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Sex, Satan and surrealism: The unsettling erotica of Michael Hutter
07.24.2017
10:41 am
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“The Weight of the Head and Heart.” A painting by German artist Michael Hutter.
 
German artist Michael Hutter‘s fantasy-based paintings are distinctly reminiscent of Hieronymus Bosch. Filled with imagery associated with the occult or perhaps demons doing their time in purgatory, Hutter’s work is utterly mesmerizing.

Sex, death, erotica and science fiction scenarios run amock in Hutter’s work which the artist says is inspired by the “logic of dreams.” He has also been inspired by the fictional city of “Carcosa,” the mystical port dreamed up by Ambrose Bierce in his 1886 short story “An Inhabitant of Carcosa.” In 1895 author Robert W. Chambers published a book full of horror short stories called The King in Yellow which referenced Carcosa and other aspects of Bierce’s work. Later H.P. Lovecraft would incorporate Carcosa into his various Cthulhu mythos tales. Even George R. R. Martin got in on the supernatural fun when he named a city Carcosa (noted on an intricate map) in his book series A Song of Ice and Fire. Now that you have some perspective on all that, and how his art is part of this cool Carcosa continuum, here’s more from Hutter on the basis for his surreal, often sexually charged artwork: 

“I don’t care for reality or the probability that something is true, only for its potential to stimulate my thought. In my opinion, the truth is somehow an illusion anyway. I mix that with my obsession, passions, desires, and fears and choke what happens in the abyss of my personality back on the surface.”

Hutter has also applied his considerable artistic skills to photography using digital manipulation to bring some of his chilling witches and demon-like characters to life. The images that follow are NSFW.
 

“The Cuckold.”
 

“Alien Sex.”
 
More after the jump…

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Posted by Cherrybomb
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07.24.2017
10:41 am
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Doctor Faust’s handy guide to conjuring up demons
07.14.2017
10:39 am
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The story of Doctor Johann Georg Faust is better known through literature and legend than by the few existing facts which document his life. Even his birth date is an estimate ranging from 1466 to 1480, which covers two broken mirrors’ worth of supposition. Anyway, what little is known can be roughly put down thus:

Faust was a scholar and a Doctor of Philosophy. He was an itinerant alchemist, astrologer, magician, and occultist. He performed magic tricks in shows and wrote horoscopes on commission. During his life, he was variously described as a trickster, a fraud, and a con man—-mainly due to customers dissatisfied with their horoscopes. He was denounced by the Church as being “in league with the Devil,” a necromancer, a practitioner of Black Magic, and a “sodomite” who corrupted and abused his students. This latter accusation almost led to his arrest and imprisonment.

He wrote several grimoires and chapbooks, including the chapbook featured here Praxis Magia Faustiana (1527) in which he described how to conjure up demons like “Mephistopheles.” This was the very first time the name “Mephistopheles” was ever documented. According to legend, Mephistopheles was the demon to whom Faust sold his soul in return for unlimited knowledge and wealth. We don’t what exactly happened when Faust “conjured” up this demon, we do, however, have Faust’s description of him as one of the Seven Great Princes of Hell who:

...stands under the planet Jupiter, his regent is named Zadikel, an enthroned angel of holy Jehovah…his form is firstly that of a fiery bear, the other and fairer appearance is as of a little man with a black cape and a bald head.

Doesn’t sound so terribly demonic, does it?

Faust did have some fans—including one bishop who considered his astrological work very convincing and some academics who praised his medical knowledge. But generally, he was greatly feared and was banished from Ingolstadt in 1528. Faust died in an explosion during an alchemical experiment circa 1541. His body was hideously scarred. This gave rise to the legend he had died during a conjuring rite and the Devil had sent his emissary Mephistopheles to bring Faust’s soul to Hell.

Faust’s chapbooks provided the source material for Christopher Marlowe‘s play The Tragical History of the Life and Death of Doctor Faustus (circa 1588), in particular the following volume that first detailed Faust’s dealing with the tricky Mephisopheles.

