During this brief summer break, I'd like to share a yummy, healthy, low-calorie recipe you can make at home without an ice cream maker. Trust me, it’s absolutely delicious!
Ingredients
Makes 8-10 servings:
Ice cream
- 150 g cashews - 90 ml coconut cream (21% fat content) - 20 g coconut oil - 1½ tbsp peanut butter - 1½ tbsp agave syrup
Coating
- 125 g dark chocolate - 1-2 tbsp coconut oil
Instructions
Soak cashews overnight or for at least an hour in boiling water, then drain well.
Transfer to a mixing bowl or blender jug with the other ingredients and blend for several minutes until you have a smooth, creamy consistency that is not runny.
Pour into silicone moulds and leave to set in the freezer for a couple of hours.
Melt chocolate in a double boiler. Add oil to make it smooth and runny.
Unmould ice cream lollies and dip thoroughly in chocolate coating. Use a fork to drain and place on a sheet of baking paper.
Wait a few minutes for the chocolate to set completely, then put them right back in the freezer.
It’s best to take them out at least 15 minutes before serving.
NOTE: Feel free to adapt the recipe by trying other flavours. Personally, I’ve tried praline (using hazelnut purée) and coffee (using strong coffee), but definitely have a preference for the toffee-like flavour of peanut butter.
As for moulds, I’ve also tested different shapes and sizes, and it turns out that the cereal bar ones are the most convenient for me, since I don’t have any proper popsicle moulds with wooden sticks.
Thirteen valleys lying silent in the haze, Filled with promises And spirits that we raised. But the spirits all are ghosts Of the ones we hurt the most And they wander thirteen valleys crying out.
Considered ill-fated by some and magical by others, the number 13 undeniably carries strong occult symbolism.
For alchemists, it can turn lead (Saturn) into gold (Sun), matter into light.
Kabbalists associate it with the Hebrew letter Mem, the Great Mother or Mater—matter.
As for taromancers, it corresponds to the Card with No Name (related to Scorpio, believed to cover part of the thirteenth hidden sign of the zodiac). In modern versions of the Tarot of Marseilles, it is the Death card, which stands for nothing more than a change of state, a transformation—and, for occultists, purification.
To put it more simply, today (Transfiguration Day) marks the thirteenth anniversary of this blog. Having completed a twelve-year cycle of observing the mechanisms of illusion, reaching the thirteenth year is by no means a coincidence. It is the exact moment when you finally break the cycle, transforming leaden beliefs into golden silence—the voice of your spirit.
But thirteen is also the number of muscles it takes to smile—as opposed to forty-seven needed to frown.
Perhaps that is where the real treasure lies: observing the theatre of this world with the light-heartedness of those who are no longer falling for it.
Modern technology has reached a point where anything can easily be falsified. Indeed, even experts sometimes find it hard to discern what is real from what has been generated by artificial intelligence.
In everyday life, apart from social media—where fewer people are truly who they claim to be—you can all too easily be deceived. Not only by gurus or scammers, but also by manipulators, narcissists, or false friends.
However, there is a sure way to know who you’re really dealing with: the vibrational signature. It is recognised not by what you see, hear or feel, but solely by its vibration.
New Age circles are full of talk about raising frequencies, high vibrations, vibratory rates and vibrational signatures, often mixing up these terms as if they were all pretty much the same thing. So let’s set the record straight: your signature is not a frequency.
Vibration is the oscillatory motion of an object around a fixed point. Think of a guitar string being plucked: the motion of the string produces a vibration.
Frequency is the rhythm, pace, or beat of this vibration—the number of cycles of this periodic phenomenon per unit of time. For example, 440 Hz corresponds to 440 oscillations per second. This is the frequency of the note A. If the string vibrates slowly, you get a low-pitched note. If it vibrates quickly, the note will be high-pitched. The same applies to colours, where high frequencies produce cool colours and low frequencies produce warm colours.
Finally, a wave is the carrier through which vibrations and frequencies are propagated through a given environment.
As for amplitude—often wrongly referred to as the ‘vibratory rate’—this is the intensity of the resonance. The harder you pluck the string, the greater the difference between the maximum and mean positions on the vertical scale will be, producing a powerful sound. However, the number of cycles per second will remain unchanged, as the string will always vibrate at the same speed (or frequency).
