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‘The Magus’: Drawings of fallen angels, demons and the Antichrist from 1801
12.15.2014
06:28 am

Topics:
Books
Occult

Tags:
Francis Barrett
The Magus

04fallenanglesoccult.jpg
 
Francis Barrett’s pictures of fallen angels and demons remind me of a few recalcitrant boozers fleeing the bar on a Saturday night. The sketches were included in his book The Magus—a compendium of several esoteric books, most notably works by Cornelius Agrippa and Peter d’Abano—which was once considered a primary source for occult and ceremonial magic when it was first published in 1801. The book led to a revival of interest in spiritualism, magic and the occult and was a highly influential religious text on minds as diverse as Joseph Smith and his Church of Latter Day Saints, the Freemasons and occultist Eliphas Levi.

Published over two volumes, The Magus begins with an introduction to “Natural Magic” which Barrett described as “a comprehensive knowledge of all Nature”:

...by which we search out her secret and occult operations throughout her vast and spacious elaboratory; whereby we come to a knowledge of the component parts, qualities, virtues, and secrets of metals, stones, plants, and animals;

He goes on to discuss charms, amulets, “occult virtues,” and magic before giving a history and instruction on “alchymy” and the Philosopher’s Stone, and a long section on “The Celestial Intelligencer,” which primarily deals with talismanic magic. The second volume examines magnetism, the “Cabala” and ceremonial magic, the practice and composition of the “Magic Circle,” various rites and a word of warning to would-be adepts, before concluding with a brief history of key occultists—from Zoroaster to John Dee.

For those with an interest in such arcane writing, you can read the whole book here.
 
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More occult angels and demons, after the jump…

Posted by Paul Gallagher | Discussion
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Satanic Christmas sweaters let you flip the bird (or the goat horns) at the holidays


 
The ironic phenomenon of ugly Christmas sweaters hit shark-jump levels of cultural saturation so rapidly that I actually can’t even remember any early window of time when it wasn’t irritating (though in all fairness, I get irritated pretty easily). Entirely apart from its annoying ubiquity, the whole thing feels kind of shitty, like it’s not really mocking Christmas to wear them, it’s more like mocking people who just happen to like gaudy sweaters. And is that not punching down?

The upside of this dopey annual crap-pageant has been the profusion of cheeky takedowns. The Descendents have been making awesome gag Christmas sweaters for years, and now, the twisted bastards at Middle of Beyond have given the world outright Satanic Christmas sweaters. MoB, regular DM readers may remember, are the preposterous visionaries who gave the world devil tarot card throw rugs and winter gear patterned after the carpeting in the Overlook Hotel from Stanley Kubrik’s film version of The Shining. I actually plunked for one of those Shining scarves, and to my horror, I found, when it arrived, that it was 100% acrylic (my own fault for neglecting the fine print). But for Christmas sweaters, that material isn’t just a requisite, it’s positively a boon. Designs include a straight up old-fashioned Satanic goat head snugly nestled in a red pentagram, Cthulu, Krampus, and a zombiefied Santa Claus festooned with braaaaaaiiiiiiins. So why settle for giving Christmas the finger when you can flash it the goat horns?
 

 

 

 

 
Previously on Dangerous Minds
Merry Krampus: ‘horribly distasteful Christmas sweater’
Righteous Motörhead Christmas sweater

Posted by Ron Kretsch | Discussion
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Sword for sale: Warning might be cursed and haunted
12.04.2014
11:59 am

Topics:
Amusing
Occult

Tags:
swords
haunted

swrdhnted.jpg
 
Fancy buying a sword that maybe cursed, haunted by ghosts and source of chaos? Well, if you do then an elderly woman in Austin, TX. is selling just that very thing on Cragslist: a mighty double-handed 18th century broadsword that looks nearly as tall as its seller stands.

How does this wise old lady know it’s haunted? Well, since the sword has been in her home, life has descended into chaos. If that weren’t enough to convince you, when her knitting group came over to visit “they all said they could feel a strange energy in my sword room”. Quite.

Here’s the advert:

Sword For sale WARNING might be haunted - $150

This sword is from the 1700s. I got it at an antique store in my memaw’s home town back in 1984. The person who sold it to me told me to be careful because there is a 90+% chance that it is cursed. Since it’s been in my house my life has descended into pure chaos. My knitting group came over and they all said they could feel a strange energy in my sword room (I have a collection of over 100 swords. This is my only haunted sword). Since i got this sword, about 3 times a week a crucifix will fall off of my wall for no reason. I am 76 years old. I cannot have this cursed item in my house anymore. Please take it off my hands!!

