Roaring Twenties Redux?

As we all waved farewell to 2019, I couldn’t help but notice netizens pining, albeit foolishly, for a return to “better” times of the Roaring Twenties. While it may have been the decade of lavish excess (Archangel Michael), burgeoning, labor-intensive industry (Archangel Metatron), and steamships brimming with immigrants (Archangel Sandalphon) eager to live the American Dream, it was also the decade of Prohibition—legislation fueled by growing anti-Catholic, anti-immigration sentiment—Jim Crow and segregation, organized crime, and an unfettered economic climate that would ultimately bring America to its knees. The decade’s glitz and glamour, which Americans today tend to romanticize, served only as a societal veneer, an escape from a repulsive and contemptible past.

Instead of indulging in fantasy and the whitewashing of American history, it’s prudent as evolving and spiritual beings to summon the strength and courage to face these very same ills that went on ignored by revelers in flapper dresses and tuxedos a hundred years ago. As a country, we must establish and remain faithful to the conviction of taking the leaps necessary for positive and lasting change, or else be doomed to revisiting these lessons throughout this lifetime and well into the next.

As I meditate on the next ten years, I’m doubtful that the 2020s will even come close to the 1920s—aesthetically, anyhow. The roar in “Roaring Twenties” was inspired by Archangel Michael (Who is like God), whose grace departed the USA in 2016 to be replaced by that of Archangel Uriel (Fire of God)—patron of politics, philosophy and law (Jan. 2017 prophecy).

Michael’s beauty, swagger, and carefree energy, which collectively made America the entertainment (and propaganda) mecca of the world, are gone. His sidekick and baby brother, Sandalphon, is now all grown up. The two archangels together, with Michael as the patron of the African continent and Sandy as the patron of music, inspired songs of the slaves, and then later Gospel music, which ultimately gave birth to Blues, Jazz, Rhythm and Blues, Soul, Rock and Roll, Funk, Pop, and Hip Hop.

The two archangels gave us music and pop culture while serving as the inspiration for art, fashion and everything we find beautiful about the twentieth century. Those angels have now both moved onto other projects, other countries, as angels often do.

Uriel has since set up shop, hence the strong, unrelenting focus on American politics. And to meet the growing needs of those suffering within our borders, Archangel Cassiel (Speed of God)—Angel of Tears and Sorrow—will return this year. The last time Cassiel was on this continent was prior to the Civil War. Angel of the downtrodden and unjustly persecuted, he was the patron of those accused of and punished for witchcraft in colonial America. He was also the patron of African slaves and co-patron of Native Americans as they fought to protect their birth lands from the clutches of Manifest Destiny. Now, here the angel is again.

Cassiel’s arrival means that shadows of strife and woe aren’t far behind. Unlike a century ago, the United States won’t have the glitter of a new Hollywood nor the overflowing wellspring of brave, daring creatives inspired by Archangels Michael and Sandalphon. This entertainment behemoth’s power to hold America enthralled and keep us thirsting, hoping, and dreaming has all but waned. And the presence of Archangel Uriel will instead fuel cynicism, creating a more probing, questioning society that roars for justice—or, alarmingly, artful vengeance since Cassiel is also the Angel of Karma and Retribution.

Rhetoric and philosophical dialogue will dominate our focus this decade, replacing creativity, innovation and art as our “entertainment.” Of course, there will be plenty of souls trying to swim against this changing cultural tide, which isn’t entirely bad, but the only things we’ll be revisiting from our past are the collective spiritual lessons we’ve failed learning time and time again. At this point, a whole century later with so little social progress to speak of, and thus nothing worthy of celebrating or hearkening back to, returning to any of the very same distractions that kept us from growing as a nation in the 1920s is a foolish notion. Trifling, obtuse and tone deaf at best. Woefully reckless and morally noxious at worse.