And what about the vibrational signature?
It is the unique structure or pattern that defines an individual or an entity. A unique energy imprint.
This signature remains relatively stable. However, the frequencies it resonates with may vary depending on the individual’s condition, their emotions, environment or the influences they are exposed to.
Entities may mimic form, voice or behaviour, but they cannot conceal or falsify their vibrational signature. It is their hallmark, a subtle imprint that remains unaltered and recognisable to those able to read it.
That is why it is essential to train yourself to perceive the energy beyond all appearances and forms. For discernment, do not rely on your senses or first impressions.
Reading vibrational signatures is something you learn through practice. The secret to achieving pure perception relies on three basic principles:
1. Neutral observation
Do not get attached to or fixate on either form or discourse. Instead, focus on the density and consistency of the whole.
2. Stable presence
When you maintain a calm, non-judgmental focus, you create a natural alignment—an inner coherence that acts as a revealer. As soon as the form or discourse sounds false, this coherence is immediately lost.
3. No backstory
Don’t believe anything, ignore the stage setting, look at the structure. Just as software recognises a file’s signature regardless of its name, your presence recognises the quality of a consciousness even before your mind processes the words.
In order to develop your ability to read vibrational signatures, you must remain centred. In silence and with full awareness. That's when your spirit fills the whole space for a microsecond, before the emotions and beliefs injected by the simulation have even had a chance to create an impression. The so-called flash of insight.
This flash of insight might, for instance, make you notice a fleeting shadow in someone's eyes, a brief dissonance in their laughter, or a glitch in the tone of their voice…
Masks shift—signatures stay.
⚠️ Important note:
This video is back online after having been removed, a couple of months ago. I have suppressed all borrowed material, despite it having been properly credited and shared with the author's permission. I've also added some important clarifications about the fundamental distinction between frequency, vibration and vibratory rate—terms whose confusion is often deliberately maintained by those who benefit from it.
I encourage you to start following me on Crowdbunker (or Odysee) from now on, as from September 1st, I will no longer publish on platforms that require age verification.
Lately, I’ve been seeing a lot of social media posts from spiritual or supraconscious people expressing their 'I-don't-give-a-crap' about the matrix, its scripts, their persona, their emotional ties… whilst promoting emotional neutrality.
And these posts are generally wildly embraced by commenters eager to say that they, too, couldn’t care less.
Fair enough, they have every right to think so, and that's alright, I'd be tempted to say.
Except that hardly anyone seems to notice the huge paradox here: if you are so completely detached from the simulation, where does the urge to post almost daily to share this state of being come from? Wouldn't this be simply a quest for validation?
Also, whether you care about something or choose to ignore it has nothing to do with neutrality. These are two polarities stemming from the concept of attention.
Duality is the very fabric of the matrix. It cannot be ignored. Thus, neutrality is not about switching from one pole to the other or denying the concept, but simply about keeping all the sliders in the middle.
After all, shouting from the rooftops that you don’t care about the movie—that's still a way of playing your part in it, isn’t it?
Spiritual circles and so-called supramental movements both harbour a formidable pitfall: they tend to substitute vibrational do’s and don’ts for traditional religious dogmas.
Under the guise of deprogramming, some consciousness gurus advocate the adoption of absolute austerity. We are taught to reject nature, which is presented as an illusion; to turn off music; to banish movies; and even to refrain from saying ‘I love you’ since love supposedly does not exist in this density.
But just look at the result: instead of liberating humanity, this system creates cold individuals, disconnected from life, and trapped in a new conceptual cage.
It strangely reminds me of some evangelical channel where people would share their experiences and explain how everything is copyrighted by Satan—music, yoga, cinema, art…—and that you ought to put your life in the hands of Jesus in order to be saved.
Just replace the names of Satan and Jesus with those of New Age or supraconscious figures, and you get exactly the same scenario of spiritual capture.
For as long as humans keep failing to own themselves, other structures will seek to possess them through the promise of delivering them from their predator.
But in reality, the struggle between good and evil is merely the horizontal dimension of the manipulation. Above this duality, a vertical dimension is at play: a genuine triality; a third party who no longer seeks to recycle consciousness ad infinitum on the wheel of Samsara through endless wear, but to take permanent possession via some deceptive escape route.