Okay, I admit I am intrigued and think this haunted weapon could be a fun thing to have around the home—though anyone who’s read Joe Hill’s Heart-Shaped Box, in which a rock star bought a haunted suit, will know what could follow.
 
Via io9

Posted by Paul Gallagher | Discussion
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Hawkwind’s ‘Galactic Tarot’ deck, 1971
12.02.2014
10:44 am

Topics:
Games
Music
Occult

Tags:
Hawkwind
tarot


 
A couple of weeks ago Arthur’s Jay Babcock tweeted that he had stumbled upon a fascinating two-page Hawkwind spread while “trolling thru the online International Times archive.” It turns out it wasn’t just any Hawkwind spread, it was a full Hawkwind tarot deck! Here’s a look at the spread, rotated 90 degrees. (If you click on the image, you can see a much larger version.)
 

 
This spread appeared in Issue 117 of International Times, or IT, which bears a publication date of November 18, 1971, a date that coincides neatly with the release of Hawkwind’s second album, In Search of Space or X In Search of Space, depending on who you ask, which had come out just a few weeks earlier. Linking to Babcock’s tweet a couple of days later, John Coulthart speculated, “Is this an overlooked Barney Bubbles design?”

Bubbles had designed the cover for In Search of Space, which featured a die-cut interlocking foldout. Coulthart himself designed the covers for the 1980s Hawkwind comps Zones and Out & Intake. According to Paul Gorman’s Reasons to Be Cheerful: The Life and Work of Barney Bubbles, Coulthart once credited Bubbles with inventing “cosmic art nouveau” in his early work for Hawkwind.

For any readers of IT wanting to make a deck of their own, the following instructions are provided: “Paste this page down onto a stiff sheet of cardboard. Wait till it’s dry. Then cut out each card until you have a pack of 21. Shuffle and deal into three rows of seven. Read the image / word combinations thus formed. The Galactic Tarot does not speak of the future or the past, for all galactic time is contained in the present.” Yeah, man, faaaar out….. (Cannabis and quaaludes are not mentioned.) If you’d like help deciphering the text, this page is very helpful.

Here are the cards. The text on the cards is a little bit puzzling. If you forgive a transposed word or two, the cards contain the full text of two Hawkwind songs: “Born to Go” and “Infinity.” (If you order the cards Earth-Atlantis-Pluto-Jupiter-Flying Saucer-Sun-Pyramid-Alien-Horus-Machine, you get the verses and chorus for “Born to Go,” and if you order the cards Winged Hero-Icarus-Mercury-Time Card-Aquarian Age-Galaxy-Mars-Saturn-Venus-Infinity, you get the verse and chorus for “Infinity.”) The truly bizarre thing is that neither of those songs appears on In Search of Space—“Born to Go” first appears on the live album Space Ritual, which was released in 1973, while listeners had to wait eight solid years, until 1979’s PXR5, to hear “Infinity.” (Since not everything works out so neatly, the left-over “Space” card has a line from “Black Corridor.”)
 

Earth: “We Were Born to Go / We’re Never Turning Back”
Pyramid: “We Were Born to Go / As Far As We Can Find”
 

Atlantis: “We Were Born to Go / And Leave a Running Track”
Flying Saucer: “We Were Born to Blaze / A New Clear Way Through Space”
 

Space: “Space Is the Absence of Time and of Matter”
Alien: “We Were Born to Blow / To Blow the Human Mind”
 

Time Card: “Infinity So Beautiful / Has Turned My Soul to Ice”
Machine: “We’re Hatching Our Dreams”
 

Sun: “A Way Out of the Maze / That Held the Human Race”
Winged Hero: “I Used to Be of Human Kind / I Had a Life to Lead”
 

Galaxy: “I Met Her in a Forest Glade / Where Starbeams Grew Like Trees”
Horus: “We’re Breaking Out of Our Shell / We’re Breaking Free”
 

Icarus: “But Now I’m Frozen in a Dream / My Life Is Lost It Seems”
Aquarian Age: “And Crystallized Eternity / For All My Future Time”
 

Infinity: “In a Dream / Infinity”
 

