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Lucifer, Satan & other Devils: The Occult art of Rosaleen Norton, the Witch of Kings Cross
01.19.2017
02:32 pm
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‘Lucifer and the Goat Mendes.’
 
The most notorious witch in Australian history was an artist named Rosaleen Norton (1917-79) who scandalized her ultra-conservative homeland with her outrageous bohemian lifestyle and strange occult beliefs during the 1950s.

The press dubbed Norton the “Witch of Kings Cross”—a low-rent artists’ quarter and red light district in Sydney, New South Wales. They claimed she was an evil Satanist who revelled in perverted Black Masses and unnatural orgies with her sex-mad coven. It was true Rosaleen (Roie to her friends) liked sex with both men and women. She enjoyed sex and saw no shame in admitting that she did. She also practised sex magick and made no secret of its powers. But Rosaleen was no Satanist. She was a pagan who followed her own particular belief in Pan.

From earliest childhood Rosaleen felt she was different—and felt compelled to prove this indeed was the case. As her friend and biographer Nevill Drury later recalled:

[Rosaleen] revelled in being the odd one out, purporting to despise her schoolmates. She argued continuously with her mother. She ‘hated’ authority figures like headmistresses, policemen, politicians and priests. She had no time at all for organised religion, and the gods she embraced - a cluster of ancient gods centred around Pan - were, of course, pagan to the hilt. She regarded Pan as the God of Infinite Being.

~snip!~

Pan was undoubtedly a rather unusual god for a young woman to be worshipping in Australia. But then Roie was different. And she was different in an age when it was quite a lot harder to be different than it is now. She was bohemian, bisexual, outspoken, rebellious and thoroughly independent in an era when most young ladies growing up on Sydney’s North Shore would be thinking simply of staying home, happily married with a husband and children. Roie was not afraid to say what she thought, draw her pagan images on city pavements, or flaunt her occult beliefs in the pages of the tabloids. To most people who read about her in newspapers and magazines she was simply outrageous.

Rosaleen was certainly outrageous. She was expelled from school for drawing pictures of vampires, pentagrams and demons during art class, which were claimed to have terrified her fellow classmates. In 1952, when a collection of her work was first published in book form as The Art of Rosaleen Norton three of the images contained therein—“Black Magic” (which depicted Rosaleen herself having sex with a panther), “Rites of Baron Samedi” and “Fohat” (which depicted a demon with a large muscled snake for a penis)—caused such offence that the publisher was prosecuted for obscenity and the pictures removed from all future printings. In America the book was deemed so pornographic that all imported copies were destroyed by custom officials.

Worse was to follow in 1955 when a woman named Anna Karina Hoffman was arrested for vagrancy. When questioned by police, Hoffman claimed she had participated in horrific Satanic black masses organized by Rosaleen. It was this accusation that led the tabloid press to dub Rosaleen the “Witch of Kings Cross” and promulgate the series of trumped-up news stories about her lurid (s)excesses.

However, the following year, one of her lovers, the highly respected composer Sir Eugene Goossens was arrested by Australian customs for attempting to bring some 800 pornographic images into the country—many of them marked “SM” for “sex magick.” The ensuing investigation by officials was heavily detailed by the press. It destroyed Goossens’ career and further denigrated Rosaleen’s character.

Still Rosaleen continued on her own way—painting pictures, following her own religious beliefs, enjoying a varied and active sex life and even dropping LSD to “induce visionary states” to enhance her awareness as an artist.

It was this visionary aspect which was at the heart of Rosaleen’s art:

From an early age she had a remarkable capacity to explore the visionary depths of her subconscious mind, and the archetypal beings she encountered on those occasions became the focus of her art. It was only later that Roie was labelled a witch, was described as such in the popular press, and began to develop the persona which accompanied that description. As this process gathered momentum, Roie in turn became intent on trying to demonstrate that she had been born a witch. After all, she had somewhat pointed ears, small blue markings on her left knee, and also a long strand of flesh which hung from underneath her armpit to her waist - a variant on the extra nipple sometimes ascribed to witches in the Middle Ages.

~snip!~

Roie’s personal beliefs were a strange mix of magic, mythology and fantasy, but derived substantially from mystical experiences which, for her, were completely real. She was no theoretician. Part of her disdain for the public at large, I believe, derived from the fact that she felt she had access to a wondrous visionary universe - while most people lived lives that were narrow, bigoted, and based on fear. Roie was very much an adventurer - a free spirit - and she liked to fly through the worlds opened to her by her imagination.