The text opens with a long list of the names of angels and demons before invoking the “Spirit by the power and virtue of the letters which I have inscribed - do I command thee to give me a sign of thy arrival.”

Then more names:

Larabay + Belion + Sonor + Soraman + Bliar + Sonor + Arotan + Niza + Raphael + Alazaman + Eman + Nazaman + Tedoyl + Teabicabal + Ruos, Acluaar + Iambala + Cochim

Zebaman + Sehemath + Egibut + Philomel + Gazaman + Delet + Azatan + Uriel + Facal + Alazamant + Nisia + By the most sacred and holy mercy of God + Zeyhomann + Acluaas + Niza + Tachal + Neciel + Amatemach + Her somini +

By this I compel thee to appear unto me before this circle and to do what I command thee…

Before finishing:

Now do I conjure and command thee O Evil Spirit by the powers of Heaven and by the words of life…Mephistophilis and by the power off the words +Tetragram + Agla + Adonay + Amin

~Snip!~

Now I conjure thee to come from thy abode even from the farthest parts by these great and mighty names - Tetragrammaton - Adonai - Agla - and to appear before me receiving and executing my demands truly and without falsehood I command thee O Spirit Rumoar -, even by t[h]y great sovereign Lucifer.

A full transcript can be read here.
 
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More of Faust’s conjuring tricks, after the jump…

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Posted by Paul Gallagher
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07.14.2017
10:39 am
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Professor Hindu, the corpse-reviving sorcerer who was once Fela Kuti’s ‘spiritual advisor’
06.30.2017
09:08 am
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DJ Jumbo Vanrenen’s flyer from Professor Hindu’s London show, via thisisafrica.me
 
A few years ago, Suzanne Moore devoted a column in the New Statesman to her memories of a special event Fela Kuti once hosted in London. Inside a small club in Belsize Park, Fela’s favorite sorcerer, Professor Hindu, was slicing out his own tongue; out front, men were digging a grave. “Some poor guy had volunteered to be killed and resurrected,” she writes. After doing some card tricks, Professor Hindu slit the volunteer’s throat and buried him in the cold, cold ground.

Moore didn’t return for the Lazarus routine two days later, but she heard about it from wonderful Vivien Goldman (who published her own account in NME) long after the fact:

Not only had she been there, but she’d gone back to see the dead man raised. He’d jumped out of the grave in a suit all covered in earth and propositioned her. “Being buried alive makes you horny,” he exclaimed. That makes sense, when you think about it.

Fela’s death and resurrection show made its debut at his Lagos club, the Shrine, in May of ‘81. According to Michael E. Veal’s Fela: The Life and Times of an African Musical Icon, during Professor Hindu’s first engagement at the Shrine, the magician “reportedly hacked open one man’s throat and fatally shot another.” In both instances, the victims were revived after apparently spending days and nights buried in the ground.

Continues after the jump…

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Posted by Oliver Hall
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06.30.2017
09:08 am
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Occult paintings and mystical visions of female surrealist Ithell Colquhoun
06.21.2017
11:00 am
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Like the Abstract Expressionist movement that followed in its wake, Surrealism’s history has largely been written as a narrative of heroic transgressions committed by bad boys, which did no favors for the women involved in the movement. Even Surrealism’s most celebrated woman artists—Meret Oppenheim, whose “Breakfast in Fur” was the first objet acquired by MoMA, and Lee Miller, who moved on from Surrealism to become a celebrated photojournalist—are arguably as well or even better known as nude models for photos by Man Ray as for their own achievements.

Not only was that at work in ensuring that painter/poet Ithell Colquhoun remained an obscure figure, there’s her strong supernatural bent. Surrealism’s interest in automatism in writing and drawing was held in service of suppressing the discipline of the conscious mind in order to develop the unconscious, triggering creativity-enhancing states. But Colquhoun used Surrealism’s methods in service of Hermeticism. She sought not merely the unconscious, but the mystical and transcendent. This pursuit led to her ouster from the official English Surrealist group in 1940. She continued to paint, eschewing her early representational style in favor of increasing automatism, and she increased her involvement in the occult, participating in the Ordo Templi Orientis, and the Golden Dawn splinter group Stella Matutina.