Mars 12a: “I Did Not Take Her for a Witch / She Wasn’t What She Seemed”
Jupiter 12b: “We Were Born to Learn / We Were Born to Grow”
 

Saturn 12c: “She Led Me to a Palace Gate / With Constellation Towers”
Venus 12d: “She Is the Keeper of My Fate / I Sleep Locked in Her Powers”
 

Pluto 12e: “We Were Born to Go / And Leave No Star Unturned”
Mercury 12f: “She Turned the Key / Of Endlessness and Locked Me”
 
“Born to Go”:

 
“Infinity”:

Posted by Martin Schneider | Discussion
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‘Witchcraft and Black Magic’: Surreal occult fantasy paintings
11.06.2014
06:37 am

Topics:
Art
Occult

Tags:
Jan Parker


 
In 1971, artist Jan Parker, who’d been a sketch artist on the set of 2001: A Space Odyssey, executed a series of macabre illustrations for Witchcraft and Black Magic by the prolific occult author Peter Haining.
 

 
Though he wrote some reference works on Doctor Who, Haining may have become most well known for arguing, in two books, a claim that Sweeney Todd was a real person. That assertion has never been widely embraced, and Haining passed in 2007. Jan Parker, on the other hand, is alive and well, and remains active as an artist. But if all you know of him is work like we’ve reproduced here, you wouldn’t recognize his current output. No longer a dark and surreal arbiter of fantasy and the arcane, he’s now a painter of almost flourescently vivid impressionistic abstractions. Though some of his newer pieces are indeed quite striking, the lurid horrors below are more our speed.
 

 

 

 
More after the jump…

Posted by Ron Kretsch | Discussion
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Graveyard Rock: SICK SOUNDS from Intoxica Radio!
10.28.2014
08:28 am

Topics:
Music
Occult

Tags:
Halloween

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For all of you fellow rock and roll monsters, here’s my ninth annual Halloween radio show. It can be played or downloaded free or just press play below. I’ve spent my life collecting records and horror film memorabilia among tons of other pop culture items. The combination of horror, monsters and rock n roll is the ultimate for me and many thousands of creeps worldwide. This is the original insane punk music.

There is a big difference between some of this stuff and silly novelty music, which I also like and play on the show, but you won’t hear the “Monster Mash” here, ever. You will hear “Graveyard Rock” by Seattle’s answer to Vampira, the Tarantula Ghoul, and many other crazy 45’s by horror hosts from TV across fifties and sixties America. You’ll also hear teenage garage bands, rockabilly lunatics and wild ads for old live spook shows, horror movies and monstrous toys. I even speak into an echo machine. This is something I do every week, not just on Halloween, hahaha), but THIS is the most special show of the year. Enjoy it!

The show’s basic description is this:

Howie Pyro plays the weird stuff… 50’s and 60’s rock and roll, psycho surf, garage, rockabilly, hillbilly horrors, voodoo R & B, insane instrumentals, religious nuts, teenage hell music, vintage global garbage, peppered with bizarre old movie ads & radio clips & general echo-fied screaming….wild, unhinged primitive 50’s and 60’s rock n roll played every Tuesday at 9PM (California time) from original 45 RPM records at Luxuria Music—Running wild since 2006!

 
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Past guests include Kid Congo Powers (Cramps, Gun Club, Nick Cave), Miriam Linna (Cramps, Norton Records, Kicks Books), , Kim Fowley, ? of the Mysterians, Thee Midniters, Sylvain Sylvain, Cheetah Chrome, Tim Warren (Crypt Records), Reverend Beat Man, Boyd Rice, El Vez, J.G.Thirlwell, Todd-O-Phonic Todd, Sweeney Todd, Lee Joseph, Haunted George, Richard Elfman, Thee Cormans, etc.
 

 
jfhfjsl
 

Posted by Howie Pyro | Discussion
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Season of the Witch: How the Occult Saved Rock and Roll
10.21.2014
06:52 am

Topics:
Music
Occult

Tags:
Peter Berbergal


 
Author Peter Bebergal’s new book, Season of the Witch: How the Occult Saved Rock and Roll examines a wide swath of subcultural history to explore the marriage between mysticism and music in the rock era. Covered in-depth are David Bowie, Killing Joke, King Crimson, Arthur Brown, Led Zeppelin and The Rolling Stones. And of course Aleister Crowley and underground filmmaker Kenneth Anger loom large over the proceedings. I asked the author a few questions over email.