So let's keep that in mind: the enemies of our enemies are not necessarily our friends, but merely cattle rustlers. And that cattle is us. At least, as long as we keep failing to fully embrace our sovereignty.
True sovereignty doesn't mean numbing yourself to the world, but navigating it without allowing it to possess you. Spirit doesn't try to avoid the stage set; it passes right through it.
We're encouraged to stay away from polarities, but heat and cold are two extremes on the same axis. Anger and hatred remain low vibrations, whether hot or cold. You don't achieve neutrality or non-polarity through coldness or rigidity. That's just moving the slider to the opposite end of the scale.
Centredness is not about going blank or numb. It's about bringing all the sliders back to the middle. It's about being able to observe the stage without any bias, to listen with complete objectivity, and to love consciously, without rigidity.
Words are just tools meant for the mind; they can never make up for the silent message from your own spirit. So you don't want to trade one prison cell for another. Clear your space by filling it with presence, and let that silence grow deafening.
With every major bestseller comes a host of copycats, eagerly welcomed by
publishers to keep the presses running whilst the hype lasts. Especially
when Hollywood jumps on the trend. So, after the plethora of wizards and
vampires spawned by the Harry Potter and
Twilight phenomena, the hype has now shifted to fast-read
domestic thrillers—inspired by Freida McFadden’s international bestseller
The Housemaid (also a major feature film)—stepping into the
breach she opened up.
The sincerest form of flattery is imitation, right?
Count My Lies, Sophie Stava (2025)
If only it added some additional value to the blueprint; a
touch of originality to the tropes; and a dash of substance to the archetypes.
It would be too much to expect, as fast reading obviously implies quick
writing. At least based on the five thrillers I’ve recently wolfed down—I
know, I just couldn’t help myself.
Guidelines
Imagine a ready-made template for novels, like the visual templates provided by some graphic
design platforms online. All you would need to do is fill in the placeholders
using a list of preset tropes: motifs, recurring themes, typical situations,
relationship dynamics, character archetypes, plot structures, narrative
techniques, storytelling conventions, and so on… And there you have it—a
bestseller that you may even turn into a series (just like
The Housemaid and The Perfect Marriage) to double the jackpot and keep topping the bestseller list of the Amazon
jungle, for as long as BookTokers are on your side.
1. Book Presentation
Pick a title that's simple, short and archetypal, along with a somewhat
clickbait-y tagline.
The Housemaid: "From behind closed doors, she sees everything." (Freida McFadden,
2022)
Count My Lies: "I'm your friend. But can you trust me?" (Sophie Stava, 2025)
The Waitress: "I was watching him. But he was watching me." (K.L. Slater, 2024)
The Perfect Marriage: "His mistress is dead. His wife is his only hope." (Jeneva Rose,
2020)
The Perfect Divorce: "Till death do us apart. Yours. Not mine." (Jeneva Rose, 2025)
Go for a simple, symbolic front cover design featuring a keyhole, a styrofoam
cup, wedding rings, a comb and a pair of scissors… but keep the colour scheme
to no more than two or three different shades.
2. Style
Preferably write in the present tense, in the first person, and alternate
characters’ points of view.
Although the basic idea is not a bad thing, it does have a few pitfalls when
the murderer takes part in the storytelling and certain details that might
give away the final twist need to be left out. However, authors tend to focus
too much on throwing red herrings while failing to provide genuine clues or
subtle psychological details as well. As a result, attentive readers, who could not
possibly have seen this coming (unless they figured out the underlying
mechanics), invariably feel betrayed by the far-fetched deus ex machina twist
in the final act. That's the fly in the ointment.
Oddly enough, in The Waitress, only the lead character speaks in the first person. Which breaks the
natural flow of the storytelling. This is even more noticeable in the audio
version, where all three points of view are read by the same voice
actress unlike in other similar audiobooks with multiple points of view.
Use short sentences, as you would in a screenplay or dialogue prompt. Avoid
metaphors, semantic fields, and overly literary phrasing as your target
audience might otherwise lose interest. What’s more, it will be all the easier
to adapt for film or television.
Incidentally, a TV series is in the pipeline for Count My Lies. And The Perfect Marriage is currently being adapted for the
silver screen.