Colquhoun’s biography and body of work merit far deeper exploration than I can offer here, and I’d strongly encourage anyone interested in Surrealism or esoteric art who don’t already know her to engage in that deep dive. The video at the very end of this post isn’t a terrible place to start. What concerns us today is a suite of her paintings and connected esoteric poetic writings called Decad of Intelligence. Based on an early Kabbalistic treatise known as the Sefer Yetzirah, the ten painting/writing pairs were created in 1978 and 1979, based on ten “Sephiroth,” aspects of infinity revealed in creation. The Decad has been published in full for the first time as an extraordinary set of prints and an accompanying book by Fulgur Limited, a UK publisher concerned with the intersections between the esoteric and visual art (if you’re familiar with Abraxas Journal, you know Fulgur). From Dr Amy Hale’s introduction:

A key to understanding the way in which the Decad was designed to work may be found in Colquhoun’s relationship to colour theory, in which she was interested from early in her formal arts training. In the 1930s she studied at the London atelier of Amédée Ozenfant, who spearheaded scientific colour theory in Britain, particularly concentrated on the effects of colour in architecture. Colquhoun’s own studies of colour theory were underpinned by her interest in the Golden Dawn magical system and reinforced for her the idea that colours hold the power to communicate both concrete and more ineffable spiritual principles. Similarly to the theories put forward by Kandinsky in his 1911 text Concerning the Spiritual in Art, Colquhoun believed that colours were themselves intelligences and gateways to other planes of existence.

The Decad of Intelligence…was designed to be a small book of ten enamel pieces, each depicting a different sephira, accompanied by a description of their properties. The enamel is thickly laid on the paper, and each piece is a colour study, encompassing the colours of each of the four colour scales of the Tree of Life. Her text is extremely regular in construction, and provides a list of of the correspondences of each sephira, including its location, corresponding part of the body, elemental and planetary associations, fragrances and flowers, alchemical associations, and the vision that the sephira is intended to inspire.

The prints in the folio are quite vivid, printed with metallic highlights that help to capture the essence of the enamel originals. The versions of the same works in the booklet are still quite nice, but less expensively printed, and the digital images we have to share with you resemble the latter more closely. They give you the idea quite well enough. Elements of the corresponding poems were derived from information found in Aleister Crowley’s Liber 777, and perhaps accordingly, the Decad of Intelligence is limited to 777 copies.
 

 
ABSOLUTE OR PERFECT INTELLIGENCE

Sphere of Mercury
Pillar of Water
Splendour a Hermaphrodite

Opal storax moly
Quicksilver mescal
Left foot navel
The names versicles and apron octagram
Zinc Venus as metal

Jackal of the west healer of plagues
Truthfulness angelic Sons of God
Analysis into Four Elements vision of splendour
 
More after the jump…

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Posted by Ron Kretsch
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06.21.2017
11:00 am
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‘I’m Always Thinking of You’: The Bruce Conner occult greeting card
06.16.2017
08:34 am
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‘I’m Always Thinking of You,’ greeting card by Bruce Conner, c. 1957 (via Dust-to-Digital)
 
Dust-to-Digital, the excellent reissue label behind last year’s Music of Morocco: Recorded by Paul Bowles, 1959, has reprinted this greeting card drawn by Bruce Conner some 60 years ago. It costs $5.

Like Harry Smith, Conner was employed by a bohemian greeting card company called Inkweed Studios (later The Haunted Inkbottle) during the ‘50s. Lionel and Joanne Ziprin—he a poet and Kabbalist, she a dancer, illustrator, and model—were its founders. The notes from Glenn Horowitz Bookseller’s 2011 exhibition of material from the Inkweed archives are full of fascinating details about the Ziprins, the artists they worked with, and the businesses they ran. While they do not seem to have made much of a dent in Hallmark’s monopoly, they gave Bruce Conner and other artists the greatest gift of all: cash.

