“The so-called 'Left-Hand Path' - that of Kaulas, Siddhas and Viras - combines the... Tantric worldview with a doctrine of the Übermensch which would put Nietzsche to shame... The Vira - which is to say: the 'heroic' man of Tantrism - seeks to sever all bonds, to overcome all duality between good and evil, honor and shame, virtue and guilt. Tantrism is the supreme path of the absolute absence of law - of shvecchacarī, a word meaning 'he whose law is his own will'." ― Julius Evola, The Path of Cinnabar.

“It is necessary to have “watchers” at hand who will bear witness to the values of Tradition in ever more uncompromising and firm ways, as the anti-traditional forces grow in strength. Even though these values cannot be achieved, it does not mean that they amount to mere “ideas.” These are measures…. Let people of our time talk about these things with condescension as if they were anachronistic and anti-historical; we know that this is an alibi for their defeat. Let us leave modern men to their “truths” and let us only be concerned about one thing: to keep standing amid a world of ruins.” ― Julius Evola, Revolt Against the Modern World: Politics, Religion, and Social Order in the Kali Yuga.

“We are born into this time and must bravely follow the path to the destined end. There is no other way. Our duty is to hold on to the lost position, without hope, without rescue, like that Roman soldier whose bones were found in front of a door in Pompeii, who died at his post during the eruption of Vesuvius because someone forgot to relieve him. That is greatness. That is what it means to be a thoroughbred. The honorable end is the one that can not be taken from a man.” ― Oswald Spengler, Man and Technics: A Contribution to a Philosophy of Life.

Wednesday, December 29, 2010

Arthur Machen on "The Aryan Kabbala"

On the Kabbalah by Arthur Machen

The following is an excerpt from Chapter 1 of the second of Arthur Machen's autobiographical works Things Near and Far (Alfred Knopf, 1923). PUBLIC DOMAIN

Now and then in the older books I came across striking sentences. There was Oswaldus Crollius, for example -- I suppose his real name was Osvald Kroll -- who is quoted by one of the characters in "The Great God Pan." "In every grain of wheat there lies hidden the soul of a Star." A wonderful saying; a declaration, I suppose, that all matter is one, manifested under many forms; and, so far as I can gather, modern science is rapidly coming round to the view of this obscure speculator of the seventeenth century; and, in fact, to the doctrine of the alchemists. But I would advise any curious person who desires to investigate this singular chamber of the human mind to beware of over-thoroughness. Let him dip lightly from the vellum quarto into the leather duodecimo, glancing at a chapter here, a sentence there; but let him avoid all deep and systematic study of Crollius and of Vaughan, the brother of the Silurist, and of all their tribe. For if you go to far you will be disenchanted. Open Robert Fludd, otherwise Robertus de Fluctibus, and find the sentence: Transmutemini, trasmutemini de lapidibus mortuis in lapides philosophicos vivos -- Be ye changed, be ye changed from dead stone into living and life-giving stones. This is a great word indeed, exalted and exultant; but beware of mastering Fludd's system -- if confusion can be called a system -- of muddled alchemy, physical science, metaphysics and mysticism. Get Knorr von Rosenroth's "Kabala Danudata" [1] vellum, in quarto, and find out a little about the Sephiroth: about Kether, the Crown, Tipereth, Beauty; Gedulah, Mercy; Geburah, Justice or Severity. Really, you will discover very curious things, and the more easily, if instead of Knorr von Rosenroth, you chose A. E. Waite's "Doctrine and Literature of the Kabbalah." [2] It is odd, for example, to discover that the side of Mercy is the masculine side, that Justice of Severity is feminine; and that all will go amiss till these two are united in Benignity. Again, it is interesting form another point of view to discover that three of the Sephiroth are called the Kingdom, the Victory and the Glory. Is there any connection between these and the ancient liturgical response to the Pater Noster: "or Thine is the Kingdom, the Power and the Glory"? And then that matter of Lilith and Samael and the Shells of Cortices, the husks of spirits from a ruined world that brought about the Fall of Man; the strange mystery of that place "which is called Zion and Jerusalem" -- duly here comparing Bohme on the Recovery of Paradise when innocent man and maid are joined in love -- all this is wonderful and fascinating regon of thought. And beautiful indeed is the saying of one of the Fathers of Kabbalism: That when the lost Letters of Tetragammaton, the Divine name, are found there shall be mercy on every side. And here perhaps, prehaps, but not certainly, light may be thrown on certain obscure matters of Freemasonry. Dip then, and read and wander in the Kabbala, but do not become a kabbalist. For if you do, you will end up transliterating you name and the letters of your friends into Hebrew letters and finding out all sorts of marvellous things, till at last you back Winners -- which turn out to be Losers -- on purely Kabbalistic principles.

