Alia Loren Jacobson, also known online as Alia Lorae A.K.A. Poisontears is a singer, actress, and writer with a large web footprint. She also is a depraved fiend who admits to being concerned with her sadistic sexual fantasies involving bloodletting and maiming girls from the ages of 7-14. She is the textbook blood fetishist.

Rather than seek help for her disturbance, she went to pro-child rape forum Girlchat where she promptly received validation and encouragement for her sickest and most twisted desires. The embracing of bloodletting fantasies about children is shocking coming from the self-professed “girl lovers” who lurk on the Internet if only because they spend so much time trying to convince people that they are not evil, but they are not the only people who have encouraged and minimized Alia’s sickness of the soul.

Alia was in the Izzy Gold Records stable, recording garden variety Gothic pop which was made bearable by the kitchy 90s influenced canned music accompanying her which owed more to Front Line Assembly than Sisters of Mercy. When I requested a comment from the company they sent me this email:

Rob,

Thank you for the email. It is our policy at Izzy Gold to (not) comment on the lives, personal or otherwise, of our artists or affiliates. We are strictly a record production and branding company and our services are generally provided on an ‘independent contractor’ basis. Therefore, although we have worked with Alia Lorae on her music, “we have no comment.”
Furthermore, we wish you the best with your endeavors, research, and work. Kindly remove our link and comment from your website or that of wiki”whatever.” We are currently redesigning our site and updating the artists on it anyway. Additionally, I am an attorney in New York City with a very serious tie to the District Attorneys Office.
Many Thanks, and best,

Brad Leinhardt Esq.
Izzy Gold Groupe
Founder/Managing Director

It actually is a boilerplate letter as far as companies go, though I did give them a hard time about the thinly veiled threat to sic a District Attorney on me. It should be noted that this demand I “remove a link” came well before I even began writing the post. This is, as readers will see, a recurring theme in this case.

What’s more chilling is that in this and our subsequent exchanges the only concern Brad Leinhardt Esq. and Allison Petit (Director of Sales and Marketing) had was distancing themselves from Alia as though it could be inferred that they were legally liable in her sick fantasy life and clear mental illness. At no point during our back and forth do they question whether or not Alia really did what she is accused of. Perhaps they simply aren’t surprised?

Back in 2001 Alia wrote this on Open Hands, a now defunct website founded by a pedophile who calls himself Bach to provide support for other child rapists:

Recently though, I’ve been having the strangest fantasies….ones where I’m with girls younger than me, like from ages eight to fourteen. Sometimes they are violent (as in I am carving strange designs into their bodies and drinking the blood….eeks, I’ve always had a weird attraction to pain…) and sometimes they are very gentle, loving, consensual. I don’t know. Just pale, doll-like faces and bodies that are only just beginning to curve around the hips….soft little hands…I find it all so beautiful.

In 2002 Alia wrote this missive to her online compatriots:

I keep having these dreams where i’m trying to fondle this little girl and crush her and bite her neck to draw blood–and i like it in the dreams–and i hate that i like it. Sometimes when i’m walking and i see someone boy or girl who i think is beautiful the first thing that comes through my mind is how erotic it would be to hurt them…..and then hearing about all the children being abducted and murdered it makes me feel even worse for thinking such things.

Here are more recent examples of her escalating perversions. October of 2007:

I am pretty much exclusively attracted to girls between the ages of 7 and 12. I want to be attracted to people my own age, and I can find them pretty – but I never feel physically or emotionally drawn to them, and only little girls give me that flutter in my stomach when they walk by. When I hear a little girl laugh, it breaks my heart with a strange sort of unexplainable joy.

However, I am extremely hesitant to call myself a girl-lover. This is because pretty much all my fantasies are extremely violent, and although I know I’m not supposed to say this, I DO think about hurting girls – gentle romance and sexual imagery do nothing for me and never have.

From July of 2008:

I was looking through the “classes” section on craigslist, and thought i saw a class called, “Chinese Torturing For Children.” It turned out to be “tutoring,” not “torturing,” but for a second there i was so excited…

Her art and poetry are reflections of sadistic sexuality and deviance. Her official bio (found in many places) claims she has been recognized for her poetry and painting but both are doctrinaire splatter punk watered down by college art classes at best. Her poetry is high school level piffle dressed up with just enough shocking imagery to have earned her the pretentious nod of her “edgy” creative writing teachers at Sarah Lawrence, where unsurprisingly she was quite the little star. Her paintings display a bit more talent but put her perversion on full display. In this particular piece titled Ecstasies, which depicts a sado-masochistic lesbian bloodsport session, the “artist” describes the two characters this way:

Here are Viola and Miette, my two favorite sado-masochistic lesbian vampires. They have an unusual relationship. Viola (the nekkid one) is sort of a dominant masochist. She is basically invincible, so she can deal with all sorts of pain and most kinds of fatal injuries. Miette is sort of a submissive sadist, and is very childlike and feral. Viola sort of takes care of her, and in excahnge, Miette gets to hurt Viola as much as she wants. They have a game in which Miette will devise a new and elaborate way to ‘kill’ Viola, and then surprise her with it (much to Viola’s glee.)

If her story wasn’t so troubling this would be laughable. Though as a Baudelaire fan and lover of the macabre myself I would never claim that artists can be solely judged personally by their work, it is true that all artists gravitate toward themes which “speak” to them. Her portfolio can be best titled amateur night in the house of De Sade and is made the more hideous by the vast immaturity so obviously lurking in the depravity. Were it not so obviously autobiographical her work would simply melt into the morass of modern “art” where perpetual teens let out their frustrations with horrifically imagined misogyny.

