William Ramsey and the Smiley Face Killers

The following is an excerpt from The Secret of Minnie’s Mousse, and ebook and ongoing video documentary series for premium Plus Ultra members. William Ramsey will be the guest on the Rx Only Pictureshow with S.B., Jem, and Tracy R. Twyman this Wednesday, April 3, at 7 PM PST.

Update: Here it is:

[The term “Smiley Face Killers”] refers to a string of murders that have occurred all over the United States, and indeed, all over the world, particularly Western Europe. The hallmarks involve a man in his late teens or early 20s disappearing from a bar, or just after leaving one, and turning up dead in a body of water some days later. Usually they are happy and successful young men, not the typical target of theft or kidnapping. More often than not, their deaths are ruled to be accidental drownings caused by inebriation from alcohol, though typically no investigation has taken place to determine this.

 

When investigations do happen, autopsies often reveal the presence of chloral hydrate or other date rape drugs in the person’s system. Evidence of torture has been found on some of these bodies. Also, they often show evidence of having been in the water a much shorter amount of time than the amount of time that the person has been missing. This indicates that they’ve been kidnapped, held as prisoners somewhere, and most likely murdered elsewhere before being dumped dead in a river or lake. There is typically no evidence of who the suspects are or what their motives might be. The only indication left behind is, sometimes, a smiley face drawn on the walls or trees somewhere near where the bodies are found. There have been hundreds of these deaths over the last couple of decades.

For those interested in this subject, I would recommend the work of William Ramsey. You can find his three hour documentary, The Smiley Face Murders, on Vimeo, or on DVD at his website, WilliamRamseyInvestigates.com . Steer clear of the unrelated “mockumentary” made by another person, which won an award at Cannes, and which confusingly mixes the known facts on the subject with fictional material. Deaths of fake people are described, and an investigator who does not exist is accused of falsifying evidence to get attention for himself. It’s posted for free on YouTube, but I recommend avoiding it completely.

The comments show that the majority of viewers are not aware that it’s fake. Those that do know this seem to be unaware that there is a real phenomenon of Smiley Face Murders that real people are investigating seriously. The effect of this mockumentary film is to discredit the whole subject, and I am highly suspicious about the motives of the people who created it.

Returning to William Ramsey’s research on the subject, it is excellent. He presents evidence linking these murders to the Process Church of the Final Judgement, as well as other groups influenced by Aleister Crowley and Anton LaVey. He believes that there are communities of Satanists involved in “chaos magick,” who are committing these murders as a way of spreading chaos in society. He even ties it to a video put out by Nine Inch Nails in the early 90s—Pinion—which shows a man being abducted and tortured. After some beating and dismemberment, he is covered head to toe in a rubber bondage outfit so that he cannot move. Thus, he is “pinioned.” He is then drowned, just like all of the Smiley Face murder victims, and disposed of via the sewer system. The video was directed by Peter Christopherson, formerly of Psychic TV and Coil, two of the Process-connected bands I mentioned before.

 

 

Genesis P-Orridge

This connects with the “Operation Mayhem” hacking attacks that I’ve been describing over the last several months. These seem to be connected to the Cicada 3301 internet puzzle that references Aleister Crowley’s work, and which people have disappeared while trying to solve. Those behind both Mayhem and Cicada are, as I have shown, the same people blatantly kidnapping, raping, and torturing people, trading videos of this online, and trading the victims themselves. They have littered the internet with thousands of clues that most people assume are harmless, ironically surreal nonsensical memes. But they are usually really either created to advertise their heinous products and services, to threaten all witnesses into keeping quiet, to taunt the victims’ families, or to announce a new target to their fellow conspirators.

It’s all part of celebrating what the perpetrators see as “the Cosmic Joke,” which is the meaning behind the use of the smiley face symbol. It’s all connected with the image of the Cheshire cat smiling to reveal a wide mouth full of razor-sharp teeth. I believe that it expresses the same idea as the image from the song “Mack the Knife” of the shark smiling to reveal its teeth, likened to Macheath revealing his hidden jack-knife. As I noted, each smiley face murder is committed by first incapacitating the target by slipping him a mickey, giving him “the mouse.”