What’s the book’s overarching thesis in a nutshell? How did the occult save rock and roll?

The essential spirit behind rock and roll, especially in the early days, is rebellion. It was a social, sexual, political, and even an artistic agitation. The book’s main claim is that at the root of this is a spiritual rebellion. Even rock’s physicality—driven by sex—was condemned as sinful, a temptation by the devil to lure kids into deviant behavior. Fears of rock were also driven by racism as the rhythms and energy of rock were—rightly—seen as coming from African American music, but was believed to be barbaric, tribal, and wickedly pagan. For musicians and fans to push forward was a deliberate, albeit often unconscious, middle-finger to mainstream ideas about what was godly. The Beat Generation, who a decade or so earlier were using art as a form of personal and social revolt, had already paved a path laden with drugs, Eastern mysticism, and occult imagery. It made perfect sense that when artists, and by extension the culture of rock, were seeking a spiritual identity to give weight to their music and meaning to their own lives, they would turn towards alternative spiritual practices.

Furthermore, there is something deeply human that what we call occult practices have given expression to. I would call this a desire for ecstasis, for having an unmediated experience with the divine. Magic and religion were once inseparable, but even when these practices were outlawed, people continued to find ways to have their own personal agency in regards to their spiritual lives. But I think we would prefer to do this in the context of community, as had once been done. This drive will always find a way to manifest, and rock and roll provided a most potent vehicle to reignite the echo of the earliest forms of worship; theater, dance, performance, shouting, drumming, and even intoxication and the shadow of madness, of being possessed by the gods.

All of these elements come together in what I define in the book as the “occult imagination,” which includes not only the way musicians and fans together created a mystique and mystery around the music, but the negative responses often found in the media and the mainstream religious communities. At the crossroads of all these things is where a potent spell has been cast over popular culture. The occult is the spiritual salvation of rock and roll, and I believe if you were to pull out this thread, popular music would sound and look very different.
 

 
How pivotal was the role Kenneth Anger played in all this? When I was a kid reading about his misadventures with the Rolling Stones and Jimmy Page, he seemed like such a far-out, fascinating and glamorous character to me. My own lifelong interest in Aleister Crowley probably starts there.

Kenneth Anger’s arrival into the midst of rock and roll culture couldn’t have been better timed. Here were young musicians like Jimmy Page and Mick Jagger, at the top of their game and feeling on top of the world, finding themselves often characterized in the media as dangerous, as bringers of chaos by way of their music and their colorful lives on and off stage. Here comes this controversial filmmaker, this “glamorous character” exactly as you say, talking about magic and how art can be a form of ritual. Anger was also older by almost twenty years, so anything he said about Crowley or the occult must have been heard as dark wisdom. Page loved this stuff, but I don’t think he ever actually practiced magic in any serious way, if at all, but Anger was the real deal. And he wasn’t a hermit. He didn’t require you to give up your fame and fortune to be initiated. In fact, for Anger, the fame and fortune were part of magic’s appeal and had the ability to transform culture through art. Jagger liked the Baudelaireian dandyism of Anger, and imagined himself the same. For Page and Jagger, Anger elevated fanciful ideas of the occult into something that could be perceived as serious and real. And their association with him, despite the various falling outs they each had with the filmmaker, only fueled the public’s speculations about Led Zeppelin and The Rolling Stones being occult devotees or even Satanists. Even though Anger was in no way a Satanist, it was during this time that the conflating of occultism and devil worship was becoming solidified. It was only deepened when Jagger would swagger like a prideful Lucifer when singing “Sympathy for the Devil.” In the end, Anger is a shadow figure that is responsible for giving both the Rolling Stones and Led Zeppelin, two of the most influential rock bands of all time, an aura of magic and mystery that would shape so much of rock’s identity and the way the media and public responded to them. In this sense, Anger’s magic was successful.
 

 
Which rockers do you find really consider themselves as occultists working in the rock idiom—occultist first, musician second—versus some who it’s all an act for them. Coil, for instance, seemed equally about the spell-casting and the music.