3. Characters
Your lead characters must be in the same age group as your target audience,
namely firmly in their thirties. Not too young, as many tropes common to the
genre—such as marriage, property, careers, complicated divorces and
established neighbourhoods—wouldn’t work; nor too old, for the main
characteristic of ‘youth culture’ primarily involves trapping people’s minds
in illusory bubbles of timelessness, which are ultimately bound to eventually burst.
Readers should be able to relate and think: “This could be me”. Turning
everyday life into a source of anxiety is the very principle of domestic
thrillers.
First, it was the smell, the dead giveaway of the Chanel No.5, so classic,
so expected. This is matched with the monochrome outfit adorning her
well-maintained figure. Not a shred of personality in her outward
appearance, which itself tells you everything you need to know about her.
Her features are hard and are kept in place by routine visits to a plastic
surgeon, but the kind who does a superb enough job that only a well-trained
eye can even tell that the skin isn’t 100 percent natural. The entire
entrance is punctuated by the final click of a black Manolo Blahnik heel
(never Louboutin’s, “red is ostentatious”), announcing that she is here and
ready for her proper allotment of attention, which by normal tally is all of
it.
The Perfect Marriage, Jeneva Rose (2020)
Inject a touch of glamour with a strong emphasis on luxury and good looks,
which are more important than character depth. Don’t hold back on glitz and
glam, and don’t forget to remind readers just how incredibly hot husbands or
lovers are. Lust makes up for loss, and it's important for the narcissistic
mindset to hear that often.
Be sure to overdo on stereotypes: negligent cops who aren’t exactly bright;
sloppy coroners who’ve never heard of such a thing as DNA; abnormally
well-behaved, docile kids who do exactly as they’re told at all times…
4. Final Tips
When you tell the truth—at least, if the truth is boring, which it almost
always is—people begin to fidget, their eyes glazing as their attention
wanes. Eventually, they realize, snapping to with a sheepish Oh, I’m sorry,
what were you saying?, trying to feign interest.
Count My Lies, Sophie Stava (2025)
Once all the ingredients have been added, spread them out in the mould and
give it a final twist at the end of the cooking process. If the mix is too
thick, dilute it with irrelevant trivial details.
Also, do not hesitate to retell the same events from the other characters’ perspectives. It creates the impression that there are hidden clues, while saving you the trouble of having to plant any real ones.
Ethics Go Rat-a-Tat
The bully forgets they’re a bully. The victim never does.
One of Us Is Dead, Jeneva Rose (2023)
As I pointed out in
a previous article on Freida McFadden, “the most disturbing aspect is undoubtedly the moral ambiguity of all her
characters, which tends to normalise borderline personality disorder and
manipulation as the standard way of relating to others.” And the everyone’s-a-psychopath or borderline trope comes up
consistently, to varying degrees, in all the books mentioned above. This is
particularly true of Jeneva Rose, who seems to take perverse delight in
allowing the triumph of deviant ethics with total impunity.
You certainly do not want to show manipulators and psychopaths in a bad light.
After all, we ought to help shift the
Overton window
in favour of a completely dehumanised, predatory society governed by Ahrimanic
Intelligence, just as Rudolf Steiner prophesied. Some like to call it
‘alternative’, but what kind of alternative are we actually talking about?
The liar, the cheat who tried to ruin my life. It's all over for him. For me,
it's only just beginning.
The Waitress, K.L. Slater (2024)
Fundamentally, the reason these kinds of books are so popular is mainly because our souls get bored with the numbing routine of everyday life and long to experience the thrill of danger and the unexpected—without any consequences.
When we're saturated with information, we no longer have the desire to engage in deep thought, because everything brings us back to this distressing world. So we find comfort in the tales we tell ourselves, and these stories tell us in turn. Ultimately, vicarious fear allows us to gain perspective on our concerns and defuse our own fears.
Welcome to Absurdistan! You’ll lose your way in its maze of inconsistencies and drown in confusion as you try to make any sense of it all. Common sense is not simply dead, sacrificed on the altar of narcissistic perversion and blatant sociopathy; the whole of semantics has been wiped out—and so have our sensory organs. Every sense of the word—and every human sense—has died. Literally, figuratively... and very messily. And when everything goes down the drain, all that remains is golden silence, unshakeable and non-negotiable.