Roie’s art reflected this. It was her main passion, her main reason for living. She had no career ambitions other than to reflect on the forces within her essential being, and to manifest these psychic and magical energies in the only way she knew how. As Roie’s older sister Cecily later told me, art was the very centre of her life, and Roie took great pride in the brief recognition she received when the English critic and landscape artist John Sackville-West described her in 1970 as one of Australia’s finest artists, alongside Norman Lindsay. It was praise from an unexpected quarter, and it heartened Roie considerably because she felt that at last someone had understood her art and had responded to it positively. All too often her critics had responded only to her outer veneer - the bizarre and often distorted persona created by the media - and this was not the ‘real’ Roie at all.

Today no one would I doubt if anyone would bat an eyelid at Rosaleen’s lifestyle or beliefs—which shows how much our world has evolved. This year marks the centenary of her birth which should bring a new assessment of her life and work and introduce a new generation to the artist behind Australia’s most notorious witch.
 
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‘Black Magic.’
 
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‘Self Portrait with Occult Animals and Symbols.’
 
More of Rosaleen’s art, after the jump….

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Posted by Paul Gallagher
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01.19.2017
02:32 pm
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Murder, death, KILL! Vintage horror pulp novels from the 60s, 70s, 80s and beyond
01.10.2017
08:36 am
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The cover of ‘Rock A Bye Baby.’ A horror novel from 1984 by prolific horror writer Stephen Gresham.
 
A huge tip of my hat goes out to the exhaustive blog Too Much Horror Fiction (is there such a thing? I think not) for inspiring this post. Curated by the self-described “neat, clean, shaved & sober” Will Errickson, the site has been cataloging and reviewing vintage horror novels since 2010. As a bonafide horror junkie, I’ll never understand how I didn’t know about this site until today. If you’re a horror nerd like I am and were perhaps not hip to Errickson’s dedication to the books that helped shape our youth, then welcome to your new Internet time-killer. Zing!

I’m sure a few of the books I’ve featured in this post will be familiar to you—such as the cover of the 1976 book The Fury which was the basis for Brian De Palma’s 1978 film of the same name starring Kirk Douglas, John Cassavetes and Amy Irving. I’ve also included a few H.P. Lovecraft paperbacks featuring fantastic cover artwork that will bring you right back to those times you spent spinning those revolving metal book racks around hoping to find a cover repulsive enough to freak your parents out with. If this post gets you pining away for this kind of vintage goodness then you’re in luck as many of these books can still be found on auction sites such as eBay and Etsy. Some of the artwork that follows is slightly NSFW.
 

The 1976 cover of a reprint of the novel by Jack Finney ‘Invasion of the Body Snatchers.’ Finney original penned the book, which has been adapted into several notable films, in 1955.
 

‘Evil Way,’ 1990.
 
More macabre book covers after the jump…

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Posted by Cherrybomb
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01.10.2017
08:36 am
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That time Elvira & ‘Ralph Malph’ (dressed up like Gene Simmons) were on ‘CHiPs’
01.05.2017
09:58 am
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Erik Estrada as ‘Officer Frank Poncherello’ (AKA “Ponch”) and Donnie Most in character as ‘Moloch’ from the ‘CHiPs’ episode ‘Rock Devil Rock’ that aired on October 31st, 1982. 
 
Like many of you, I spent much of my youth just like the character of “Mike Teavee” from the 1971 film Willy Wonka and the Chocolate Factory did—watching a ridiculous amount of prime time televison programming. What’s especially fun about reflecting back on many of those shows are the occasional appearances of rock and roll luminaries like Suzi Quatro jamming with her fictional band on Happy Days as the awesome “Leather Tuscadero,” Debbie Harry canoodling with Kermit on The Muppet Show, or Plasmatics powerhouse Wendy O. Williams and her Emmy-worthy performance as the ass-kicking “Big Mama” on an episode of MacGyver (“Harry’s Will”). Today I’ve got something that transcends all that as it involves actor Donnie Most who played “Ralph Malph” on the aforementioned Happy Days and his appearance on the goofy TV cop drama based on the California Highway Patrol CHiPs playing “Moloch.” Moloch was a satanic mashup of Gene Simmons and King Diamond in full makeup, clad in red spandex and a fucking cape. And he was played by Ralph Malph of all people!