Coil certainly fit this definition, as well as Psychic TV, who for a time created a kind of virtual magical lodge via Thee Temple ov Psychick Youth. I think for a time Jinx Dawson saw her band Coven as being a vehicle for her occult practice, and later the band Tool integrated their own beliefs about magic into their music. But for some, while they saw their music has having potential to work magic, they still saw themselves first and foremost as musicians. Arthur Brown, best known for his song “Fire” believed a rock concert could function as a shamanic rite. He used every element of the performance, from his makeup to the staging to the way he moved, as an attempt to channel and then release what he believed was magical energy. Others would later copy his stage antics, but had no occult intentions at all, such as Alice Cooper and KISS (although they would of course be accused of being in league with infernal forces). I also think David Bowie for time believed he was working a kind of magic, but again, it was the music and the performance where it was wholly realized.
 

 
What’s the weirdest thing you uncovered when researching the book?

I was quite surprised to learn that the members of Killing Joke, following the lead of their singer Jaz Coleman, went to Iceland to await what Coleman believed was a coming apocalypse. I also learned that after Arthur Brown had disbanded his first band the Crazy World of Arthur Brown, he had a mescaline vision in which he was visited by an angel in armor, holding aloft a sword. Brown interpreted this as any real rock musician should: God was telling him to start another band. But I think the weirdest thing was how so much of rock’s association with the occult started by a simple problem of translation. In the 1840s, a young African named Samuel Ajayi Crowther from a Yoruba who had converted to Christianity wanted to start a mission back in his homeland, so he set out translating the bible into Yoruban. Of course not every word had a corresponding one in the other language, and so when he came to the issue of what to call the devil, he chose the name of his people’s trickster god, the closest the Yorubans had to a god that could not be trusted, that might tempt you. This god’s name was Eshu, and by the time the deity travelled with other converted Yorubans back to the American South, the god of the crossroads became Satan.

Below, Cerith Wyn Evans video for Psychic TV’s “Unclean”:

Posted by Richard Metzger | Discussion
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Sex, lies and Satanism: The rise and fall of Christian comedian Mike Warnke
10.08.2014
11:21 am

Topics:
Occult

Tags:
Satanism
Mike Warnke

Mike Warnke A Jester in the Kings Court
 

“I’m just a storyteller.”
—Mike Warnke from the 1979 album A Christian perspective on Halloween

 
In 1973, Evangelical comedian Mike Warnke wrote a book called the The Satan Seller. A book that would propel him to fame as one of the most trusted knowledge bases in the field of Satanism and the occult (“trusted” by idiots like Bob Larson, but I digress). Warnke’s book details his experiences with ritualistic killings, child murder, orgies and rape until he was “saved” by Jesus after a six-month stint in Vietnam.
 

 
Warnke was an instant sensation to legions of Christians, and became a beacon of hope in their never-ending war between good and evil. He released volume upon volume of recordings, comedic and otherwise and has told his story to Oprah, Larry King and 20/20. Many directly credit Warnke’s incredible popularity with the sudden panic about Satanic ritual abuse and cult activity in the late 80s and early 90s.

When I saw the edited clip below, taken from a VHS recording of his 1989 comedy stand-up performance called Do You Hear Me, I was unprepared for the moment when Warnke veers off his righteous path into NSFW territory and launches into a gruesomely detailed account of a satanic ritual to the audience. Dispensing this type of hellfire was a matter of routine for Warnke, but I was completely incredulous.
 

 
And so were others. In the late 80s, Jon Trott and Mike Hertenstein, two Christian journalists working for Cornerstone Magazine decided to investigate Warnke’s wild claims. Their finds would go on to be published in a book called, Selling Satan: The Evangelical Media and the Mike Warnke Scandal

Shockingly, Warnke’s own family and friends laughed at the idea when Trott and Hertenstein asked them if he had lived in witches coven with 1,500 people, was ever a dope fiend or did LSD. However it was Mike Warnke himself who made his exposure as a liar-liar-pants-on-fire recovering Satanist pretty easy. My favorite example of this is a story Warnke was fond of telling about how Charles Manson attended one of his blood-soaked sacrificial rituals in 1966. The problem with this juicy tidbit was that Manson was busy that year doing his second bid in Terminal Island Federal Correctional Institution due to a parole violation. (I guess it was the 80s, and Warnke probably thought to himself “No one will call me out on this if they can’t google it!” (Or something.)
 

 
In addition to the fascinating Selling Satan, cult-busting website Holy Smoke has also posted articles and sidebar columns that were originally published in Cornerstone (volume 21, issue 98 in 1992) that contain much of the blow-by-blow on Warnke’s jaw-dropping tall tales. I highly recommend you read both if this has at all piqued your interest.