And here, by the way, I may remark that I have long meditated writing an article called "The Aryan Kabbala," keeping the requirements of occult magazines strictly in view. It would make a pretty article. I should begin by a brief note on the Hebrew Kabbala, explaining how the Sephiroth tell in a kind of magic shorthand the whole history amd mystery of man and all the worlds form their source to their end. The Tree of Life -- as the Sephiroth arranged in a certain scheme are called -- is, in fact, I would point out, as once an account of how all things came into being and a map and an analysis of all things as they now are. As an occult friend once said to me by my hearth in Gray's Inn: "The Tree of Life can be applied to that poker." The Tree of Life, then, is a key to the secret generation of being of all souls and all heavens; it will also analyse for you the little flower growing in a cranny of the wall.

Well; this made clear, I would go on to say: "But what if there be a Kabbala and a Tree of Life of the Aryans as well as of the Semites? What if it tells all the hidden secrets of our beginning and our journey and our ending? What if its August symbols are known of all of us, in everyday and common use amongst us, remaining all the while as undiscerned as the most sacred and mystic hieroglyphics? What if the office boy and the grocer handle every day the signs which tell The Secret of Agents?"

And then, after all due amplifications and ponderous circumnavigations it would all come out. The Aryan Kabbala is, in fact, the Decad; the ten first numbers. They embody an age-old tradition dating from the time when the ancestors of the Greek and the Welshman, the Persian and the Teuton were all one people. They contained the secret mystery religion of this primitive race, they sank by degrees from their first August significance to become instruments of common use and commercial convenience, just as vestments become clothes. The proof is easy enough. Take the first number of the Decad: one in English, en (in the neuter) in Greek, [3] unus in Latin, Un (produced "een") in Welsh, ein in German. And then compare another series of words in these languages: wine, oino, vinum, gwin, wein. Then: two, duo, duo, dau, zwei: and compare with water, idor, udus, wy (and dwr) wasser. I drop the other terms, or Sephiroth of the Decad -- in Mrs Boffin's presence -- and come to the last two numerals: nine, ennia, novem, naw, neun compared with new, neos, novus newydd, neu. Then finally, ten, deka, decem, deg, zehn: compare with deck (bedeck), doxia, decor, teg, schon.

The conclusion, I hope, is evident: we (and all things) proceed from Unity, which is wine, decline to Duality (or a weakened, fallen nature), which is water. Then, after passing through many changes, adventures, transformations, transmutations -- undescribed for the reason given -- we are renovated, made New -- "I will make all things new" -- in the last number but one of the Decad, and, in the final term, which is Ten, are reunified in Beauty and Glory.

There! It seems to me wonderfully plausible, and I really think I should have written the article and sent it to some suitable quarter. It all nonsense, of course, but ...does that matter?

REFERENCES

[1] Knorr von Rosenroth, Kabbala Denudata (Frankfort, 1677-84) A Latin anthology of Kabbalistic texts which was very influential throughout Christian Europe. S. L. MacGregor Mathers' translation The Kabbalah Unveiled (1887) was published by George Redway during the period that Machen worked for that publisher.

