Counterfeit Israel: How Satanism is Running Rampant in the Holy Land
Israel has more Satanists, occultists, and Luciferian initiates per square foot than any nation on earth
In the Negev desert, beneath the black sky of Israel’s southern frontier, there is a fire that should never have been rekindled. Thousands gather under its light, painted, pierced, and possessed. They form tribal circles around massive effigies built for destruction—idols shaped like serpents, beasts, distorted gods, or geometric thrones. Women writhe to the rhythm of drums, their naked bodies smeared with ash and symbolism.Men scream invocations while flames roar upward, consuming temples erected for the sole purpose of their own annihilation. This is not art. This is not cultural expression. This is not a secular celebration of creativity. This is Midburn, Israel’s official offshoot of Burning Man, and it is the literal resurrection of the fertility cults of Canaan, revived not in secret but with pride, ritual, and ceremony.
Midburn takes place in the very wilderness where Yahweh once thundered His commandments from Sinai. It is hosted on the same soil where Israel once trembled in the presence of divine fire. Only now the fire has changed hands. Instead of blood on the doorposts, there is neon paint and synthetic ecstasy. Instead of covenant, there is carnality. Instead of worship, there is mass fornication under a sky of shooting stars and acid hallucinations. The “temples” are built and burned as acts of liberation, but the liberation is from Yahweh—not from bondage. These are altars, not art installations. The festival’s climax is not entertainment. It is a ritual. The fires are not metaphors. They are offerings.
A MIDBURN OCCULTIC FOLLOWER , DRESSED AS AN ANCIENT CANAANITE WORSHIPER OF MOLECH, PREPARES FOR NIGHTLY WORSHIP
IN ISRAEL, THE OCCULT IS EVERYWHERE
But to think Midburn is the end of it would be to misunderstand the scale. Midburn is not the exception. It is the public face of a deeper spiritual disease that has infected modern Israel from its politics to its parks, from its synagogues to its schools. If the fires of Midburn are the new high places, they are merely the visible tip of the Asherah pole. Beneath the surface—and increasingly, above it—Israel is being ritually rededicated not to the God of Abraham, but to the very deities He once condemned by name. The gods of the Amorites, the spirits of Babylon, the demons of the wilderness—they have returned.
And the evidence is not spiritual metaphor. It is criminal and literal. In the 1990s, Israeli authorities uncovered a Satanic cult operating in Rishon LeZion, one of the nation’s most populous cities. It wasn’t a fringe group of deranged teenagers in makeup. It was an organized ritual ring. The police found evidence of animal sacrifice, ritual sex acts, blood pacts, and invocations of dark spirits chanted in both Hebrew and Latin. Teenagers were recruited and branded. Cemeteries were desecrated. Local rabbis warned that Satanism was spreading, particularly among the youth. But even as law enforcement tried to contain the headlines, the fire kept spreading.
Throughout the 2000s and 2010s, reports of occult vandalism and ritual activity increased. Forests near Haifa, Safed, and the Judean hills became hotspots for Satanic activity. Hikers stumbled across altars made of bones, inverted Hebrew scripture spray-painted on rocks, and animal corpses mutilated in patterns known to be linked with ceremonial magic. In one particularly disturbing case, a goat was found disemboweled near a kibbutz, its organs arranged into a pentagram. These aren’t internet rumors. These are police reports, some of which made national papers, including Haaretz, whose own journalists admitted there were at least two dozen occult groups operating in Israel with ties to both Western Satanism and Jewish mysticism.
The symbols they use are not foreign imports. They are everywhere in Israeli culture—sold in gift shops, painted on murals, and worn around the necks of tourists who think they’ve bought something biblical. The Hamsa, for instance, appears in nearly every Israeli home, often hung by the door as a supposed ward against the evil eye. To most Christians, it looks like an exotic Israeli hand—something ancient and perhaps blessed. In truth, it is the amulet of a goddess. The Hamsa originates from Phoenician and Carthaginian religion, where it symbolized the hand of Tanit, a fertility deity associated with child sacrifice. The eye in its center is not God’s protection—it is a symbol of magical surveillance, of a cosmos ruled by forces that must be appeased, not obeyed. In modern usage, the Hamsa has been absorbed into Kabbalah and used as a charm, not a confession of faith. It is a superstitious talisman, not a theological symbol. It is the hand of a witch, not the hand of Miriam.
