Pazuzu: Mesopotamian Demon from 'The Exorcist' and NC Couple Arrested for Cannibalistic Murders

“The man in khaki prowled the ruins, The Temple of Nabu. The Temple of Ishtar. He sifted vibrations. At the palace of Ashurbanipal he paused; then shifted a sidelong glance to a limestone statue hulking in situ: ragged wings; taloned feet; bulbous, jutting, stubby penis and a mouth stretched taught in feral grin. The demon Pazuzu.”^1.

In my current project, Evil Archaeology, the demon Pazuzu is featured prominently on the cover. Some may recognize this demon from the novel and film, The Exorcist, both of which open in Iraq at an archaeological excavation. At the site, (which is currently at risk from ISIS), a priest feels strong southwesterly wind blowing, foreshadowing the arrival of Pazuzu, demon of the southwestern wind and bearer of storms and drought in Assyrian and Babylonian mythology.

In my upcoming book, I am investigating the archaeological record for artifacts and evidence of evil entities. I am examining the history and lore behind real relics, believed to be haunted or possessed. I am also looking at demonology and document how many of the ancient Mesopotamian demons and deities, like Pazuzu, have influenced Christian beliefs in demonic entities. I feature interviews and accounts from real exorcists.

As I have been putting the book together, one question keeps coming up. Are there ancient malevolent entities at work in our world today? This question was recently addressed in the form of a disturbing news report out of North Carolina.

Authorities say, a self-described Satanist, who legally changed his name to Pazuzu, allegedly told friends he had been eating parts of his victims’ bodies before burning and burying them in his backyard. Pazuzu Illah Algarad, born as John Alexander Lawson, told psychiatrists that he practiced a Sumerian religion that involved monthly ritual sacrifice of a small animal. Every month during what he called the “black moon,” he would make animal sacrifices to Pazuzu.

Pazuzu Illah Algarad, 35, (left) and his 'wife' Amber Nicole Burch, 24, were arrested and charged with murder after the skeletal remains of two men were discovered in shallow graves behind their home.

So far, two skeletons have been exhumed from the backyard of Pazuzu Illah Algarad and Amber Nicole Burch, whom he called his wife on Facebook. The couple have been held without bail while the Forsyth County Sheriff’s Office investigates whether more human remains are buried in the property.

Tonight, as I type this post, there is a very windy front coming in from the southwest. In the dark with only the light from a candle and my computer, I can’t help but feel a chill as I notice the wind whistle through the trees. Pazuzu, demon of the southwest wind, is he working in our world today? Certainly, this couple from North Carolina were 100% to blame for their heinous acts, but what or who was their professed inspiration? Pazuzu.

Inspiration, from Latin inspirare, meaning to breathe or blow into, the word was originally used to describe when a supernatural being imparts an idea to someone. What is possession but an evil spiritual entity, inhabiting a willing person, encouraging them to do evil things in the name of that demon? Although demons may not be tangible, or arguably even real, this recent criminal case leaves me questioning the criteria for demonic possession. Were these criminals simply suffering from psychological disturbances, or had the Pazuzu spirit found willing avatars to carry out his horrendous deeds? 

I will be considering this as I look into what it really means to be possessed in my research for Evil Archaeology. I am scheduled to meet with an exorcist for an interview in a few weeks. Maybe he will be able to shed some more light on this for me.

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1. Blatty, William Peter. The exorcist. New York: Harper & Row, 1971.

Another Ancient Mystery Solved! Happy Friday!

Analysis of Strange Sumerian Dance Performed in the Louvre Museum

Warning: This video contains adult content. Viewer discretion is advised. 

Last year, the Louvre Museum in Paris featured this performance at one of its special evening events. The performance repeated continuously into the wee hours of the night. This dance was performed by les étudiants du conservatoire d'Anvers (students from the ARTESIS Royal Dance Conservatory of Belgium in Antwerp). It was designed by French choreographer Damien Jalet. With the help of Sidi Larbi Cherkaoui, Jalet created this strange dance repertoire of short performances, each of about fifteen minutes.

A few of the pieces really stuck out to me, like the first sequence called “Above head.” It was performed amid decapitated sculptures the Sumerian ruler Gudea. During the dance, someone brings back the spirit of a king who lost his head. He does this by having a Sumerian face drawn on his bald head. The intent was to make us feel that we were watching the decapitated head dance before our eyes.

Another was ,"The Evocation.” This dance was said to be inspired by a Sufi ritual based on the repetition of the word challah and the rhythm of the breath. It is a quite fitting title, as the very definition of evocation is the act of calling or summoning a spirit, demon, god or other supernatural agent. More often a term used in the Western mystery tradition, although not exclusive.

These strange scenes left some of the audience perplexed, one member saying that a particular sequence called, “Venus in Furs,” left her confused. Venus in Furs featured an intense mysterious veiled woman and the animal hybrid from which it originated.

In "Sin,” we see a somewhat erotic dance inspired by the myth of the primordial couple, or rebis; very esoteric.

"Venari,"was an interesting sort of primitive piece that seemed to imply hunting or sympathetic magic, perhaps a reference to Artemis, as well.

Yet another sequence, called "Daedalus,” was likened to the labyrinth created by Daedalus to enclose the Minotaur. This combination eluded to the loss of self in the other and suggests the inseparability of man from his animal side, which guides or dominates.

In addition to the video, here are some interesting stills, courtesy of the Louvre. What are your thoughts? Is this beautiful, intriguing, or just downright creepy?

