection, but this time, applied by merged Love for the Planet.
Michael knew why he called this Album “Dangerous”, because this was his way of letting his Fans know that he is “bringing a message that could become dangerous for him as some forces do not want truth to be told”.
Now, what was this knowledge that Michael personally had, which made him say and do the things he did? His motivation beyond the Dangerous Album?
We’re gonna give it to you all now!
MICHAEL JACKSON AND THE MOON-WALK ©
Many things are very mysterious and certainly unknown to the public about Michael Jackson. But the things that he is known for are clear. And the unique dance style and signature moves especially. In fact, Michael Jackson took “dancing” to another level in Performance and integrated real spiritual energy in it and the effect can be seen in his Fans reactions. I love watching this effect, the master at work and how he does this, to the Fans. It’s Michael in his purest, having fun. He said in public interviews himself, that “on stage I felt like I am myself, I am home”.
Let us focus only on THE DANCE right now.
I had made the link between Michael Jackson and Osiris in ancient Egypt, like, as the only and surely first Person on this Planet, years back. This is because I am his Twin Soul and we share this past life in ancient Egypt together, I was his wife Isis.
I know these things in and out, I said, and I know what I am saying. I don’t care how crazy or uncommon it sounds; it is simply the full spiritual truth of Michael Jackson and of me personally too. You wanted to know all this the whole time about Michael Jackson, so just enjoy the unfolding of the Mysteries now. It will be fun and enlighten you.
In order to understand me now, and understand why what I say makes sense and is clear timeless truth, you have to know at least a bit in depth information. I want to show you here chosen excerpts from the translations on ancient Egyptian artifacts and writings and the modern so-called “Book of the Dead/Coming Forth by Day” by author E.A. Wallis Budge.
In there I found confirmations on my own memory, after years of never reading anything about ancient Egypt as I felt it triggered something “uncomfortable inside my soul”. So, this text I was researching precisely in November 2010 in Alexandria Egypt, in the famous Library there, the new one not the ancient one when Cleopatra lived unfortunately. But, still, the truth was there and had in parts survived for me to read through things and check my past life memory, in facts in front of me.
I started for the first time in my life to read about ancient Egypt, also in a library in Los Angeles, after Michael had brought books on that subject with him and was totally into it, pointing out constantly that “I am a real Egyptian” and should read on this subject with him for Projects he has in mind.
So now, let us take a look at stuff Michael guided me to look at in 2010 again, after serious spiritual twin soul experiences we have had together already between spiritual and earthly, and I knew nobody has any confirmation or things to read that are authentic but the ancient Egyptian stuff to digest my experiences and confirm my memory.
And remember now the time when Michael Jackson was here amongst us all on Earth as a human too, and dancing his soul out on stage for you guys. Remember this, when you read the following.
OSIRIS AND DANCING
Let me say a thought first that is central here and important. Back in ancient Egypt, the sun and the moon had deep spiritual meaning and were used in many aspects in the visual hieroglyph language of these times. Osiris, and Horus the son, represented the Sun power as every male being did. Isis, Osiris wife and twin sister, represented the Moon as all feminine beings did.
So, connect this dot for now: Michael Jackson is called the MOON walker. What walks on the Moon? The Sun. The Moon only even becomes visible to us, when the Sun shines its light on it and makes the invisible become the visible. And as the moon also circles around the Sun (the circle was a symbol of eternity in ancient Egypt and female gender symbolically), the moon phases are seen as a result. So, the Sun walks on the Moon = Moonwalker.
Excerpt from Book of Coming Forth by Day by E.A. Wallis Budge
For more on the author and his books in full please visit this link:
(Very recommended for further reading!)
He is performing some dance which was connected with a festival, and the paddle probably symbolized the part which the ritual ordained him to take in it. The position of the king suggests that he is treading a measure to the accompaniment of some simple instrument of music, or perhaps to the clapping of the hands of his slaves. The king wears a pair of short drawers, and apparently nothing else except his double crown. In the early dynasties both men and women wore only loin cloths or very short drawers, but the latter were fond of putting on ornaments, bracelets, bangles, etc. In later times the dancing women wore garments which reached to their ankles.