If you’ve never seen this episode of CHiPs (which is completely understandable) you are in for a treat as it also features Cassandra Peterson all dolled up like her gothy alter-ego Elvira and get this—current Metallica bassist Robert Trujillo (who was only eighteen at the time) playing a character called “Flippy.” Flippy! I’ve included a few images of Mr. Most getting into character as well as some faux concert footage and an amusing Moloch “video shoot” that must be seen to be believed. If you need another reason to watch then here it is—Donnie “I still got it!” Most provided his own vocals for the song “Devil Take Me.” Fuck yes. You can watch the entire episode on iTunes for three bucks and it’s worth every goddamned penny.
 

 

 
More ‘Moloch’ after the jump…

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Posted by Cherrybomb
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01.05.2017
09:58 am
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‘What’s The Matter With Helen?’ (or remembering Debbie Reynolds the DM way!)
01.03.2017
02:09 pm
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Okay, where do I begin?

First my respects to the amazing and kooky Miss Debbie Reynolds, a great and truly iconic Hollywood star.

Although most obituaries chose to skip over this (in every sense of the word) incredible moment in Reynolds’ career, What’s the Matter with Helen? is definitely worth a look. The film was directed by the bizarre Curtis Harrington, who began and ended his career by making the same short film version of Edgar Allen Poe’s The Fall of the House of Usher. The first when he was just sixteen years old in 1942, and the second at age 73 in 2000. Like Kenneth Anger, Harrington started making short experimental films in his teens in the 1940s. He befriended Anger and was featured in his 1954 film Inauguration of the Pleasure Dome playing Cesare, the Somnambulist. Harrington would later shoot Anger’s Puce Moment.

The young Curtis Harrington was a charter member of the Hollywood underground which revolved around people like Anger, witchy artist Marjorie Cameron (the subject of Harrington’s short film “The Wormwood Star”), silent movie actor Samson De Brier and other druggy, gender-bending, rule-breaking free thinkers. Satanists, homosexuals, witches, freaks, drag queens, artists, murderers, millionaires and bums, the whole gamut of Hollywood Babylon as we know it today long before things of the sort became popular in the sixties. In the 1950s this was as far underground as Hell itself. The most amazing part of this is, of course, that so many of the biggest stars of the day were enamoured with these people, had to have them at their parties and had different levels of social (and sexual) involvement that will provide facts, info and weird stories to obsess on for decades to come. Unlike Kenneth Anger, Curtis Harrington headed for the hills (Hollywood, that is), and had a decent career making mostly odd horror films (and TV shows like Dynasty) while continuing to do his short experimental art films. What’s The Matter With Helen? is one of the best of his feature films.
 
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By 1971 there was a already an established trend in Hollywood horror films, dubbed the “Grande Dame Guignol Cinema,” it’s something that has also been called the “hagsploitation” or “psycho-biddy” genre. I refer to films like What Ever Happened to Baby Jane?, Hush… Hush, Sweet Charlotte and What Ever Happened to Aunt Alice?. Although Billy Wilder’s Sunset Boulevard could technically be said to be the first, the advent of the hag genre exploded of course with Whatever Happened to Baby Jane? starring the aging Bette Davis and Joan Crawford letting their hair (and their faces) down. Way down. Which was the entire professional requirement other than being a former leading lady. Since Curtis Harrington knew so many big stars from the 1930s and 40s who were growing into their fifties and wondering what to do with their careers, he made a few hagsploitation movies himself.
 
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Another thing Curtis Harrington had in his pocket by 1971 was his choice of the cream of the crop of old Hollywood’s wildest, weirdest and campiest actors, as well as some of new Hollywood’s most annoying child freaks, especially since the plot of What’s The Matter With Helen? included Reynolds playing a children’s tap dance teacher in 1930’s Hollywood. So many cheese-eating hamster hambones in this one.
 

 
To quote Shelley Winters:

It’s about two women during the thirties who run a school to turn out Shirley Temples, and in my next scene I have to stab Debbie Reynolds to death. Poor Debbie — they’d better not give me a real knife.”

Harrington’s cream of the crop, being the eccentric that he was, was just incredible. A who’s who of a pop culture obsessive’s dreams. On the top end of What’s The Matter With Helen?‘s credits we have, of course, Reynolds, Winters and future McCloud actor Dennis Weaver joined by the very old time super actor Michael Mac Liammóir (whose name had at least three different spellings), described in a IMDB bio as:

... a theatrical giant who dominated Irish theatre for over 50 years. Actor, designer, playwright and brilliant raconteur he was very much his own creation. He cut an imposing figure under the spotlight and in real life dressed flamboyantly wearing full make-up at all times and a jet black hairpiece. When he died in 1978 aged 79 The Irish Times wrote that ‘Nobody can assess the contribution that Micheal MacLiammoir made to Irish theatre’....Sir John Gielgud commented “Designer, wit, linguist and boon companion as well as actor, he was a uniquely talented and delightful creature.”