All of these ideas—Mickey Mouse, Macheath Messer, the evil smiley face, and the shark’s teeth, are bound up in the symbolism of what we can now safely call Marilyn Manson’s “Manson II” disguise, featuring the Mickey Mouse ears. It was rolled out in 2003 for his album The Golden Age of Grotesque. There was an extensive photo shoot of Marilyn Manson in this disguise. Part of it includes him bearing his teeth, which are made to look they have all been replaced with sharp, metallic spikes. In one image, he’s also holding a cat that’s hissing and bearing its teeth. In still another, he is holding the skeleton of a human baby and dressed in a Nazi S.S. uniform. This must have been the reason why he spent his band’s money, to the dismay of his bandmates, on what was described in a subsequent lawsuit as “sick and disturbing purchases of Nazi memorabilia, and taxidermy, including the skeleton of a young Chinese girl.” According to Wikipedia:

The album’s lyrical content… was inspired by the swing, burlesque, cabaret and vaudeville movements of Germany’s Weimar Republic-era, specifically 1920s berlin.

Nobody seems to have noticed that, with this album, Marilyn Manson was specifically conjuring up the era that gave birth to Macheath Messer and The Threepenny Opera. Also, 1930 was the year of the release of Luis Bunuel’s surreal and controversial film L’Age D’Or (“The Golden Age”), a tribute to the Marquis de Sade’s unfinished novel 120 Days of Sodom. It was sponsored financially by one of de Sade’s living ancestors, the Vicomtesse Marie-Laure de Noailles (or perhaps, rather, paid for by her husband Charles as a birthday gift to her). Scenes were conceived partially with the help of Salvador Dali.

 

 

120 Days of Sodom was about the abduction of sixteen young people, boys and girls, ages 12-14. They are systematically raped, tortured, dismembered while living, and eventually killed over the course of the next several months by four noblemen at a remote estate in France. In interviews, Marilyn Manson has said that among the influences for The Golden Age of Grotesque were “Surrealism” and “the life of the Marquis de Sade.” Clearly, Bunel’s film was part of it. It is notable, too, that Bunuel employed Jose Bolanos as a screenwriter. Peter Levenda describes Bolanos as “an FBI informant and CIA informant,” as well as “the middle man between Marilyn Monroe and E. Howard Hunt.”

On The Golden Age of Grotesque, there’s a song just titled with the symbol of the black spade from a deck of cards. In it, Marilyn Manson sings:

The beauty spot was borrowed and

Now my sweet knife rusts tomorrow

I’m a confession that is waiting to be heard

It seems like he’s talking about killing someone with a knife, and he wants us to take him seriously. But like the typical “serial killer” act, he won’t tell us outright what he’s done. He’s anxiously waiting to be caught. He continues:

You drained my heart and made a spade

But there’s still traces of me in your veins

And:

All my lilies’ mouths are open

Like they’re begging for dope

And hoping their bitter petal chant

“We can kick, you won’t be back”

It seems he has noticed, as I have, that the black spade symbol looks pretty much like the heart symbol inverted, with the red color drained out of it. The spade suit has also been called (and depicted overtly as) “pikes,” “leaves,” and “swords.” Generally, it’s taken to be some kind of cutting blade, and when playing cards morphed into tarot, they were called “swords” there as well. We know that the Ace of Spades is taken as a symbol of death, which is why they were used by the thousands in Vietnam, attached to uniforms, and dropped on the dead bodies of the conquered. Before this, in the 1930s the mafia syndicate “Murder, Inc.” used to leave the Ace of Spades on the bodies of those they snuffed. Also, when the 52-card deck is looked at as a calendar of 52 weeks (see my essay “Are Chess and Playing Cards Related” for more on that), the Ace of Spades corresponds to the first week of December, when the sun “dies” at the Winter Solstice.

Strangely, an Ace of Spades was found tacked to the wall in one of the closets to the Tate residence, Vincent Bugliosi reported in his book that this a was a token of good luck in witchcraft because the card was upside-down (with the big spade in the middle pointing downward). He cited this as evidence that Sharon Tate had a passing interest in occultism, though he doesn’t seem to have found this to be in any way significant. I wonder who told him it was a good luck symbol instead of an obvious sign that a mafia assassination has taken place. Did he consider the face that it could have been left there by the killer?