Inkweed offered itself as a launching pad for a handful of equally ambitious and talented artists, several of whom found their first paying commercial jobs with the company. These include polymath artists Harry Smith and Jordan Belson, painter and filmmaker Bruce Conner, and illustrators Barbara Remington and William Mohr. Smith’s instantly recognizable geometric designs were used for a series of hand screened Christmas cards, which echoed the artist’s famed series of drawings and collotypes inspired by Kabbalistic themes. Their most prodigious collaborator, however, was Conner, who met the Ziprins on a visit to New York in 1951. While studying art at Wichita University and the University of Nebraska, Conner regularly sent The Ziprins card concepts, alongside completed linoleum cuts and meticulous printing instructions. Conner’s work for the Ziprins—inspired by the two-dimensional, alien forms of painter Paul Klee and the absurdum ad infinitum ethos of Dada and Beat—infused Inkweed with a heavy dose of subversive wit and black humor. Conner’s vision inspired the Ziprins to take greater risk in their own designs, expanding the parameters of what the company could and would soon become.

After the jump. Conner’s video for “Mea Culpa” from Brian Eno and David Byrne’s ‘My Life in the Bush of Ghosts’...

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Posted by Oliver Hall
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06.16.2017
08:34 am
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‘Cook What Thou Wilt’ with these Aleister Crowley-themed kitchen utensils
06.02.2017
09:35 am
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Facing boredom in your food-life? Ever wondered what it takes to become “Wickedest Chef In The World”? Then why not try spicing up your culinary time—as well as your kitchen decor—with these Aleister Crowley-themed cooking utensils?

Sprung from the mind and will of Sheffield-based visual artist Stuart Faulkner, these hand-tooled (and strictly limited edition) sets of kitchenware are available to buy from the website of occult gift shop Airy Fairy, or directly from the artist himself at his website stuartfaulkner.com.

The spoons cost just a measly £6.66 (what else?) and the chopping board can be yours for only £23.

I myself am looking forward to getting stuck into Cook Of The Law, a compendium of The Great Beast’s favorite recipes which (rumor has it) was dictated by his spirit to the second most evil Brit of modern times, Gordon Ramsey…

Posted by Niall O'Conghaile
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06.02.2017
09:35 am
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Woodcuts of Witches, Wizards and Devils
05.09.2017
10:46 am
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Well, here’s something you don’t see every day in real life: Witches with animal heads flying on broomsticks. Fuck. Why did all the good stuff happen before iPhones were around to capture it….? Or, is it just strange, nay fantastically unbelievable, that witches with animal heads ever flew around on broomsticks?

Now, once upon a time, long, long ago in a land not so very far from here, people actually did believe in witches and warlocks and wizards and animal hybrids flying with broomsticks through the devil-dark night. It was a form of mental aberration that infected the whole of Europe between the 15th and 17th centuries.

This dreadful fear of witches began with a couple of Dominican monks, Heinrich Kramer and Jacob Sprenger, who together wrote a barmy treatise on witchcraft called Malleus Maleficarum (Hammer of Witches) in 1486. This book reinvented witchcraft and the devil as something more than just “delusions,” as had once been believed, into something solid, active, real, and very, very dangerous. Unsurprisingly, it was a bestseller for some 200 years.

According to the Malleus Maleficarum the world was literally hoaching with witches and the only way to defeat them was by the worst kind of torture and execution. This treatise received Pope Innocent VIII’s blessing. He had already given Kramer a Papal Bull Summis desiderantes affectibus in 1484 which approved his “inquisition” into all reports and suspicions of witchcraft. This Papal Bull was included in the Malleus Maleficarum as part of the book’s preface, which meant that misogyny was not only acceptable but actively encouraged.

And so it began two centuries of terror and torture and mass stupidity.
 
