Abomination Devil Worship And Deception In The West Memphis Three Murders

Abomination: Devil Worship and Deception in the West Memphis Three Murders provides a detailed, time-lined analysis of the murder that shocked the nation: the heinous killing of three eight year old boys in West Memphis, Arkansas on May 5th, 1993. A wall of deception has led the American public to erroneously believe that the three men were falsely accused and convicted for the crime. Unfortunately, this is not true. William Ramsey, author of Prophet of Evil: Aleister Crowley, 9/11 and the New World Order, provides shocking insights into the lives of the convicted murderers and their involvement with witchcraft. Relying on actual court and police records, William Ramsey shows that the evidence abundantly points to the guilt of the West Memphis Three.

Do the numbers suffusing the day of September 11th have occult significance? Why are the numbers 11, 77, 93, and 175 extremely significant in understanding the event? How did Aleister Crowley influence the events of 9/11, considering the fact that he died in 1947? How did Aleister Crowley inspire the doctrines of the New World Order? The answers to these questions is contained in the riveting book Prophet of Evil: Aleister Crowley, 9/11 and the New World Order.

They did it. The West Memphis 3 are guilty. They are guilty despite what the documentaries, books and news stories have said over and over. Guilty beyond a reasonable doubt. Damien Echols, Jason Baldwin and Jessie Misskelley Jr. killed three 8-year-olds, Christopher Byers, Michael Moore and Stevie Branch, on May 5, 1993, in a wooded area in West Memphis, Ark. The murders were thrill kills, according to Echols himself. But they were much more than that. Police were struck by the ritualistic aspects. Local dabblers in the occult immediately came under suspicion. Under questioning, Echols, already acknowledged as a witch, flaunted his knowledge of the occult, his theories of how the killings could have "magickal" implications and his insights into how the killer would think and feel. He demonstrated special knowledge about the case beyond the little publicly known. He gave out signals that he was a prime suspect; a series of witnesses further implicated him. A confession broke open the case. The widely accepted WM3 storyline is that inept police and prosecutors, with a howling mob of religious fanatics to placate, somewhat arbitrarily picked out three innocent boys to blame for horrific murders because Damien and his best pal Jason wore black T-shirts, listened to heavy metal music and had funny haircuts and because the third boy, Little Jessie, was practically retarded and thus easily manipulated. Almost every element in that storyline has little relation to reality. The weirdness that drew the attention of authorities stemmed from bad choices by the suspects rather than clothing, haircuts or rocking out to Megadeth. The West Memphis police did their duty in a diligent if imperfect manner. The investigation was professional and painstaking. Detectives took many statements, followed strange and unpromising leads and administered the polygraph dozens of times. All three of the teens from the trailer parks were convicted. The convictions held up on appeal. Eventually, thanks to Hollywood celebrities and misleading documentaries that left out crucial evidence, the killers who became the West Memphis 3 walked free. No exonerating evidence, despite many years of investigation and a defense fund in the millions of dollars, has been produced. None of the three has a credible alibi. The mainstream media bought into the premise that "those boys were innocent." By putting the focus on mullet-headed rednecks, drawling overweight cops and righteously angry Christians, the media played upon the most egregious stereotypes of Southern whites, while positioning a murdering sociopath as a hip kid who was just too cool for the uptight hometown idiots. The West Memphis 3 myth was made to order for the familiar narrative of the perceptive young outsider that every hipster and aspiring artist imagines himself to have been. Among the sensitive souls who found a doppelganger of their teen selves in Echols were professional outsiders - such as Johnny Depp and Henry Rollins. In Aleister Crowley's "magickal" system, which Echols embraced in his preteen years, orgasm and ecstasy are equated with death and sacrifice and the sexual fluids are often represented as blood or water. Echols felt he was in transition to a state of being a god, something other than human; he believed that drinking blood invested him with spiritual energy. Echols and "blood brother" Jason formed a pathological dyad, cultivating elaborate violent fantasies. Via the ritual torture, killing and eating of dogs, cats and other animals, they educated themselves in the curriculum of occult murder. The lurking allure of a "thrill kill" finally became irresistible when the killing time coincided with sunset, the rise of a full moon and the pagan holiday of Beltane.