 

 

 

In tarot decks, the designs on the sword cards generally depict something bad happening, about to happen, or having just happened. To take the popular Rider-Waite deck, for example, we see that the four of swords depicts a knight’s coffin. The five of swords shows devastated, crying people on a beach, fallen swords littering the ground. The six of swords shows a woman and child, crying, being rowed in a boat, as though they have been abducted after their village was attacked. The eight of swords shows a woman standing blindfolded with her arms bound behind her, surrounded by swords, as if she’s being threatened with death. The nine of swords depicts a man in bed holding his head and crying, with nine swords floating behind his head, positioned so that it implied that they are piercing his skull. The ten of swords shows a man lying on the ground dead, impaled through the back with all ten swords. But the most tellings card is the three of swords, which shows three swords spearing a red heart while rain pours down from gray clouds in the background.

So here we have the combination of the sword and the heart, playing on the fact that the spade is the heart inverted. Marilyn Manson’s description of a spade as a heart that’s been drained, though, directly evokes the 5 of Cups card from Aleister Crowley’s Thoth tarot deck. This is the card labeled “Disappointment,” and it depicts two black hearts covered with veins being drained through tubes into cups. In the central cup there are two lilted flowers, the “lilies” mentioned in the song.

In the video that comes with the album, a 25-minute piece called Doppelherz (“Double-heart”), Marilyn Manson is seen smearing himself with blackface make-up, a likely acknowledgement of Walt Disney’s claim that the appearance of Mickey Mouse was partially inspired by vaudeville blackface actors. So too did the look of his precursor, Oswald the Lucky Rabbit (the Disney character who inspired Lee Harvey Oswald’s nickname in the Marines, “Ozzie the Rabbit”). Indeed, in these photos, Marilyn Manson looks exactly like the mice in some of Walt Disney’s earliest, pre-Mickey cartoons. This design was described by animator Ward Kimball as “rubber hose, round circle.”

Doppelherz, by the way, contains a diatribe by Marilyn Manson clearly aimed at an ex-girlfriend, and I’m going to guess that it was Rose McGowan. He seems to be threatening her, repeatedly stating that her “sell-by date has expired.” He also says, numerous times, “I want downloadable suicide.” All of this happens while the screen is flashing shots of two women bound in leather straps. We see repeated images of a woman’s body dismembered like the Black Dahlia murder victim.

The Doppelherz video seems to have planted a bad seed. It was brought into evidence in the 2004 trial for Luke Mitchell in Scotland, who killed and dismembered his fourteen-year-old girlfriend, Jodi Jones. The killer had a copy of it in his bedroom, and it is suspected that it inspired his act.

It is worth noting, for reasons hopefully obvious, that surrealist artist Marcel Duchamp is actually a suspect in the still-unsolved Black Dahlia murder. Some of his art eerily reflects the way in which that killer displayed the dismembered parts of some of the victims, and there are those who believe that his biography puts him in the right place at the right time to have committed the crime. A few people have made a study of the connections between surrealist art from the 20th century and several of the more bizarre crimes committed by famous serial killers. On this topic, I recommend the website, Surreal Appearance, where aspects of the Black Dahlia and Zodiac murders are analyzed.

In the spoken word monologue that runs through Doppelherz, Marilyn Manson repeatedly complains about his target’s compulsion to “save the world.” Rose McGowan, of course, is the one who made the accusations about Harvey Weinstein that started a movement against the sexual abuse of people in show business. She broke off her engagement to Marilyn Manson because of “lifestyle differences. What exactly did she mean? Notably, as I have reported in another article in 2016 (“Mad Love: Pedophile Hearts, Disposable Teens, and the Closing of the Doors of Mercy”), Marilyn Manson has a long history of using pedophile symbolism in his work.

He repeatedly uses the inspiral heart, sometimes represented as a small heart within a larger one, and the rose-colored heart-shaped glasses associated with the novel Lolita. He actually did a song and music video specifically about this last one, called “Heart-Shaped Glasses.” All of this pertains to the concept of “counter-love” (the inversion of love), as discussed in the aforementioned “Mad Love” article. The same symbolism is found in the work of the band Coil, previously discussed, and information about this can also be found in that article.

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