That's why, this week, I’m handing the floor over to the late John Lennon, who wrote this highly satirical piece meant to mock and confound the famous "eggheads" (or "eggmen") of the time, always so desperate for hidden meanings, occult messages and mystical structures in the Beatles' songs, when it was generally nothing more than gibberish and nonsense (English humour in true Monty Python style). That didn’t stop “I Am the Walrus” from both hitting number one in the UK and getting banned by the BBC for the line "Boy, you've been a naughty girl, you let your knickers down". I’ve told you time and time again that the pot calling the kettle black is a long-standing toxic love affair that's not going to stop overnight.
These delightfully caustic lyrics include, among other things, references to Lewis Carroll’s poem, "The Walrus and the Carpenter" ("I am the Walrus Goo goo g' joob"); to "Lucy in the Sky with Diamonds", another highly controversial Beatles song ("See how they fly like Lucy in the sky"); to George Orwell’s Animal Farm (“See how they smile like pigs in a sty”); to Edgar Allan Poe (“Man, you should have seen them kicking Edgar Allan Poe”); and to Hindu mysticism, the spiritual sandbox hype of the Flower Power era (“Hare Krishna”).
Admittedly, in 1967, the Beatles were deep into their psychedelic trip and fascination with Eastern mysticism, but Lennon was not yet fully committed to Maharishi Mahesh Yogi, which may explain his ironic tone towards any fad and conformism that mindlessly repeats mantras—the exact opposite of ‘enlightenment’.
As for Poe, the mention refers less to the author of gothic tales than to the iconoclastic and satirical creator, long scorned by critics and taste police alike. Lennon seems to use him as a figure of genius whom "textperts" would rather dismiss than understand.
So, in the final two verses, he lashes out at everyone: the eggheads ("Expert texpert"); himself, portrayed as a troublemaking clown who doesn’t take himself seriously ("the Joker laughs at you"); and would-be spiritual gurus ("Element'ry penguin singing Hare Krishna").
Incidentally, the penguin naturally evokes a tuxedo, and the reference to the well-known Hare Krishna mantra adds to the overall comic effect. The same goes for the grotesque image of "Semolina pilchards climbing up the Eiffel Tower". Anything goes when it comes to social or spiritual elevation. Self-righteousness in an advanced state of deconstruction drips like "yellow matter custard".
Interestingly, Lennon does not build a narrative. He strings together a series of ridiculous archetypes, as in a Dadaist collage. Coherence does not come from any single image in isolation, but from the overall atmosphere: a world in which authority figures, scholars, police officers, gurus, institutions, and prestigious symbols are all reduced to the same level of farce. This is probably where the song’s strongest underlying theme lies.
Finally, let’s mention this brilliant interlude as an ironic joke at the British weather: "If the sun don't come, you’ll get a tan standing in the English rain".
Not in 2026, for sure!
I Am the Walrus
I am he as you are he As you are me And we are all together See how they run Like pigs from a gun See how they fly I'm crying
Sitting on a cornflake Waiting for the van to come Corporation tee shirt Stupid bloody Tuesday Man, you've been a naughty boy You let your face grow long
I am the eggman (Ooh) They are the eggmen, (Ooh) I am the walrus Goo goo g' joob
Mister city p'liceman sitting pretty Little p'licemen in a row See how they fly Like Lucy in the sky See how they run I'm crying I'm crying... I'm crying... I'm crying...
Yellow matter custard Dripping from a dead dog's eye Crabalocker fishwife Pornographic priestess Boy, you've been a naughty girl You let your knickers down
I am the eggman (Ooh) They are the eggmen (Ooh) I am the walrus Goo goo g' joob
Sitting in an English Garden waiting for the sun If the sun don't come You'll get a tan from standing in the English rain
I am the eggman They are the eggmen I am the walrus Goo goo g' joob g' goo goo g' joob
Expert texpert choking smokers Don't you think the joker laughs at you? See how they smile Like pigs in a sty See how they snied I'm crying
Semolina pilchards Climbing up the Eiffel Tower Element'ry penguin Singing Hare Krishna Man, you should have seen them Kicking Edgar Allan Poe
I am the eggman (Ooh) They are the eggmen (Ooh) I am the walrus Goo goo g' joob Goo goo g' joob G' goo goo g' joob Goo goo g' joob...
The Call of the Real The Real is not reached by adding meaning, but by letting the dream die.
If you've been following my work, you might have noticed a gradual decrease ...
FR