There is the myth of the West Memphis 3 -- innocent teenagers railroaded by malicious police and prosecutors into murder convictions because of the way they dressed and the music they listened to, there being no evidence against them except the prejudices of Southern white Christians. And then there is the reality --- three criminally inclined young thugs involved in occultism who gleefully tortured three 8-year-old boys and then brought the justice system down upon them based on multiple factors, including a series of confessions, failed lie detector tests, failed alibis, eyewitness sightings and a history of violence. The second volume in this series, following -Blood on Black, - continues to examine the evidence against Jessie Misskelley Jr., Jason Baldwin and Damien Echols in the murders of Christopher Byers, Michael Moore and Stevie Branch on May 5, 1993. Misskelley, Baldwin and Echols met up that afternoon just outside Lakeshore Estates Trailer Park, according to the multiple confessions of Misskelley. Echols and Baldwin were drinking beer. The plan was to go to West Memphis and beat up some boys. They walked about two miles into woods known as Robin Hood or Robin Hood Hills. Echols knew the woods well, having lived in the nearby Mayfair Apartments, frequently walking through the area as a shortcut between his home in West Memphis and his friends in the trailer parks and having been spotted in the woods recently by an acquaintance. Michael, Stevie and Christopher Byers, all second graders at Weaver Elementary School, lived south of the woods and visited the woods frequently to play. That afternoon they were spotted heading toward Robin Hood around 6, close to the time their killers entered from the north. When Echols heard the children approaching, he began making sounds to lure them in, while Misskelley and Baldwin hid. Then, according to the confessions of Misskelley, and indicated by the blood patterns at the scene and other evidence, the teens jumped the 8-year-olds, beat them viciously, stripped them of their clothes, mutilated Stevie's face, castrated Christopher, sexually molested them, hogtied them and dumped them in a muddy ditch, where Michael and Stevie drowned. Christopher already had bled out from his wounds. Misskelley quickly left the scene, which was scrupulously cleaned up. Echols was spotted walking along the service road near the crime scene later that evening in muddy clothes. After frantic parents sparked an extensive search for the missing children, their bodies were discovered the next afternoon by law enforcement officers. Tales of strange rituals held in the woods by mysterious strangers spread quickly among the crowd gathered near the crime scene. As detectives and other officers gathered information and talked to witnesses or potential suspects, Echols quickly drew the scrutiny of officers. Besides the talk among the boys' neighbors, the ritualistic aspects of the murder -- including the way the boys were bound, and timing possibly influenced by setting, proximity to a pagan holiday and celestial events -- furthered suggested occultism as an impetus for the killings. Local officers were familiar with Echols as a dangerous, mentally ill teenager immersed in witchcraft. Among the many tips coming into police were reports that Echols had been seen near the crime scene that night and that he was heavily involved in a cult. A series of police interviews with an all-too-knowing Echols did nothing but deepen suspicions. Echols failed a lie detector test, thereafter refusing to talk. Police heard that Echols had been telling friends about his involvement in the murders. Vicki Hutcheson, an acquaintance of Misskelley, decided to -play detective.- Soon police brought in Misskelley for routine questioning. After he, too, failed a lie detector test, he gave the first of a number of confessions. The case was solved, but the questions continue.

In the book Children of the Beast, author William Ramsey traces the influence of the Great Beast, Aleister Crowley, upon the culture and history of the Twentieth Century and the New Millennium. Based upon a vast examination of diverse sources, Ramsey exposes how varied individuals such as Adolf Hitler, Ian Fleming, Arthur C. Clarke, H. R. Giger, Timothy Leary and David Bowie are connected to and influenced by Aleister Crowley, the Prophet of the New Age. Packed with original research and containing unique insights into the lives of famous personalities, Children of the Beast grasps the immense impact of Aleister Crowley upon modern history.

The beaten, bound and mutilated bodies of three 8-year-olds, Christopher Byers, Michael Moore and Stevie Branch, were pulled from a muddy ditch in a wooded area in West Memphis, Ark., on May 6, 1993. The boys had gone missing the day before. Weeks of investigation led to arrests of Damien Echols, 18, Jason Baldwin, 16, and Jessie Misskelley Jr. on June 3, 1993, after the 17-year-old Misskelley confessed that he and two friends murdered the boys. All three were convicted. The convictions held up on appeal. Eventually, thanks to Hollywood celebrities and misleading documentaries, the killers walked free. They passed up the opportunity to present new evidence, taking instead guilty pleas that allowed them to claim they were innocent. No exonerating evidence, despite many years of investigation and a defense fund in the millions of dollars, was produced. They became known as the West Memphis 3. This is a combined, revised version of "Blood on Black" and "Where the Monsters Go," written by Gary Meece, a veteran Memphis Commercial Appeal journalist and the former managing editor of the West Memphis Evening Times.

Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 104. Chapters: Charles Manson, West Memphis Three, Satanic ritual abuse, Geraldo Rivera, Human sacrifice, Toa Payoh ritual murders, David Berkowitz, Richard Ramirez, List of satanic ritual abuse allegations, Susan Atkins, Gilles de Rais, Henry Lee Lucas, Early Norwegian black metal scene, Host desecration, Farmville murders, Necrophilia, Charles "Tex" Watson, Patricia Krenwinkel, Ricky Kasso, Euronymous, Ottis Toole, Absurd, Bobby Beausoleil, Beasts of Satan, Damien Echols, Adolfo Constanzo, Rod Ferrell, Christa Pike, Mona Fandey, Ripper Crew, Kern County child abuse cases, Paradise Lost: The Child Murders at Robin Hood Hills, Mark Valera, Jon N dtveidt, Laurel Rose Willson, Caleb Fairley, Jason Baldwin, Gerald Robinson, Child cannibalism, Elyse Pahler, Ahmad Suradji, Jessie Misskelley, Steve "Clem" Grogan, Paradise Lost 2: Revelations, Jason Massey, Satan rir media, Jarno Elg, File 18, An sio Ferreira de Sousa, J zsef Meneder. Excerpt: Charles Milles Manson (born November 12, 1934) is an American criminal who led what became known as the Manson Family, a quasi-commune that arose in California in the late 1960s. He was found guilty of conspiracy to commit the Tate/LaBianca murders carried out by members of the group at his instruction. He was convicted of the murders through the joint-responsibility rule, which makes each member of a conspiracy guilty of crimes his fellow conspirators commit in furtherance of the conspiracy's object. Manson is associated with "Helter Skelter," a term he took from the song "Helter Skelter," written and recorded by The Beatles. Manson misconstrued the lyrics to be about an apocalyptic race war he believed the murders were intended to precipitate. From the beginning of his notoriety, this connection with rock music linked him with a pop culture in which he ultimately became an emblem of insanity, vi...