 
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As What’s The Matter With Helen?‘s credits roll they further reveal a string of incredible characters: Agnes Moorehead (who had an unforgettable Hollywood career but is mostly remembered as Endora on Bewitched), wild fifties (very) bad girl Yvette Vickers (Attack of the Giant Leeches, Reform School Girl, Juvenile Jungle, Attack of the 50 Foot Woman, and more), and Timothy Carey (possibly the single most out there Hollywood actor in the history of film, who saved his money from movies like The Wild One, East of Eden, The Killing, Naked Gun, Rumble on the Docks, Poor White Trash/Bayou, Beach Blanket Bingo, Head and so many more, to make his masterpiece, The World’s Greatest Sinner with soundtrack by a young Frank Zappa. [Carey spent his later years going on TV talk shows and shooting a movie with his son Romeo called The Devil’s Gas about the importance of farting. Yes that’s what I said]. But beyond them, it also features Pamelyn Ferdin, the most annoying fingernails-on-the- blackboard child actress of the sixties and seventies (who turns up in odd films like The Christine Jorgensen Story and was seemingly on every TV show ever made back then such as My Three Sons, The Monkees, The Paul Lynde Show, Sigmund and the Sea Monsters and too many more to mention.)

What’s The Matter With Helen? was written by Henry Farrell who wrote both What Ever Happened to Baby Jane? and Hush…Hush, Sweet Charlotte (most of these Hollywood hag films had titles that were full sentences or questions) the plot concerns a Leopold and Loeb-type thrill murder committed by the sons of two women who are drawn together by these horrible events. Destroyed by the trial, the shame and being attacked mentally and physically, they decide to run away to Hollywood, where they can change their names, reinvent themselves and start all over. There are quite a few amazing twists and turns in the story, gory murders (even a few bunny murders, the shame!), plus beautiful and weird cinematography that make it worth seeing more than once.
 

 
The insanity of some of the goings on behind the camera are legendary and hilarious. At first they couldn’t find a big name star to take the lead, but Debbie Reynolds eventually took the role of Adele. To quote her biography Unsinkable:

Eventually, Debbie Reynolds took the role of Adelle. She had a contract with NBC to be an uncredited producer of a film, so she chose this, taking no salary. “They put up $750,000 and hired Marty Ransohoff to be on the set, but I actually produced it.”

Incredibly—or not so incredibly considering who we’re talking about—Shelley Winters was in the middle of a nervous breakdown:

According to Reynolds, Winters’ psychiatrist advised her not to portray “a woman having a nervous breakdown because she was having a nervous breakdown! But nobody knew that, and so all through the film she drove all of us insane! She became the person in the film.” Reynolds witnessed Winters’s questionable mental status off of the set. The two had been friends many years before, and Reynolds offered to chauffeur Winters to and from the set. “I was driving one morning on Santa Monica Boulevard and ahead of me was a woman, wearing only a nightgown, trying to flag down a ride,” recalled Reynolds. It was Winters, who claimed, “I thought I was late.” According to a Los Angeles Times article published while the film was in production, Winters was so difficult on the set that the studio threatened to replace her with Geraldine Page.

More after the jump…

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Posted by Howie Pyro
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01.03.2017
02:09 pm
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Beautiful paintings of witches, myths and devilish temptation
12.22.2016
10:45 am
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‘Witch and Cat’ (1893).
 
Let’s dig the scene.

It’s the late 1800s—the fin de siecle. Art is all Symbolism and Decadence. You’re an artist. You hang with your buddies. They’re artists too. You all think art is something more than just sex and illustration or mere surface and image. You think art is a form of magic. Artists can change reality with colors. You create pictures that express something of your experience—something from your soul.

You and your buddies have your own little club. It’s a secret brotherhood. You call yourselves Les Nabis—a Hebrew word for “prophet” or “seer.” You think of yourselves as magicians. You dabble in magic and theosophy. You talk about ideas and seek a shared philosophy—some common purpose. You create your own Nabi language and practice arcane rituals. You carry a sceptre made from the snake of wisdom and a pentagram for the occult. You kick off your secret get togethers with a neat little mantra:

Sounds, colors, and words have a miraculously expressive power beyond all representation and even beyond the literal meaning of the words.

That’s your scene.