[2] A. E. Waite, Doctrine and Literature of the Kabala (Theosophical Publishing Co., 1902).

[3] Words in italic were in Greek letters in the original text, and several rather faintly printed, so I make no claims for accuracy in my transliteration skills.

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Arthur Machen - Wikipedia
http://en.wikipedia.org/wiki/Arthur_Machen

Saturday, November 27, 2010

Friday, November 26, 2010

Rites of Autonomy: An Examination of the Rituals of the Church of Satan

This is an excellent, well informed and objective overview:
Rites of Autonomy: An Examination of the Rituals of the Church of Satan By Cimminnee Holt
This work examines the rituals of the Church of Satan from an academic perspective using ritual and performance theories.

Wednesday, November 24, 2010

Tarot History Information Sheet

I still have the 22 Trumps from my first Tarot Deck, the Muller "Swiss" Deck, that I've had since I was about 7 or 8 years old. I've been an avid collector of Tarot Decks and Books for my whole life, and have a private collection that is probably not too shabby. This is an excellent fact-sheet, debunking a lot of popular myths propagated by the systematically uncritical "new age" crowd. The Tarot is strongly established as a uniquely European Tradition:

TAROT HISTORY INFORMATION SHEET
by members of the TarotL discussion group (http://www.egroups.com/group/TarotL/)
(Mary K. Greer, Tom Tadfor Little, Nina Lee Braden, Linda Dunn, Mark Filipas,
Robert V. O'Neill, Christine Payne-Towler, Robert Place, James Revak, and others)
Compiled and edited by Tom Tadfor Little

Introduction
Many things (true, false, and speculative) have been written about the history of the tarot. This sheet addresses some oft-repeated statements about the tarot that may seem like historical fact, but are actually without basis in the evidence presently available. This is not to say that there is no room for speculative or non-factual stories about the tarot. Myths and lore express the human soul and creativity. These myths tell us much about the significance tarot has on an inspirational growth level. They speak an inner truth that is, at times, more personally true than external facts. However, both history and myth may suffer when the two become confused.

The information given here consists mostly of conclusions that recent tarot historians have drawn from studying the evidence of written documents and cards that have come down to us. Other interpretations might be drawn from the same body of evidence. Readers interested in examining the evidence for themselves and drawing their own conclusions are directed to the references listed at the end of this sheet for useful starting places. Readers should also be aware of the limitations of relying on documentary evidence alone. Although written records are our most reliable contact with centuries past, they do not preserve everything that people thought or did, especially pertaining to an aspect of popular culture, such as the tarot.

The information on this sheet may be freely used, although direct quotations must be credited and an acknowledgement would be appreciated if you found this sheet especially useful. Permission is granted to photocopy for educational, nonprofit uses.


Topic: The time and place of the origin of the tarot

Inaccurate: The tarot comes from Egypt; India; China; Fez, Morocco; the Sufis; the Cathars; Jewish Kabbalists or Moses; or the origin of the tarot is unknown.

Current Historical Understanding: The tarot originated in northern Italy early in the 15th century (1420-1440). There is no evidence for it originating in any other time or place. The earliest extant cards are lavish hand-painted decks from the courts of the nobility.


Topic: The origin of the word "tarot"

Inaccurate: The word is Egyptian, Hebrew, or Latin; it is an anagram; it holds the key to the mystery of the cards.

Current Historical Understanding: The earliest names for the tarot are all Italian. Originally the cards were called carte da trionfi (cards of the triumphs). Around 1530 (about 100 years after the origin of the cards), the word tarocchi (singular tarocco) begins to be used to distinguish them from a new game of triumphs or trumps then being played with ordinary playing cards. The etymology of this new word is not known. The German form is tarock, the French form is tarot. Even if the etymology were known, it would probably not tell us much about the idea behind the cards, since it only came into use 100 years after they first appeared.