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The great thing about witchcraft is that anyone could be accused of it. The accuser never had to prove the veracity of their statement. The accused always had to prove their innocence. But this usually meant forfeiting their lives. You see, innocence was often proven by use of a variation of the ducking stool—a device once used for scolds and prostitutes—whereby a woman believed to be a witch would be tied to a rope and thrown into a river or a pond. If the woman sank and drowned—then she was innocent. Hurrah! If she floated and lived, well hell, she’s a witch and must be burnt at the stake.

Usually, it never came to this, as most women ‘fessed up after hours or days of relentless torture and were then executed. Oftentimes, these women would name their accusers (or others they didn’t like) as also being witches and in league with the devil. And so it went, more and more women were questioned, tortured, and executed.

Stupidity does not discriminate—which explains why the hysteria over witchcraft was surprisingly flamed by the rise in literacy. The mass publication of pamphlets, news sheets, and books saw a great demand for stories “true” and fictional about witches and witchcraft. These stories were exceedingly popular and were spread in posters across the land like a virus. In every village and town, these reports on the occult would be read aloud wherever they were posted. The literate read the stories. The illiterate spread the tales word-of-mouth. The most potent part of these documents were the woodcuts which depicted the women (and some men) who were in league with the Devil and using witchcraft to spread his nasty ill-will throughout the land.

One of the earliest of these illustrated pamphlets was A Rehearsall both Straung and True, of Hainous and Horrible Actes Committed by Elizabeth Stile, alias Rockingham, Mother Dutten, Mother Deuell, Mother Margaret, Fower Notorious Witches first published in 1579. This booklet told the story of Elizabeth Stile, a 65-year-old widow and beggar who was accused of witchcraft and cavorting with three other witches Mother Margaret, Mother Dutten and Mother Devell, and a man called Father Rosimunde, who could (allegedly) transform himself “into the shape and likenesse of any beaste whatsoever he will.” Nice trick. Bet he never had to buy a round at the local inn.

It wasn’t just the lowly peasantry or working class who believed in such stories but the very highest members of the establishment. The first king to unify the nations of England and Scotland as King James I wrote a treatise on witchcraft Daemonologie based on his own personal involvement in the infamous North Berwick witch trials of 1590. King James believed that most women were “detestable slaves of the Devil, the Witches or enchanters” and he personally took part in the interrogation of those accused of witchcraft.

Many of these women were just dear old ladies who had lost their husbands or were destitute and had become victims to the unwelcome focus of a someone’s ire. As Jon Crabb notes on the Publlic Domain Review, it was from such poor women came the image of the “old crone” which was then promoted through books like The Wonderful Discoverie of the Witchcrafts of Margaret and Phillip Flower, Daughters of Joan Flower neere Beuer Castle (1619), A Most Certain, Strange and True Discovery of a Witch (1643) and The History of Witches and Wizards: Giving a True Account of All Their Tryals in England, Scotland, Sweedland, France, and New England (1700). It is this image of a witch as depicted in woodcuts that is still the most prevalent depiction of a witch used today.
 
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An early though hugely influential depiction of a witch from ‘A Most Certain, Strange and True Discovery of a Witch’ (1643).
 
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Witches cooking up trouble.
 
More weird and wonderful woodcuts of witches and alike, after the jump….

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Posted by Paul Gallagher
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05.09.2017
10:46 am
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The Son of Satan: That time Marvel Comics got into the Antichrist
05.02.2017
11:06 am
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Three little words can change everything. Think of all the times you’ve said “I love you,” or “I hate you,” or even just asked “How are you?” and then experienced the sometimes dramatic or emotional events that followed.

On April 8, 1966, TIME published three little words on the cover of its magazine that changed lots of things: “Is God Dead?”

No one knew the answer to this question for sure but in a growing secular world, it seemed at least a very real possibility.

With no God, there was a gap in the market, and Satan looked the most likely to fill it. A string of books and movies like Rosemary’s Baby, The Devil Rides Out, and The Exorcist appeared to answer TIME’s question. Satan was no longer the poster boy for drug-addled weirdos, Satan was now big business.