You are Paul Ranson (1864-1909)—a French artist who takes his lead from Paul Gauguin, mysticism, the occult and spirituality. Les Nabis—the artists you hang with include Pierre Bonnard, Édouard Vuillard, Maurice Denis and the group’s founder Paul Sérusier. You’re a bunch of hipsters—pretentious hipsters—but you don’t care. You have this shared belief that a picture only has meaning:

...when it possessed style.That is to say when the artist had succeeded in changing the shape of the objects he was looking at and imposing on them contours or a color that expressed his own personality.

This is what you think of as magic—personal magic.

In some respects Les Nabis anticipated the Fauves, a little Art Deco and more directly Abstract Expressionism—with its emphasis on the artist’s experience expressed through the abstract. Ranson held the society’s meetings at his studio—which he called The Temple. All this ritual and faux language and holding to strange occult and mystical beliefs was an attempt to big up the group’s reputation. They really didn’t need to as the art was good enough to stand and fall on its own merits. However, the cross pollination of ideas from the occult and the quasi-mystical did inspire Paul Ranson to create some very beautiful paintings of witches, mythic beasts, fauns, devils, and religious allegory—Eve, the temptation of Saint Anthony—which are still as magical today.
 
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‘Witches in Saturnalia’ (1891).
 
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‘Witch in her Circle’ (1892).
 
More of Ranson’s fabulous beasts to be found, after the jump….

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Posted by Paul Gallagher
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12.22.2016
10:45 am
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Weird monsters of Japanese folklore
12.09.2016
12:14 pm
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Ubagabi—the ghost of an old woman that appears as fireball.
 
There’s an ancient Japanese legend of the one hundred yōkai—monsters, ghosts, apparitions and demons—who parade through the streets on hot summer nights. If anyone is unfortunate to see these creatures—or to be caught up in it—then they will perish away or worse be taken captive for the twisted pleasure.

If you’ve ever watched the enjoyable trilogy of movies Yokai MonstersOne Hundred Monsters (1968), Spook Warfare (1968), and Along With Ghosts (1969)—then you’ll have a good idea what these demons look like—ogres, goblins, ghosts, sprites, spooky umbrellas and dangerous women with ever-extending serpentine necks.

All of these incredible monsters have long been a part of Japanese folklore. They were first codified in the supernatural bestiary—Gazu Hyakki Yagyō (The Illustrated Night Parade of a Hundred Demons) by artist and scholar Toriyama Sekien in 1776. It’s a kind of fabulously illustrated Fantastic Beasts and Where to Find Them but far, far more beautiful and eerie.

In 1881, artist Nabeta Gyokuei updated this incredible volume when he produced a picture book or e-hon of Sekien’s 100 demons. The Kaibutsu Ehon or Illustrated Book of Monsters features beautiful woodblock prints of each of the yōkai and its special powers.

The whole book can be viewed here.
 
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Kasha—a fiery yōkai—or phantom-in this case a cat that steals or devours corpses.
 
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Aoi no Ue—fictional female character from ‘The Tale of Genji’ who is possessed by demons.
 
More fabulous monsters, demons and ghosts, after the jump…

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Posted by Paul Gallagher
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12.09.2016
12:14 pm
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Psychedelic Blasphemy! Diabolical art curated by the High Priest of the Church of Satan
12.09.2016
10:14 am
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Orlon Borloff, untitled collage
 
Last spring, Dangerous Minds told you about “The Devil’s Reign,” a traveling exhibit (and its companion book) of Satanic art curated by Peter H. Gilmore, author of The Satanic Scriptures, and the High Priest of the Church of Satan for fifteen years. The exhibit endeavored to explore expressions of the diabolical from many cultures, though it mostly focused on ancient deities that were repurposed as devils and demons by Christianity, and, as that’s a pretty damned (haha) fertile artistic field to harvest, a second book has been published. The Devil’s Reign II: Psychedelic Blasphemy, as the title implies, focuses on trippy and surreal expressions of the profane, as Gilmore writes in his introduction:

Blasphemy is a conscious act of rejection, showing contempt for or derision of established sacred icons. Typically it is directed at objects, people, and concepts placed on pedestals by religions. As secularism has grown, one may also deem irreverence and disgust for things held above criticism by herd culture as today’s implementation of that idea. When we dismiss what by consensus is held to be inviolable, we are blasphemers.

The 1960s spawned a movement whose intent was the expansion of the mind through the use of mind altering substances as well as meditation or sensory stimulation/deprivation techniques. Shattering what had been prior paradigms, exponents of this “counter-culture” employed non-Western sources for inspiration in creating music and visual art as a means for sharing their own inner-explorations, often fueled by drug-induced “trips.” The art in particular was characterized by bright colors, complex geometric patterning, and often employed cartoon-derived stylization to emphasize heightened sensibilities and new juxtapositions of images that embraced surrealism.