Topic: The cultural source of the tarot symbols

Inaccurate: The symbolism of the trumps comes from Egypt (or India, or other exotic locale).

Current Historical Understanding: The symbolism of the trumps is drawn from the culture of Medieval and Renaissance Europe. Most tarot subjects are distinctive to European Christendom. Illustrations virtually identical to each of the tarot subjects can be found in European art, and such precise analogs are not found in other cultures.


Topic: The gypsies and tarot

Inaccurate: The gypsies brought the tarot to Europe and spread its use.

Current Historical Understanding: This idea was popularized in the 19th century by several writers, notably Vaillant and Papus, without any basis in historical fact. There is no evidence that the Rom (gypsies) used tarot cards until the 20th century. Most of their fortune-telling was through palmistry and later through the use of ordinary playing cards.


Topic: Relationship between tarot and ordinary playing cards

Inaccurate: The 52-card deck evolved from the tarot, leaving the Joker as the only remnant of the major arcana.

Current Historical Understanding: Playing cards came to Europe from Islam, probably via Muslim Spain, about 50 years before the development of tarot. They appeared quite suddenly in many different European cities between 1375 and 1378. European playing cards were an adaptation of the Islamic Mamluk cards. These early cards had suits of cups, swords, coins, and polo sticks (seen by Europeans as staves), and courts consisting of a king and two male underlings. The tarot adds the Fool, the trumps, and a set of queens to this system. Some time before 1480, the French introduced cards with the now-familiar suits of hearts, clubs, spades, and diamonds. The earlier suits are still preserved in the tarot and in Italian and Spanish playing cards.

The Joker originated in the United States around 1857, used as a wild card in poker and as the highest trump in Euchre. It appears to have no direct relationship to the Fool of the tarot.


Topic: The "Charles VI" or "Gringonneur" tarot cards

Inaccurate: The tarot was invented to amuse Charles VI of France in 1392, as evidenced by a deck by Gringonneur in the Bibliothèque Nationale in Paris.

Current Historical Understanding: A record exists from 1392 in which Jacquemin Gringonneur was paid to paint a deck of cards for Charles VI. This was probably a set of playing cards, not tarot. The deck in the Bibliothèque Nationale is a late-15th century hand-painted deck of the Northern Italian type (probably from Venice or Ferrara).


Topic: Tarot and the Hebrew Alphabet

Inaccurate: Eliphas Lévi (c. 1850) was the first to ascribe Hebrew letters to the tarot.

Current Historical Understanding: The Comte de Mellet, whose short article on the tarot was published in Court de Gébelin's Le Monde Primitif (1781), was the first to write of a connection between the Hebrew letters and the cards. Court de Gébelin also mentioned the idea in passing in his own essay.


Topic: Tarot censored by the church

Inaccurate: The Catholic and Protestant churches outlawed tarot and all who used it in an effort to stamp out either heretical teachings or a work of the Devil.

Current Historical Understanding: The Inquisition documented in considerable detail what the church regarded as evidence of heresy and the tarot is never mentioned.
Many printers made their living printing both religious cards and playing cards.

Playing cards were sometimes restricted or outlawed because of their use in gambling. Tarot cards were, in fact, sometimes explicitly exempted from bans on playing cards, perhaps because of their association with the upper classes. In 1423, playing cards (tarot cards were not mentioned) were among many things thrown on the fires in Bologna by followers of Bernadino of Sienna during an attack against all studies and pastimes not focused on religion.

After the Reformation, the church did object to the cards depicting the Pope and Papess, and cardmakers substituted less controversial images.


Topic: Original use of tarot cards

Inaccurate: The tarot was originally used for divination/magic/teaching secret doctrines/etc.