In the early 1970s, Marvel Comics supremo Stan Lee followed the trend for all things horror and the occult. Under Lee, Marvel shifted away from the more traditional good guy superheroes into far darker and more ambiguous characters. In a decade of Vietnam, civil rights battles, bloody assassinations, and growing student protest, web slingers and men in tin suits just didn’t cut it so well with the audience. In came Ghost Rider, The Tomb of Dracula, Werewolf by Night, and The Monster of Frankenstein—all produced by a team of talented artists and writers that included Roy Thomas, Gary Friedrich, Mike Ploog, Gerry Conway, Archie Goodwin, Gardner Fox, Marv Wolfman, Joe Maneely and, of course, Stan Lee. His hunch for a shift away from superheroes had been right and these comics sold extremely well.

But Lee had a bigger and even more dangerous idea—if vampires and werewolves sold well then why not go for the big kahuna himself? Lee wanted to do a comic book based on Satan. He wanted the Prince of Darkness to be the comic’s star and hero. He broached the idea with writer Roy Thomas. Thomas had reservations right away. This idea was going to be big trouble and who needs that kinda shit?  But Tomb of Dracula sells. Thomas pointed out that Dracula worked because it was about the team of vampire killers who were in the hunt for the evil Count and not the nasty, rotten bloodsucker himself. A comic just on Satan wouldn’t offer the possibility to develop the narrative or allow for good and evil.

But still, there was something here. Thomas went off and kicked the idea around for a bit. Then he had a simple suggestion that would make Lee’s idea work:

“What if you made it Son of Satan? You could still have Satan as a character, but he’s not the hero.”

Daimon Hellstrom, aka the Son of Satan, first appeared in issue #1 of Ghost Rider, September 1973. Hellstrom was then marketed via the try-out strand Marvel Spotlight from October 1973-October 1975. The readership seemed to dig the great moral dilemmas Daimon faced as a man born of a mortal woman (Virginia Wingate) but was still under the influence of his old man, the great beast.

Daimon’s adventures in Marvel Spotlight led to his own comic Son of Satan in 1975. The high hopes for this vehicle burned quickly, and the title crashed to earth after a mere eight issues in 1977. Tastes had changed. Satan was not as popular. And agents of Christianity claimed Marvel was corrupting the youth of America by encouraging them to worship the devil….quelle surprise...

This may all well be true, but you see for me I’m not sure that’s exactly the case. For although Daimon Hellstrom may have been Satan incarnate, he may have had the birthmark of a pentacle on his chest, and stolen his father’s powerful trident to usurp his evil ways, but the problem, well at least for me, was that the Son of Satan looked kind of lame—he just didn’t look the part. For a kick-off, he was usually bare chested like Sub-Mariner. He also wore yellow knee-high boots and a flighty yellow cape—a bit like Doctor Strange. But that’s nothing to compare with the real deal killer which was that Daimon Hellstrom, the Son of Satan wore spandex. That’s right, Little Lord Satan wore red fucking spandex leggings! How in the name of Zuul did that happen? How could any parent let their child go out of the house dressed like that, let alone the spawn of Satan? No wonder Satan was so pissed off at his goofy progeny….

You can find editions of the whole Son of Satan and Marvel Spotlight on Son of Satan here.
 
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More thigh-bulging Son of Satan stuff, after the jump…

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Posted by Paul Gallagher
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05.02.2017
11:06 am
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New witchcraft museum features occult artifacts once owned by Aleister Crowley
04.28.2017
12:28 pm
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Any discussion of Wicca in America must begin with Raymond Buckland. A disciple and correspondent of English Wicca’s acknowledged father Gerald Gardner, Buckland established America’s first Wiccan coven on Long Island in the early ‘60s. He literally wrote the book on Wicca, Buckland’s Complete Book of Witchcraft, along with dozens of smaller volumes. In 1968 (some sources say 1966), he established the USA’s first museum of witchcraft. Initially just a showroom in his basement, the collection grew and moved repeatedly, from Long Island to New Hampshire, to Virginia, to New Orleans. Sadly, in NOLA, the collection endured a period of neglect and damage.