The follow-up book, like the first, is limited to 666 copies, and both are available from Howl Books, an imprint run by Florida-based tattoo artist and gallerist Andy Howl. Dangerous Minds has graciously been permitted by Howl to share a selection of images.
 

Ian Bederman, “Mushroom Cave”
 

Ramon Maiden, “Hell’s Messenger”
 
More after the jump…

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Posted by Ron Kretsch
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12.09.2016
10:14 am
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‘Aleister & Adolf’: Douglas Rushkoff on his new graphic novel, Crowley and magical warfare
12.08.2016
10:46 am
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Aleister & Adolf is a new graphic novel from Dark Horse Comics, the product of the creative pairing of media theorist Douglas Rushkoff—Professor of Media Studies at Queens College in New York—and and award-winning illustrator Michael Avon Oeming.

In Aleister & Adolf the reader is taken behind the scenes of the capitalist spectacle and inside the boardrooms where corporate-occult marketing departments employ fascist sigil magick developed by the Nazis during WWII in today’s advertising logos. A place where the war for men’s minds is waged with symbols and catchy slogans. It’s a fun smart read and you’ll be much smarter after you’ve read it, trust me. And Oeming’s crisp B&W artwork is perfectly suited for getting across some often difficult and tricky philosophical concepts. He’s a unique talent indeed.

Rushkoff recently told AV Club:

“Swastikas and other sigil logos become the corporate logos of our world. And given that we’re living in a moment where those logos are migrating online where they can move on their own, it’s kind of important that we consider the origins and power of these icons.”

Grant Morrison even wrote the introduction to Aleister & Adolf. I mean, how can you lose with something like this?

I asked Douglas Rushkoff a few questions via email:

Dangerous Minds: Where did you find the inspiration for Aleister & Adolf?

Douglas Rushkoff: It’s almost easier to ask where didn’t I find inspiration for Aleister & Adolf. The moment it occurred to me was when I was in an editorial meeting at DC/Vertigo about my comic book Testament, back in 2005. The editor warned me that there was an arcane house rule against having Jesus Christ and a Superhero in the same panel. Not that I was going to get to Jesus in my story, but the rule got me thinking about other potentially blasphemous superhero/supervillain pairings. And that’s when I first got to wondering about Aleister Crowley vs. Adolf Hitler.

But as I considered the possibility, it occurred to me that they were practicing competing forms of magic at the same time. And then I began to do the research, and learned that the premise of my story was true: Aleister Crowley performed counter-sigils to Hitler’s. Crowley came up with the V for Victory sigil that Churchill used to flash—and got it to him through Ian Fleming (the James Bond author) who was MI5 at the time.

I’ve always wanted to do something about Crowley, but I’ve been afraid for a bunch of reasons. Making him something of a war hero, and contrasting him with a true villain like Hitler, became a way to depict him as something more dimensional than “the Beast.”

Did you think of the ending first? It’s a bit like a punchline, isn’t it?

Douglas Rushkoff: I didn’t think of the ending first. The first thing I thought of was to have a young American military photographer get sent to enlist Crowley in the magical effort. I wanted us to see the story through someone like us—someone more cynical, perhaps—and then get to have the vicarious thrill of being drawn into Crowley’s world.

Then, I decided I needed a framing story - just to show how relevant all this creation of sigils is to our world today. So I created a prologue for the story, that takes place in a modern advertising agency: the place where the equivalent of sigil magic is practiced today. I wanted to set the telling of the story within the frame of how corporate sigils are taking life on the Internet today. So the outer frame takes place in the mid-90’s, when the net was being turned over to marketers. The ending is pretty well broadcast up front.
 

 
Aleister & Adolph reminds me a lot of Robert Anton Wilson’s Masks of the Illuminatus—which I think is his best book—because it sort of forces its ideas into the reader’s head like an earworm that you can’t resist. Also Crowley is a character in that book, too, of course. Do you see it as a bit of a RAW homage?

Douglas Rushkoff: It’s a RAW homage in that the story has verisimilitude—it is told in a way where it’s absolutely possible for this all to happen. There’s no supernatural magic here; it’s just the magick of Will. There’s the black magic of the Nazis. But however extreme the Nazis, it was real. It’s got the reality quotient of Eyes Wide Shut or Apocalypse Now.