Current Historical Understanding: Written records tell that the tarot was regularly used to play a card game similar to Bridge. The game was popular throughout much of Europe for centuries and is still played today, particularly in France. Early poets also used the titles of the trump cards to create flattering verses, called tarocchi appropriati, describing ladies of the court or famous personages. Although it is possible that tarot cards might also have been sometimes used for other purposes, there is no clear evidence of such use until long after the cards were invented.

Records from a trial in Venice in 1589 suggest that tarot may have been associated with witchcraft (at least in the minds of the accusers) at this date, about 150 years after the appearance of the tarot. After this, there are no references connecting tarot with magic or divination until the 18th century. (See also next three questions.)


Topic: Tarot and divination

Inaccurate: Tarot was not used for divination before Etteilla and Court de Gébelin around 1781.

Current Historical Understanding: There is evidence of such use, but it is fragmentary and suggestive rather than conclusive. Tarot was used as early as the 16th century to compose poems describing personality characteristics (tarocchi appropriati). In one case (1527), the verses are presented as relating to the person's fate. There are records of divinatory meanings assigned to tarot cards in Bologna early in the 1700s. This is the first unambiguous evidence of tarot divination as it is commonly understood. However, it is known that ordinary playing cards were connected with divination as early as 1487, so it is reasonable to conjecture that tarot was also. From the 1790s with Etteilla's deck we find tarot design being modified specifically to reflect divinatory and esoteric meanings.


Topic: Occult philosophy and the original design of the tarot

Inaccurate: There are no hermetic, heretical, or kabbalistic characteristics in the original tarot.

Current Historical Understanding: This topic is still open. The early Italian Renaissance, which gave birth to the tarot, was a time of great intellectual diversity and activity. Hermeticism, astrology, Neoplatonism, Pythagorean philosophy with roots in Alexandrian Egypt, and heterodox Christian thought all thrived. Any or all of these may have left their mark on the design of the tarot.

Although it should be remembered that all of the symbolism of the tarot has close analogs in the conventional Christian culture of the time, many scholars today believe that these philosophies, which are foundations of occultism, were important in the design of the tarot.


Topic: Tarot and the western esoteric tradition

Inaccurate: The tarot has always been a pillar of the western esoteric tradition.

Current Historical Understanding: The first occult writers to discuss the tarot were Court de Gébelin and the Comte de Mellet in 1781. For the first 350 years of its history, the tarot was not mentioned in any of the many books on occult or magical philosophy. Following 1781, occult interest in tarot blossomed and the tarot then became an integral part of occult philosophy.


Topic: Astrological, elemental, and kabbalistic correspondences

Inaccurate: The Hermetic Order of the Golden Dawn (or Eliphas Lévi, Papus, Zain, Case, etc.) knew the true astrological, elemental, and Kabbalistic correspondences to the Tarot and corrected previous errors.

Current Historical Understanding: There are many, many systems of correspondences for the tarot. None can be shown to go back to the tarot's origins, although the French tradition exemplified in the works of Eliphas Lévi predates the English tradition now familiar through the works of Waite and Crowley. Most sets of correspondences have a rationale and system that make them meaningful and useful when studied within their own tradition. Correspondences are a matter of individual choice and of intention or adherence to a school of thought rather than right or wrong.


Topic: The Waite-Smith Tarot

Inaccurate: The Waite-Smith (or "Rider Waite") Tarot is the original, standard, or most authentic tarot.

Current Historical Understanding: The Waite-Smith deck was created in 1909, making it a relative newcomer in the almost-600-year history of the tarot. A. E. Waite was a prominent member of the Hermetic Order of the Golden Dawn. The deck owes much of its symbolism to that group and represents a departure from the earlier French tradition. The artist, Pamela Colman Smith, contributed her own vision, especially in the innovative creation of fully illustrated scenes for the minor arcana. For many years, the Waite-Smith deck was the only one readily available in the US, so it became familiar to whole generations of tarot readers. There is actually no "definitive" version of the tarot.