Passing to the period of the IVth dynasty, we learn that in the reign of King Assa, a high official called Ba-ur-tet brought from Punt a tenk(pygmy), who knew how to dance “the dance of the god”(1) and was said to come from the “Land of the Spirits” (1) Assa was so pleased with his officer that he bestowed great honours upon him, and we may assume that the pygmy was dispatched to Memphis to dance before the king. In the text in the pyramid of Pepi I distinct mention is made of the “pygmy of the dances of god, who rejoiceth the heart of the god before his (i.e. the god’s) great throne.”(2) Thus it is clear that kings of ancient Egypt were very pleased to get possession of a pygmy who understood how to dance a particular kind of dance which was associated with “the god”, who was probably Osiris, and that such pygmies were best obtained from Punt, and from the part of that country which was known as the “Land of the Spirits”. The second extract shows that a king of Egypt considered that it would be an honour to him in the Other World if he could dance like a pygmy before Osiris, and proves clearly that the object of the dance of the god was to comfort, cheer, and strengthen the deity whose special dance he danced. The Egyptian bas-reliefs of all periods contain many illustrations of kings dancing before Osiris and other gods, and we may be sure that the naturally conservative spirit of the people preserved faithfully all the essential characteristics of the dance which tradition has handed down to them.
EXCERPTS FROM WALLIS E. BUDGES WRITINGS ON THE ANCIENT EGYPTIAN BOOK OF THE DEAD/COMING FORTH BY DAY FOR EDUCATIONAL PURPOSE AND RESEARCH
So you see, all this little piece of information yet gives you already a first clear fact correlating with the Michael Jackson Phenomenon. This is one of the modern available and very confirming writings which I personally was researching like an Archeologist back in 2010, to compare to things Michael showed and told me. I especially wanted to know, if there is today still information accessible for me to read back on specific details of ancient Egypt and our personal Twin Flame Experience to confirm what I was going through, just for myself between me and Michael. Every little information I found, tons and tons of information, confirmed precisely my memory and my current modern life experiences with my Twin Soul, Michael/Osiris.
This particular “dance of the God that was probably Osiris”, as the author writes and the reliefs show from ancient Egypt, has the same spirit behind it that Michael Jackson’s signature dance showed in modern time. Of course, it is different to be personally involved and remember Osiris himself, seeing through this, and to be just reading about a far distant history being new to the subject ancient Egypt and/or Spirituality. But if you knew Osiris, you know Michael Jackson. And if you know Michael Jackson, dear MJ Fans, you know Osiris from ancient Egypt. Remember the Time, was a serious work that Michael Jackson did, one of his most serious when it comes to his personal spirituality and roots of truth. The root of truth and spirit, soul and history of all “Afro-Americans” as the word already reveals, is in Africa. Egypt is in Africa and much of the modern African traditions are very ancient or partially at least, and the author Wallis E. Budge makes many comparisons between these modern traditions and ancient Egypt and Africa, showing that Egypt was the spiritual centre of all Africa. Many of today’s still upheld traditions come directly from ancient Egyptian traditions, meaning, existed since then in Africa.
So, when a modern Afro-American like Michael Jackson sings about ancient Egypt, he really means it. It’s history and Pop Music combined, that is what Michael did. In fact, with the whole Dangerous Album, not just this one song on it.
Let me show you another excerpt now from Budge’s writing, with information on general African Dances and their links to the above mentioned Osiris Dance from ancient Egypt. You will see much parallels to Michael Jackson’s Phenomenon and MJ Fan culture, again.
Excerpt from Book of Coming Forth by Day by E.A. Wallis Budge
The following descriptions of the meaning and symbolism of dancing among the modern peoples of the Sudan and West Africa, and the accounts of dances given by travelers, illustrate ancient Egyptian dancing, and throw much light on the subject, both as a religious exercise and a means of amusement.
In a description of his visit to Katchiba, chief of Obbo, Sir Samuel Baker says:” He came to meet us with several of his head men. He was an extraordinary looking man, about 58 or 60 years of age; but far from possessing the dignity usually belonging to a grey head, he acted the buffoon for our amusement, and might have been a clown in a pantomime. The chief determined upon a grand dance, and soon the nogaras (drums) were beaten, popes and flutes were soon heard gathering from all quarters, horns brayed, and men and women began to collect in crowds. About a hundred men formed a circle. Each man held in his left hand a small cup-shaped drum, formed of hollowed wood, one end only being perforated, and this was covered with the skin of the elephant’s ear, tightly stretched. In the centre of the circle was the chief dancer, who wore, suspended from his shoulders, an immense drum, also covered with the elephant’s ear. The dance commenced by all singing remarkably wild but agreeable tune in chorus, the big drum directing the time, and all the little drums striking at certain periods, with such admirable precision, that the effect was that of a single instrument. The dancing was more vigorous, and far superior to anything that I had seen among either Arabs, or savages, the figures varying continuously, and ending with a “grand gallop” in double circles at a tremendous pace, the inner ring revolving in a contrary direction to the outer; the effect of this was excellent.
Note: I recorded, registered and published Songs channeled with Mike, singing about “dancing in the circle of light” repeatedly. This is what I mean, real twin flame experiences are just that, real, and can be confirmed and researched very well, because it is all in tune with truth energy. It appears often like intuitive spontaneous ideas to me in the channeling moment, only to find out later that my mouth sang and spoke things of truth my human brain and consciousness had not yet fully realized, and reading these things back then was like a confirming waterfall of information.