The Hamsa is overtly Occultic amulet of Phoenician origin, dating back to ancient Satanic practices. It hangs in almost every Israeli home, and is sold nearly everywhere in Israeli shops.
Then there is the so-called Star of David, which adorns Israel’s national flag, synagogues, IDF uniforms, and even the national menorah. But what Christians call the Star of David is not Davidic at all. It has no presence in the biblical record—not in Kings, not in Chronicles, not in the Psalms. It emerges centuries later in Kabbalistic writings and Islamic sorcery as the Seal of Solomon, a hexagram used to command spirits, bind jinn, and perform magical operations. In grimoires such as The Key of Solomon and The Lesser Key of Solomon, the hexagram is drawn into circles, filled with names of angels and demons, and used in ceremonial invocation. When the prophet Amos rebuked Israel for lifting up the star of their god Remphan, it was not metaphor. That star—six-pointed, geometric, and idolized—was an abomination. Today, that same star waves over the State of Israel, carried by tanks, stitched into uniforms, and engraved into national monuments.
And if you think this symbolism is ancient history or misapplied coincidence, look at the art being produced by modern Israeli musicians and cultural icons. Narkis, a celebrated Israeli singer, performs songs that glorify the Shekinah as a divine feminine force, invoking not the God of Israel but the mystical goddess hidden in Kabbalistic tradition. Her concerts are spiritual events, featuring trance music, incense, meditative chanting, and what she calls “the awakening of the sacred feminine.” These aren’t concerts. They are goddess rituals in Hebrew, performed to crowds of thousands.
In the metal scene, the rot is even more overt. Bands like Salem and Arallu openly desecrate Torah, sing praises to Satan, and celebrate Israel’s military victories as acts of demonic vengeance. Their lyrics are soaked in anti-biblical blasphemy. Their album covers display inverted menorahs, goat-headed figures, and ritualistic bloodletting. These artists aren’t on the fringe. They’re invited to festivals, played on national radio, and followed by soldiers and university students alike. Lucifer has gone pop in Israel, and nobody blinks.
So what are we looking at? We’re looking at a nation that claims divine inheritance but dances in the ashes of everything holy. We’re looking at a state that waves a magical seal and calls it divine, that wears the amulets of fertility demons and calls it heritage, that holds fire-orgies in the wilderness and calls it art, that spills goat blood in the hills and calls it myth, that writes songs to devils and calls it culture. We are looking at a people who have not just forgotten the Law—they have exhumed the gods that the Law was sent to destroy...MORE...
IN ISRAEL, THE OCCULT IS EVERYWHERE
But to think Midburn is the end of it would be to misunderstand the scale. Midburn is not the exception. It is the public face of a deeper spiritual disease that has infected modern Israel from its politics to its parks, from its synagogues to its schools. If the fires of Midburn are the new high places, they are merely the visible tip of the Asherah pole. Beneath the surface—and increasingly, above it—Israel is being ritually rededicated not to the God of Abraham, but to the very deities He once condemned by name. The gods of the Amorites, the spirits of Babylon, the demons of the wilderness—they have returned.
And the evidence is not spiritual metaphor. It is criminal and literal. In the 1990s, Israeli authorities uncovered a Satanic cult operating in Rishon LeZion, one of the nation’s most populous cities. It wasn’t a fringe group of deranged teenagers in makeup. It was an organized ritual ring. The police found evidence of animal sacrifice, ritual sex acts, blood pacts, and invocations of dark spirits chanted in both Hebrew and Latin. Teenagers were recruited and branded. Cemeteries were desecrated. Local rabbis warned that Satanism was spreading, particularly among the youth. But even as law enforcement tried to contain the headlines, the fire kept spreading.