The well-known Celtic Cross spread, publicized by Waite as "an ancient Celtic method of divination" is also relatively recent, although it was not invented by Waite.


Some things to be careful of when writing about tarot history

The terms "major arcana", "minor arcana", "High Priestess", and "Hierophant" are anachronistic when referring to the older tarot decks. The historically appropriate terms are "the trumps and the Fool" (the Fool was not usually regarded as a trump), "the suit cards", "Papess" or "Popess", and "Pope". Likewise "pentacles" and "wands" are relatively recent substitutions for the traditional suit names of "coins" and "staves" or "batons".

The original Italian titles of the cards were in some cases different from the later French titles (and their English translations) that have become familiar to us through the Tarot de Marseille and its descendants. Also, the ordering of the trumps varied considerably in Italy where the cards originated; it is not known which ordering is the earliest one. Even the number of cards in the deck varied a great deal! So care should be used in making statements about the original meaning of the cards based on the familiar titles and ordering.

The intention of the original designer(s) of the tarot in selecting the symbols for the trump cards is unknown, although there are many conjectures, some more plausible than others. Writers should avoid giving the impression that the intention is known or obvious.

Copyright 2000 members of TarotL

SOURCE

Friday, November 19, 2010

Mr. Gecko Exits

The Tooth Worm

"The Tooth Worm as Hell’s Demon", southern France, 18th Century; This artistically designed ivory carving is contained in a molar, 10.5 cm in height, which can be separated into two halves of equal size. It opens out into two scenes depicting the infernal torments of toothache as a battle with the “tooth worm”. The legend of the “tooth worm” as the cause of toothache originated in Mesopotamia around 1800 B.C. A legend, in much the same sense as that of the Creation, concerning the origin of the tooth worm is to be found in the inscriptions on ancient tablets from 1800 B.C., and from the New Assyrian and Neo-Babylonian periods of 650 and 550 B.C.
SOURCE

Wednesday, November 17, 2010

Malkin on the Christian-Newsom Murders

So far, even though this happened some time ago, Malkin is the only high-profile mainstream commentator I've seen mention this case at all. Search the archives of my blog for more info on this case.

YouTube - Christian-Newsom Murders

Sunday, October 31, 2010

Saturday, October 30, 2010

The Conception of Merlin by The Devil (c. 1290-1300)

From Suite Vulgate dans Paris BNF fr. 95, fr. 95, f. 113v (circa 1290-1300 AD): Council of the devils; Conception of Merlin, engendered in the (unnamed) pious daughter of a preudom by the devil; top border: dragon terminal bites knight centaur wielding sword; stag's head terminal; bottom border: archer has pierced with his arrow an old man terminal in academic hat.

Thursday, October 28, 2010

Frank Zappa - Devil Worshipper?

Classic reply from someone I've always admired.


YouTube - Frank Zappa - Devil Worshipper?

Julius Evola on Myths and History

"According to modern scholars, the figures found in myths and legends are merely abstract sublimations of historical figures, which have eventually replaced the latter and become myths and fantastic tales. On the contrary, the opposite is true: there are realities of a superior, archetypal order, which are shadowed in various ways by symbols and myths. It may happen that in the course of history, certain structures or personalities will embody these realities. When this happens, history and superhistory intersect and integrate each other; human fantasy may then instinctively attribute the traits of myth to those characters and structures because reality has somehow become symbolic and symbol has become reality. In these cases, the euhemeristic interpretation totally subverts the true relationships. Here myth constitutes the primary element and should be regarded as the starting point, while the historical figure or datum is only one of the various contingent and conditioned expressions of this superior order of things."
-- Julius Evola, The Mystery of the Grail, p. 10-11.