But her paintings and poetry are a diary of degeneracy and evidence of her spiraling addiction to pain and blood.

As I said before, being familiar with her work I doubt Izzy Gold Records was really surprised by her exposure. Not when they sought to make money from a person who it is doubtful can maintain the illusion of normalcy for any significant length of time. Their pet “goth” was darker than the rest and set to “show a generation of gothlings just how intensely exquisite the darkness within the soul can be” as her bio says. Where people who cared about her (or decency in general) may have questioned a person who dwells on violent and exploitative sado-masochism in her “artistic” expression, Izzy Gold simply saw a quick buck, and they were set to help her gain access to an audience of adoring young goths who just so happen to be the very victims she fantasizes about.

As I was writing this, crime blogger Lilo was confused to receive an email from Alia’s father, a Dr. Mark Jacobson who among other things threatened to sue her for blogging about the case. She was confused because she had in fact not even heard about the case much less blogged it. The good Dr. apparently was confused by the fact that she has contributed in the past to Absolute Zero United. In his email he makes this startling claim:

My daughter went through an “identity” issue several years ago, and did indeed make some statements on the Internet that have long since been resolved. Her presentation now is solely that of an entertainer, with elements of dress and song lyrics quite common to New York City.

Yet again we see both a minimization and encouragement of her fixation on perpetrating sexual violence against children. Her desire to torture and maim children, which she feels is sexually arousing, is not an “identity issue,” it is sexual sadism. More specifically I believe her to be both a sadist in the classic sense and a blood fetishist. Her pedophilia is driven by victim selection, she knows she can more easily overpower children, whom she sees as objects of for her sexual satisfaction. Her paintings indicate, to we playing armchair profiler, that she still sees herself as essentially a child and separate from the normal world, both rejected by it and superior to it.

Her father would know that, since according to reports Alia was hospitalized during her college stay when she frightened her dorm mate with her confession of interest in violent child rape. Allegedly her parents counseled her to keep quiet and not tell the doctors treating her the truth. This would indicate they knew how deeply disturbed she was, and is.

More disturbing though is his implying that her blood soaked Gothic Lolita act is mitigating her interest in sadism and blood fetishism and not amplifying it. It seems like denial, especially given his insistence that she hasn’t made statements on the Web in “several years” when it can be proven that she was in pedophile chats less than a year ago. In allowing Alia to adopt this stage persona he is encouraging her embrace of what is, essentially, evil. Just as Izzy Gold Records worked to reinforce for her the validity of her sadism by marketing her as “hip artist” instead of the narcissistic predator she actually is.

Her work is a celebration of evil and those closest to her simply didn’t care enough to see it for what it is, a cry for help from an emotionally stunted sadist who is slowly losing herself to the basest of her instincts. Her bio claims she was part of a sorority called Cthulhu House in college, which is a remarkable coincidence since Lovecraftian lore posits that the dead but dreaming horror from the stars sends out psychic messages that only the insane can hear, and when He stirs, lunatics go on violent rampages. It is fitting that someone so obviously slipping into a kind of madness, one in which she embraces the most evil of all human actions, was in her own way touched by Lovecraft’s Elder Gods because the fantasy she harbors in her heart is truly inhuman.

I own an absolutely awful book called The Dark Worship in which the author claims that there is a world wide conspiracy run by a group called the Friends of Hekate which seeks to bring the great goddess back or do her bidding or bring about the apocalypse. It’s never clear because the book is a confused mess of supposition, misunderstanding and illogical conclusions reached with no evidence except some graffiti in an abandoned building, the word of a “psychic” and a lot of discredited historical theories. But I purchased the book anyway because it was one man’s attempt to explain something we all see, the rise of evil in society.

For the author, the increase in evil acts was due in part to the Friends of Hekate constantly performing grand and terrible rites to give power to their evil goddess. But the true Friends of Hekate who give rise to evil are those who ignore, minimize and excuse the Alia Jacobsons of the world. The people who promote her, the people who protect her, and those that meet with her in secret to feed her fantasies of murder and mayhem. These are the revelers in a celebration of evil, dancing around a fire that is slowly burning Alia Jacobson from the inside out.

And though only Alia will be legally responsible for any crime she commits, which is as it should be, these people around her bear a moral responsibility for which we can only hope they are eventually judged.

Update: Patrick Kelley from The Pagan Temple sent me this keen analysis of Alia’s painting “Ecstasies:”

“…note how in the painting it is the masochist who is the dominant partner, while the sadist, the one who traditionally inflicts the pain, is the submissive partner, though childlike and”feral”, as she describes it.

This could possibly be leading to her view of these young girls as “wanting” something to happen, and placing the onus on a potential future victim by saying that she is actually the one in control, while she, Alia, would basically just be giving her what she wants.

Of course in this scenario Alia would be the one receiving the pain,but how much of a stretch would it be to morph from that to her being the one inflicting the pain, based on the victim being the one, in her mind, in “control”.

While she seems to be engaged to a point in a cry out for help, she nevertheless seems to be losing control, and heading to a really dark place, giving herself over to an evil subconscious urge, while projecting that urge onto a future potential young girl-child victim as “wanting it”.”

Exactly. This is why it’s so important that the people around her understand that she needs help now, before it’s too late.