Buckland has been an Ohioan since 1992, and two years ago, the collection returned to his Temple of Sacrifice coven, and is now going on display again, in a modest gallery in Cleveland. The Buckland Gallery of Witchcraft and Magick opens on April 29, 2017 in a room off of the Tremont record store A Separate Reality. (An aside—ASR should be a Mecca for punk, jazz, prog, and psych collectors. It’s owner, Gus Payne, has an incredible gift for procuring vinyl Holy Grails, and he’s a really swell guy, to boot.) The space has been a gallery before—a few years ago, under the name “Gallery Wolfy Part II,” it hosted a large exhibition of artwork by Half Japanese singer Jad Fair. That gallery was a white-wall space, but the Buckland incarnation is an intimate and inviting room in blood-red and exposed brick. The gallery’s curators Steven Intermill and Jillian Slane were accommodating enough to give Dangerous Minds some time with the collection. It features artifacts from a number of Wiccan luminaries, and even some possessions of legendary occultist Aleister Crowley’s.
 

Horned God Helmet - there’s a picture of this in The Complete Book of Witchcraft
 

Examples of Baphomet Talismans
 
More after the jump…

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Posted by Ron Kretsch
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04.28.2017
12:28 pm
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Iconic occult ‘Angel Heart’ Ring on sale today only for 30% off
04.25.2017
08:49 pm
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One fateful afternoon thirty years ago, NYC-based jewelry designer Alex Streeter was working in the backroom at his eponymous store in Soho. Two gentlemen entered the shop and approached the artist, identifying themselves as the art directors for Alan Parker’s then-in-production supernatural thriller Angel Heart. They then proceeded to tell Streeter that they felt he was, in fact, the strangest jeweler in town, and hired him on the spot to create a distinctive collection in silver to be worn by the film’s stars, Robert De Niro and Charlotte Rampling. Thus, the famous, or perhaps infamous, Angel Heart Ring, a pentagram in an amber orb held aloft by two rams—and soon to become Streeter’s signature work—was born.
 

 
One memorable scene in Angel Heart sees De Niro’s sinister character slowly rolling a boiled egg on a plate as Mickey Rourke’s character stares at his amazing ring. Since the film’s release in 1987, Alex Streeter‘s impeccably carved and beautifully-crafted jewelry has been worn by the likes of Jimmy Page, Steven Tyler, Axl Rose, Madonna, Kirk Douglas of The Roots and Marilyn Manson and seen in the pages of fashion bibles the world over. But it’s not just rock stars who covet his fine craftsmanship, it’s people wanting to feel like a rock star—or a sorcerer perhaps—who are attracted to his singular, occult-inspired handiworks.

Alex Streeter‘s work obviously isn’t for everyone, but for those who are attracted to it, it can be an obsession. But did they chose to wear his work, or did his work chose them to wear it?

It’s probably a little of both.

In honor of the 30th anniversary of the ring’s creation, Alex Streeter has designed a new stamped, limited collector’s edition of the Angel Heart Ring. It’s a thicker version of the classic setting, complete with limited edition details, including the trademark Alex Streeter logo and “XXX” stamping on the inner ring.This limited edition setting will only be available through March 6th, 2018 before being discontinued.

Today April 26th—to celebrate Alex’s birthday—is the annual sale at AlexStreeter.com and AngelHeartRing.com. For one day only you take 30% off with the code “ALEXBDAY” at checkout.
 

Amber Angel Heart Ring
 

Side view
 

Ewaka Red Angel Heart Ring: Hand-created stone in a solid sterling silver setting.
 
More of Alex Streeter’s exquisite jewelry after the jump…

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Posted by Sponsored Post
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04.25.2017
08:49 pm
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