Although the allegations of out-and-out fabrication were quite specific and damaging to his credibility (to say the least), Warnke never addressed the charges of his critics in his book Friendly Fire (as excerpted on the Thanks Mucho blog):

I was in the middle of the worst period of my life.  For nearly 22 years I had reigned as the number-one Christian comedian in the world, performing to sellout crowds around the globe ... My books and tapes were steady best-sellers ... I even had my own private plane.

Then suddenly, it all fell apart. In the summer of 1992, a Christian magazine published an article that called into question virtually every aspect of my life, my Christian testimony, and my ministry.  I was accused of lying about my testimony—in particular my past involvement with the occult and as a satanist—and of operating a false ministry.

The fallout was immediate. My concert schedule dried up and disappeared. My record company pulled all my tapes from the stores and cancelled my contract. Many people I thought were my friends were no longer talking to me. For months I was subjected to a very brutal and very public whipping by the media, both Christian and secular…

Was I a fake, a charlatan, a deceiver, and a liar? No. I never lied about my testimony and I never ran a fake ministry…

Others beg to differ...
 

 
Since I’m sure you’re at least a little curious about how things ended up for Mike Warnke, you can catch up with him over at his official website.
 

Posted by Cherrybomb | Discussion
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The corpsepainted comedian: Black metal stand-up comedy
10.08.2014
07:57 am

Topics:
Amusing
Occult

Tags:
Black metal

Black Metal Corpsepaint comedy isn't funny
 
The “comedian” in corpsepaint featured in this video goes by the name Necrosexual. He’s well-known in the netherworld of heavy metal for the offbeat interviews he’s conducted with members from bands like Grim Reaper, Exodus and most recently his awesomely awkward interview with Canadian headbangers, Anvil.

During the video below, Mr. Necrosexual tries his hand at stand-up comedy by putting a black metal spin on his jokes. The result is cringeworthy. At best. Now that’s brutal.
 

 
Previously on Dangerous Minds:
‘Corpsepaint’ make-up throughout rock and roll history

Posted by Cherrybomb | Discussion
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Ghost of ‘Grey Lady’ captured on camera at England’s most haunted castle
10.07.2014
07:59 am

Topics:
Amusing
Occult

Tags:
ghosts
Grey Lady

aaghstcstlgryldy.jpg
 
A legendary ghost at one of the world’s most haunted castles has been reputedly captured on camera.

Built in 1071, Dudley Castle in Birmingham is described as “the most haunted castle in England” with a long documented history of paranormal activity, including frequent sightings of the ghosts of a little drummer boy and a woman called the “Grey Lady.”

On a visit to the castle in August this year, Dean and Amy Harper snapped a photograph of what appears to be the famous Grey Lady. Their photo has what seems to be the image of a woman and a young child (far older than a baby) in the door of Sharington Range—a set of buildings contained within the castle.

The Grey Lady is believed to be the spirit of Dorothy Beaumont, who lived for a short time within the castle. According to legend, Dorothy lost a daughter during childbirth, and became ill soon after and died. Her last wish was to be buried with her daughter and for her husband to attend her burial. However, it is claimed that neither request fulfilled and her ghost has been seen wandering the castle ever since.

In a report in the Birmingham Mail, Dean Harper told the paper:

“We went up to the castle ruins and while we were up there we thought we’d get some pictures of the grounds.

“On looking through the images that night, Amy saw a glow, as though a light was on, on the top window level. On zooming in we noticed on the bottom, inside an arch, there was a lady and what appears to be a little girl, too.

“Neither of us are ghost hunters but we do wonder if this could be the Grey Lady ghost – the picture is quite clear.”

The photograph was taken on 30th August this year and has apparently considerable excitement with the media and communications at Dudley Zoo, sited within the castle, whose head Jill Hitchman said:

“There have been many stories about ghostly figures and happenings associated with the castle, mostly centred within the courtyard.

“This image is incredible because it was taken from the top of the castle on a mobile phone camera and still manages to pick out the outline of what seems to be a female figure in the doorway.”

Whether it is a ghost or not, I’m sure this latest sighting of the Grey Lady will boost tourism to the castle.
 
aaaghstgryldy222.jpg
 

 
Via the Birmingham Mail

Posted by Paul Gallagher | Discussion
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