Let’s continue with E.A. Wallis Budge´s excerpt:
Although the men wear a skin slung across their shoulders and loins, the women are almost naked, and instead of wearing the leather apron and tail of the Latukas, they are contented with a slight fringe of leather shreds, about four inches long by two broad, suspended from a belt. The unmarried girls are entirely naked, or wear three or four strings of small white beads, about three inches in length, as a covering. The old ladies wear a string around the waist, in which is stuck a bunch of green leaves, the stalk uppermost.(Baker, Albert N’yanza, p. 197 f.) Here we have a complete parallel with King Pepi, whose earnest desire was to dance before the god. Katchiba wished to please Baker, and so he acted the buffoon before him with such success that “he might have been a clown in a pantomime”.
When Baker was talking with Kappa Rega, and it “became necessary to change the conversation, a number of buffoons that were kept about the court for the amusement of the young king now came forward. The crowd was driven back, and an open space having been this cleared, they performed a curious theatrical scene, followed by a general fight with clubs, until one man, having knocked down all the party, remained the victor. The scene terminated with an act of disgusting indecency, which created roars of laughter from the immense crowd, who evidently considered this was the great joke of the piece. (Baker, Ismailia, p.313)
After one of the many disputes which Speke had with Kamrasi, king of Unyoro, the latter sent a dwarf called Kimenya to visit him. Kimenya was a little old man, less than a yard high, and he came with a walking stick larger than himself. He made his salaam, sat down composedly, and then rose up and danced, singing without invitation, and following it up with queer antics. Lastly, he performed the tambura, or charging march, in imitation of Wakungu, repeating the same words they use, and ending by a demand for simbi, or kauri shells. He was born in Chopi, and was sent for to come to court by Kamrasi (Speke, Journal, p. 433, Dent’s reprint), much as King Pepi sent to Aswan to tell Her-khuf to send the pygmy in safe keeping to Memphis.
Another instance of the desire of African kings to attach pygmies to their court is recorded by Dr. Schweinfurth, who describes the pygmy Adimokooo, a member of the Akka nation, numbers of whom had settled down under the protection of the Manbattu king. He was about 4 feet 10 inches high, and he was dressed like a Manbattu, in a rokko-coat and plumed hat, and was armed with a miniature lance as well as with a bow and arrow. Although Dr. Schweinfurth had several times been astonished at witnessing the war-dances of the Niam-Niam, his amazement was greater than ever when he looked upon the exhibition which the pygmy afforded. In spite of his large bloated body and short bandy legs, in spite of his age, which by the way was considerable, Adimokoo’s agility was perfectly marvelous, and one could not help but wondering whether cranes would ever be likely to content with such creatures. The little man’s leaps and attitudes were accompanied by such lively and grotesque varieties of expression that the spectators shook again and held their sides with laughter (Heart of Africa, Vol. II, p.129)
In October, 1902, Grenfell camped near the Nepoko River, and received a visit from a company of dwarfs. They are, he says, queer little folk, who live by their wits, and by their nimbleness as hunters. They are feared because of their cunning, and because they never fail to avenge any injury which they may receive. One of the groups was a sort of minstrel band, which, having played their music and danced before us, went later and performed in two other villages on the other side of the river. The music was only one degree less remarkable than the dancing. One refrain was like beautifully-toned bells in the distance. The second consisted of two chords only, and must have been copied from a bird’s song in the woods. The third was a medley of hand-clacking and vocal tones that resembled nothing else so much as a troop of tropical frogs. The dancing was done by the headman, and is even more difficult to describe than the music. Azimbambuli, the dancer, was 4 feet 6.5 inches in height. (Johnston, George Grenfell, Vol.I, p.331)
A witch-doctor’s dance is thus described by Decle: The Mfumu first dances a pas seul, accompanied by five tom-toms, beaten with little sticks. He wore on his head a diadem made out of a zebra’s mane; two bands of goatskin were arranged crosswise over his chest, and his arms were covered with the same. A piece of cloth hung down his knees in front and to his ankles behind. He was also covered with anklets. He began by walking in a circle in front of the drums, then gradually increased his pace till he broke into a run. Then he stopped suddenly and began a jig, in the middle of which, heaving his chest vigorously, with his arms stretched out before him, he dropped to the ground. While dancing he sang a little solo of his own, accompanied by the spectators. Then he rose, and striking one of the drum s two or three times, began another song, the whole company joining in the chorus, after which he went through the whole of the previous performance. This lasted all day and went on till late in the night. The large crowd was at times quite enthusiastic, and taking off ornaments, necklaces, bracelets and anklets, men and women threw them at his feet. These he picked up without speaking and deposited them in front of the orchestra of drums as he passed.