Throughout the 2000s and 2010s, reports of occult vandalism and ritual activity increased. Forests near Haifa, Safed, and the Judean hills became hotspots for Satanic activity. Hikers stumbled across altars made of bones, inverted Hebrew scripture spray-painted on rocks, and animal corpses mutilated in patterns known to be linked with ceremonial magic. In one particularly disturbing case, a goat was found disemboweled near a kibbutz, its organs arranged into a pentagram. These aren’t internet rumors. These are police reports, some of which made national papers, including Haaretz, whose own journalists admitted there were at least two dozen occult groups operating in Israel with ties to both Western Satanism and Jewish mysticism.
The symbols they use are not foreign imports. They are everywhere in Israeli culture—sold in gift shops, painted on murals, and worn around the necks of tourists who think they’ve bought something biblical. The Hamsa, for instance, appears in nearly every Israeli home, often hung by the door as a supposed ward against the evil eye. To most Christians, it looks like an exotic Israeli hand—something ancient and perhaps blessed. In truth, it is the amulet of a goddess. The Hamsa originates from Phoenician and Carthaginian religion, where it symbolized the hand of Tanit, a fertility deity associated with child sacrifice. The eye in its center is not God’s protection—it is a symbol of magical surveillance, of a cosmos ruled by forces that must be appeased, not obeyed. In modern usage, the Hamsa has been absorbed into Kabbalah and used as a charm, not a confession of faith. It is a superstitious talisman, not a theological symbol. It is the hand of a witch, not the hand of Miriam.
The Hamsa is overtly Occultic amulet of Phoenician origin, dating back to ancient Satanic practices. It hangs in almost every Israeli home, and is sold nearly everywhere in Israeli shops.
Then there is the so-called Star of David, which adorns Israel’s national flag, synagogues, IDF uniforms, and even the national menorah. But what Christians call the Star of David is not Davidic at all. It has no presence in the biblical record—not in Kings, not in Chronicles, not in the Psalms. It emerges centuries later in Kabbalistic writings and Islamic sorcery as the Seal of Solomon, a hexagram used to command spirits, bind jinn, and perform magical operations. In grimoires such as The Key of Solomon and The Lesser Key of Solomon, the hexagram is drawn into circles, filled with names of angels and demons, and used in ceremonial invocation. When the prophet Amos rebuked Israel for lifting up the star of their god Remphan, it was not metaphor. That star—six-pointed, geometric, and idolized—was an abomination. Today, that same star waves over the State of Israel, carried by tanks, stitched into uniforms, and engraved into national monuments.
And if you think this symbolism is ancient history or misapplied coincidence, look at the art being produced by modern Israeli musicians and cultural icons. Narkis, a celebrated Israeli singer, performs songs that glorify the Shekinah as a divine feminine force, invoking not the God of Israel but the mystical goddess hidden in Kabbalistic tradition. Her concerts are spiritual events, featuring trance music, incense, meditative chanting, and what she calls “the awakening of the sacred feminine.” These aren’t concerts. They are goddess rituals in Hebrew, performed to crowds of thousands.
In the metal scene, the rot is even more overt. Bands like Salem and Arallu openly desecrate Torah, sing praises to Satan, and celebrate Israel’s military victories as acts of demonic vengeance. Their lyrics are soaked in anti-biblical blasphemy. Their album covers display inverted menorahs, goat-headed figures, and ritualistic bloodletting. These artists aren’t on the fringe. They’re invited to festivals, played on national radio, and followed by soldiers and university students alike. Lucifer has gone pop in Israel, and nobody blinks.
So what are we looking at? We’re looking at a nation that claims divine inheritance but dances in the ashes of everything holy. We’re looking at a state that waves a magical seal and calls it divine, that wears the amulets of fertility demons and calls it heritage, that holds fire-orgies in the wilderness and calls it art, that spills goat blood in the hills and calls it myth, that writes songs to devils and calls it culture. We are looking at a people who have not just forgotten the Law—they have exhumed the gods that the Law was sent to destroy...MORE...
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