And that’s the understanding of sigil magic I got from Bob. It’s all very normal. That doesn’t mean it doesn’t work. Just that you have to participate in its perception. It’s just a different way of understanding the connections. So while the protagonist of the story starts off as a disillusioned atheist and ends up believing in magick as Magic, even Crowley (at least my Crowley) tries to convince him not to take it so literally.

I wouldn’t understand magick that way if it weren’t for Bob. It’s embedded in the fabric of reality. It doesn’t need to break the rules of reality to work. 
 

 
Are you aware of a recent trend among some alt-right types to organize acts of group 4Chan “meme magick”? Some of it’s just blatant harassment and bullying over Twitter, but there’s actually a sophisticated intent behind some of it. Pepe the Frog has become a hypersigil. I’m not being admiring of it—the idea that certain reichwingers would want start a magical war via social media is alarming to say the least—but the concept is a sound one magically speaking: They’ve figured out how to amplify their signal’s strength like a radio transmitter.

Douglas Rushkoff: There’s a real crossover between the alt-right and the occult. I knew a guy writing a book about it, in fact. And remember, it was one of Bush’s advisors who once explained that the future is something you create. And there’s an any-means-necessary quality to libertarianism that is consonant with chaos magic.

Plus, you’re talking about homespun propagandists inhabiting the comments sections of blogs and things. They’re not reading Bernays and Lippman. They’re waging hand-to-hand battle in the ideological trenches. A bit of NLP, rhetoric, and magic are what you turn to.

The interesting thing here is why the left does not use these techniques. It goes against our sense of what is fair. We know we’re “right” and so we want to win with the fact. Sigil magic feels like cheating on some level. So we have to ask ourselves, isn’t the full expression of our Will something we want to unleash? If not, why not?

This isn’t the freethinking/pansexual “Generation Hex” types who seemed to be on the horizon a few years ago, but rather like an evil skinheads contingent at Hogwart’s.

Douglas Rushkoff: Alas it is not. That’s partly because the freethinking pansexuals got a bit distracted by other things. And most of them worked alone. I don’t think there were nearly as many, either. That’s pretty rarified air. Back in the 80’s, there were more kids taking acid in the parking lot at AC/DC concerts than there were in the dorms of Reid College. And likewise - as a result of economics as much as anything - there’s more gamergaters throwing sigils online than Bernie Sanders supporters. Sometimes magic gets in the hands of people you’d rather not find it.
 

Photo of Douglas Rushkoff by Jeff Newelt

Posted by Richard Metzger
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12.08.2016
10:46 am
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This web oracle cuts up text and audio of William S. Burroughs’ ‘Naked Lunch’
12.08.2016
09:56 am
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Collage by William S. Burroughs and Brion Gysin, c. 1965 (via Print)
 
What’s that, friend? You say you’d like to consult the I Ching, but it doesn’t have enough erotic hangings, aftosa infections, hot shots, or horrible “schlupping” sounds to speak to your personal situation? Well, the internet might have fucked up a few other things you could name, but it’s “got your six” this time.

Every time you visit this page, it displays 23 randomly selected paragraphs from William S. Burroughs’ Naked Lunch. Press the “play” button at the top and you’ll also hear Burroughs read 23 randomly selected sentences from the novel. Here’s what the oracle just told me:

1 “Don’t look so frightened, young man. Just a professional joke. To say treatment is symptomatic means there is none, except to make the patient feel as comfortable as possible. And that is precisely what we attempt to do in these cases.” Once again Carl felt the impact of that cold interest on his face. “That is to say reassurance when reassurance is necessary… and, of course, suitable outlets with other individuals of similar tendencies. No isolation is indicated… the condition is no more directly contagious than cancer. Cancer, my first love,” the doctor’s voice receded. He seemed actually to have gone away through an invisible door leaving his empty body sitting there at the desk.

2 “They say somebody pushed him.”

3 The boy shied. His street-boy face, torn with black scars of junk, retained a wild, broken innocence; shy animals peering out through grey arabesques of terror.

4 “‘Doc, she sure is a dry hole…. Well, thanks for the paregoric.

5 “Brilliant chap Schafer… but…”

6 “Jesus! These ID’s got no class to them.”

7 “And I say unto you, brothers and sisters of the Anti-Fluoride movement, we have this day struck such a blow for purity as will never call a retreat…. Out, I say, with the filthy foreign fluorides! We will sweep this fair land sweet and clean as a young boy’s tensed Hank. …I will now lead you in our theme song The Old Oaken Bucket.”