The Wakamba have three different dances. In the first men and women place themselves in two lines opposite each other. Each man has a long drum, i.e., a piece of wood hollowed out, about 5 feet long, and 4 inched in diameter, with a handle at the top, and a skin stretched across the bottom; on the outside of the drum are rows of small bells. The men rush forward from time to time and each rubs his cheek against that o the girl opposite, singing and beating his drum on the ground. The men are naked for this dance. In the second dance the men and women in lines face each other. Big drums, which are placed behind the lines, are beaten. The men first walk up to the women, who stand with their hands on their breasts; then they retreat, then they rush forward and rub cheeks. This goes on for some time, and the men become more and more excited, and rush at the women in the maddest way, rubbing cheeks furiously, and singing all the while.
As you can see now, the more you read into ancient Egyptian facts and findings, the more you will see the whole current and past life claims of my and Michael Jackson’s Twin Soul story confirmed. You can spend literally a whole life, researching and will keep finding parallels and confirmation in all our personal, work data and historic facts found in archeological findings and temples.
What you are beginning to see now, is the deep history beyond the public figure of Michael Jackson, and as he said, this is the final message we bring you and we are here to complete this planetary healing still. Michael Jackson was not just some King of Pop and “Musician”, his works proved an aura and energy of a unique soul beyond anything ever seen in Entertainment, or general human society today. This is why he is irreplaceable.
ABOUT MICHAEL JACKSON’S DANCE STYLE ©
Regarding the spiritual-channeling aspect of Michael Jackson’s dance style and signature dance moves, you read into African dances and modern afro-American dances and see clearly that Michael was literally channeling his soul truth in full honesty within his arts. From his heart, purely innocent, moving the way he felt. His dance reveals a lot about his soul to the public, because it is this Osiris dance and has the same strong spiritual effect on the crowd. Also, anyone felt honored to meet Michael and to moonwalk a bit for him, just like in ancient times in Egypt.
That’s exactly how Osiris was, and he was super popular too amongst the people. You seen Michael’s art works, and private art taste a bit too, dear Fans, and you know he called his Song “Prince”. That was not due to him thinking he is “The King of Pop”- that was his pure soul truth showing in his choices, as he was the Black King of Egypt, Osiris, that taught people to eat vegetarian and no meats, to have spiritual laws and respect for each other’s feelings and ruled with love and mercy.
Set, the evil brother that Osiris always had treated with respect and love, and great support, lost himself in jealousy over Osiris popularity and wanted to “take his place and throne”. Sounds familiar?
Set then in his jealous building rage lost his mind and murdered Osiris, plotting with conspirators against him prior to striking. Set also kept fighting Osiris’ soul after he had murdered him, and after Osiris had ascended and transformed into the King of the Dead and Judge of the Souls. Set kept fighting him with black magic and deceptive lies to “compete in owning the masses’ minds”.
But after this tragic death, I, Isis, Osiris wife, resurrected him turning into a bird and flying in circles above him singing a Song. I was the singer, and he was the dancer, you know. And the resurrection is not a physical one as many think, many do not yet understand it or know really anything solid about it, but we will reveal everything in time.
Osiris became a great symbol of eternal life, justice, and overcoming obstacles and evil through love and sticking together. He was the pure soul, that was so pure no evil could touch Osiris while ascending to Heaven and taking his rule there, as the King of the “Lands of Nefer”, being here named “Un-Nefer”, the One that makes “beauty appear/become visible”. Lands of Nefer, you can also call Neferland. You see all this now?
So then, Osiris became a patron of the souls during ascension to Heaven from there on, filling the same function as today people describe about Archangel Michael.
I hope this was good mind and soul food for today and we will have few more great information articles for you this weekend to dive in deeper into ancient Egypt and take you back in time.
We’re Sending out a Major Love Ray,
Susan Elsa & Michael Jackson (Osiris/Archangel Michael)
“Sweet Bird, my Soul” Michael Jackson’s Ancient Egyptian Poem about Love and Eternal Life ©
“When the body was born there came into existence with it an abstract individuality or spiritual being, which was wholly independent and distinct from the physical body, but its abode was the body, whose actions it was supposed to direct, and guide, and keep watch over, and it lived in the body until the body died. No healthy child was ever born without this spiritual being, and when the Egyptians drew pictures of it they always made it resemble the body to which it belonged; in other words, they regarded it as its “DOUBLE”. Its name in Egyptian was KA, and the hieroglyph which represents it is:
i.e., two human arms extended at right angles to the breast as if ready to embrace someone (2), in late times KA simple meant “person”, or “self”, and the Romans, had they understood the true meaning of the word, would probably have translated it by “genius natalis”. When the body died the Ka did not die with it, but continued its existence; whether it was supposed to live for ever cannot be said.”