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Music and Mystery of Faith

Currently, I am listening to one of my favorite compositions while having a cup of tea. Please allow me the indulgence of sharing this piece, as well as a little background information.

This haunting and solemn composition, written by Gregorio Allegri, is a grand, complex, and emotive creation. This is not surprising, considering Allegri’s background. Born in Rome in 1580, he is related to the Italian Renaissance painter Correggio. Allegri worked as a priest at the cathedral at Fermo. He was also the resident composer and choral director. Allegri is described as often considered a model of how Christians should use their vocation to exalt God. Described as "a model of priestly piety and humility, a father to the poor, the consoler of captives and the forsaken, a self-sacrificing help and rescuer of suffering humanity" (Joncas).

Renaissance was a time known of innovation and the rediscovery of ancient Greek and Roman classicism not only in visual arts or architecture, but also music. Innovations, such as the development of vocal polyphony, can be heard to this day in Gregorio Allegri’s, Miserere Mei. The Miserere Mei is believed to have been written in the late 16th century, in Italy, though variations had been written in the 15th century. The song was used annual Easter celebration. One Wednesday and Friday, a special mass, attended by the pope, would start at 3AM, in which 27 candles were extinguished one at a time until only one remained. It was then, that the mass would culminate with the pope kneeling at the altar while the Miserere Mei was performed.

Allegri, not only wrote choral pieces, he is also credited for writing one of the earliest known string quartet. His most famous piece, the Miserere Mei, is written in a style known as polyphony. This is when a line of music is “stacked” by octave, creating a sense of depth in the music. Polyphonic hymns served to lift up the souls of Renaissance Christians. This is not unlike the goal of the dome of Basilica di Santa Maria del Fiore. However, Miserere Mei  is a more humble offering of creative vision, as is lyrically taken from Psalm 51, a Psalm asking God for forgiveness and differs to his greatness. Considering Allegri’s reported background and demeanor, it is no surprise that he would create an art that exhibits piety.

Allegri’s, Miserere Mei was shrouded in secrecy. The Vatican made it illegal to transcribe the composition and regulated when and where it could be performed. To break this law would mean excommunication from the Church. It is logical to surmise that the reason for this secrecy was similar to the reason behind the secrecy of Brunelleschi’s dome; to reveal the technical details would devalue the work, thereby making it "common." By making these works uncommon and irreplicable by the general public, their spiritual significance would be enhanced. This, after all, is important to a religion such as Catholicism whose own doctrine espouses and proclaims “The Mystery of Faith.” To what degree would faith be shattered if we knew how it all worked? What interest would be left? Mystery helps make something special.


It is, by far, my favorite piece of music. A perfect way to start the evening.

Fade to Black & Free Sumerian Controversy

Hey all you 'Fadernauts'! Tune in to Fade to Black on the Dark Matter Radio Network  tonight from 7-10pm PST (10pm-1am EST). I will be the guest, so tune in! Also, starting at midnight, The Sumerian Controversy will be available for free on Amazon.



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Latest Interview

Did you miss my latest interview on EPIC Voyages Radio interview Monday night? You can listen to it on the Dark Matter Radio Network tonight at 8:00PM EST on www.darkmatterradio.net.

I talk about The Sumerian Controversy, as well the follow up, Land of the Watchers. I even go into my current project, Evil Archaeology.

Don't miss it!

Sumerian Music: Listen to the World's Oldest Song

Lately, there has been a story floating around the internet about the discovery of the “world’s oldest song,” a Sumerian hymn that was translated from a clay tablet. While a fascinating story worthy of excitement and discussion, it is not a new story. The song came from a collection of music inscribed in cuneiform on clay tablets, excavated in the early 1950s in the ancient Amorite city of Ugarit. 

Ugarit Corbel: The Entrance to the royal palace where

 the Hurrian songs were found.

 These clay tablets date to approximately 1400 BCE, making the songs the oldest found so far. They are Hurrian songs that include a 3,400 year-old cult hymn called Hurrian Hymn to Nikkal, or A Zaluzi to the Gods. The hymn is known to archaeologists as simply, h.6, and is of an unknown composer(s).

Head of Ningal

Nikkal, or Nikkal-wa-Ib, was a goddess of Ugarit/Canaan and later Phoenicia. Her Sumerian equivalent is the goddess Ningal, the mother of Inanna and Ereshkigal. Nikkal was the goddess of orchards, whose name derives from Akkadian/West Semitic "´Ilat ´Inbi" meaning "Goddess of Fruit.”

In the sixties, Anne Kilmer, a professor of Assyriology at the University of California, interpreted the musical notation using mathematic calculations. According to Professor Kilmer, the tablets found were primarily lists of numbers for mathematical operations, along with instructions for a singer accompanied by a nine-stringed sammûm, a type of lyre. Once Professor Kilmer was able to understand the mathematical function of the coefficient numbers, researchers were able to conclude that the tablets were, indeed, related to numbers and not just a coincidence. From there, they were able to translate the music. 

It was widely believed that the harmony did not exist before the ancient Greek Delphic Hymns, but thanks to these tablets and the work of researchers like Professor Kilmer, we can now say that harmony existed 3,400 years ago! There have been numerous musicians arranging and recording the tune, many with their own creative interpretations. However, I happen to like the following version most because it is based on the original transcription of the melody, as interpreted by Professor Richard Dumbrill, a leading expert in the archaeomusicology of the Ancient Near and Middle East and founder of ICONEA, (International Conference of Near Eastern Archaeomusicology).

Have a listen! For all you musicians out there, here is a link to the sheet music so you can give it a go.