8 “We sure did. And you know those citizens were so loaded on that marijuana they all wig inna middle of the banquet…. Me, I just had bread and milk… ulcers you know.”

9 The Embassy would give no details other than place of burial in the American Cemetery….

10 CAMPUS OF INTERZONE UNIVERSITY

11 “Oh say do that Star Spangled Banner yet wave…”

12 The old junky has found a vein… blood blossoms in the dropper like a Chinese flower… he push home the heroin and the boy who jacked off fifty years ago shine immaculate through the ravaged flesh, fill the outhouse with the sweet nutty smell of young male lust….

13 “Know Marty Steel?” Diddle.

14 Marvie does buy himself a shot glass of beer, squeezing a blackened coin out of his fly onto the table. “Keep the change.” The waiter sweeps the coin into a dust pan, he spits on the table and walks away.

15 All streets of the City slope down between deepen-ing canyons to a vast, kidney-shaped plaza full of darkness. Walls of street and plaza are perforated by dwelling cubicles and cafes, some a few feet deep, others extending out of sight in a network of rooms and corridors.

16 He paces around the boy like an aroused tom cat.

17 “With that milk sugar shit? Junk is a one-way street. No U-turn. You can’t go back no more.”

18 “Just two seconds,” I said.

19 “So long flatfoot!” I yell, giving the fruit his B production. I look into the fruit’s eyes, take in the white teeth, the Florida tan, the two hundred dollar sharkskin suit, the button-down Brooks Brothers shirt and carrying The News as a prop. “Only thing I read is Little Abner.”

20 Pigs rush up and the Prof. pours buckets of pearls into a trough….

21 Hauser had been eating breakfast when the Lieutenant called: “I want you and your partner to pick up a man named Lee, William Lee, on your way downtown. He’s in the Hotel Lamprey. 103 just off B way.”

22 “And all them junkies sitting around in the lotus posture spitting on the ground and waiting on The Man.

23 More and more static at the Drug Store, mutterings of control like a telephone off the hook… Spent all day until 8 P.M. to score for two boxes of Eukodol….

 
More after the jump…

READ ON
Posted by Oliver Hall
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12.08.2016
09:56 am
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Marc Almond sings Aleister Crowley
12.06.2016
02:57 pm
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Since I have already weighed in on the monumentally brilliant new 10 CD Marc Almond box set Trials of Eyeliner: Anthology 1979-2016 (spoiler: I loved it) I will just direct you to that, but I do want to say that several weeks later I am still deeply into it. If you are looking for something new to give your full attention to—especially if you’re a fan of, say Nick Cave or Scott Walker—then Trials of Eyeliner is the high quality rock snob box set of this Xmas season, hands down. Anyone picking it up who is barely familiar with Almond’s non-“Tainted Love” career is surely in for something… profound. As a long, longtime major major Marc Almond fan, I would almost envy the discovery of his genius via this one fabulous package and not doled out over the decades.

It’s 10 CDs and you can find it for around $75 on Amazon. It would still be a bargain at twice the price. I can’t say enough good things about it.
 

 
Anyway, when I posted about Trials of Eyeliner last month, there was one thing on it that I wanted to hold back on, and present later on its own to call your attention to it especially. One of the “deep cuts”—indeed one of the very deepest cuts of all—is Almond’s emphatic performance of one of the only songs known to have been composed (in this case co-written) by the Great Beast hisself, Mister Aleister Crowley.

The sheet music for this song, referred to in a footnote, was thought to have remained unpublished and lost. None of the major Crowley collections throughout the world had a copy, but in 1991, a copy was discovered.
 

 
“The Tango Song” was written by Aleister Crowley and set to music by Bernard Page. It’s a musical adaptation of Crowley’s poem “The Tango,” first published in The Equinox Vol I, No 9 in March of 1913 as part of a short play co-written by Crowley and Mary D’Este (the mother of the great madcap Hollywood film director Preston Sturges):

What is money to the bliss
Of the honey of a kiss?
What are rank and fame and fashion
To the ecstasy of passion?

Chorus:
Give me dancing!
Give me wine!
Bright eyes glancing—-
Yours in mine!
Kisses sucking
Up my breath—-
Give me passion!
Give me death!

Were the town of Paris mine,
Its renown should drown in wine
I would pay the land of France
For a day and night of dance.

Dreams entrancing float above
Music, dancing, wine and love.
Sober sinks the sobbing breath;
Smiles the sphinx of sleep and death.

More after the jump…

READ ON
Posted by Richard Metzger
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12.06.2016
02:57 pm
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