Julius Evola: Concerning the Traditional Method

"The characteristic feature of the method that I call 'traditional' (in opposition to the profane, empirical, and critical-intellectual method of modern research), consists in emphasizing the universal character of a symbol or teaching, and in relating it to corresponding symbols found in other traditions, thus establishing the presence of something that is both superior and antecedent to each of these formulations, which are different from and yet equivalent to each other. Since anyone tradition may have given to a common meaning a more complete, typical, and transparent expression than have the others, seeking to establish correspondences is consequently one of the most fruitful ways to understand and integrate what in other cases is found in a more obscure or fragmentary form."
-- Julius Evola, The Mystery of the Grail, p.9-10.

Tuesday, October 26, 2010

Saturday, October 23, 2010

Hananuma Masakichi

Love and death are a strange combination.
Hananuma Masakichi was a Japanese artist who learned he was dying from tuberculosis. He wanted to leave a parting gift to the woman he loved. He made a statue of himself that is so life-like and realistic, people couldn't tell which was the fake even while the real Masakichi stood next to it.

Working with adjustable mirrors, Masakichi made each body part separately using strips of dark wood. Records differ on the number of strips used but it is between 2,000 and 5,000. The statue is mostly hollow inside. No nails were used; the strips were assembled using dovetail joints, glue and wooden pegs. They are joined so perfectly that no seams can be seen, even with a magnifying glass. The wood was painted and lacquered to match his skin tone and reflects every tendon, muscle, bone, vein and wrinkle and pore.

Masakichi also handcrafted glass eyes that are so technically and visually perfect that they still baffle members of the optical profession.

What came next was stranger still. The artist bored a tiny, individual hole for every pore on his body and plucked the corresponding hair from that pore and inserted it at the exact position on the statue. In this manner he covered the entire sculpture with all of his own hair - head, beard, backs of his hands, legs, eyebrows and eyelashes (yep, and "that" part, too). Then Masakichi pulled out all of his own fingernails, toe nails and teeth and carefully put them in their exact place on the statue. As a finishing touch he gave the statue his glasses, his clothes, a sculpting tool and a tiny mask he had made. The figure appears somewhat emaciated because the TB was already taking it's toll. He was 53 when the amazing statue was finished in 1885. Masakichi held a private exhibition of his work. He stood beside the artwork to the utter confusion and awe of the audience who could not tell which was him and which was not, nor comprehend how such a magnificent work had been created.

He managed to hang on for ten more years, and in spite of his incredible talent, died in poverty.

Sadly, the statue was badly damaged during the 1996 Northridge, California Earthquake while it was in Ripley's "Believe It or Not" Los Angeles "Odditorium", on display. It was one of Robert Ripley's more prized possessions and while he personally owned it, kept it in his bedroom on a curtained podium. .After it was damaged, it was housed in the Ripley warehouse, awaiting an artist who can match the skill of Hananuma Masakichi and restore it to it's original perfection. Someone recently wrote to me to say they had seen the statue in a museum in Milwaukee, Wisconsin, but I haven't been able to confirm this or find out if it's the original statue or some kind of copy.

By the way - the real Hananuma Masakichi is on the right.

From: Masakichi statue

A more recent photo:

"Hananuma Masakichi was a Japanese artist who, when he learned that he was dying, wanted to leave "a gift" to the woman he loved. He made a statue of himself that is so realistic, people couldn't tell which was the fake even while the real Masakichi stood next to it. He even used his own hair, fingernails & even his own teeth in building the statue. Apparently it was damaged while in storage during an earthquake in California a few years ago. I did notice that the ring finger on his left hand had some damage but that's all I could see."

Source: http://www.flickr.com/photos/16860572@N07/4172648575/

Kudos to Draconian1.

Thursday, October 21, 2010

Rarest movie poster in the world features Frankenstein demanding sex

Rarest movie poster in the world on sale, features Frankenstein demanding sex
What's the rarest movie poster in the world? This 1935 poster for Bride of Frankenstein, which boasts a chained, philandering Boris Karloff. Only one copy is known to exist, and you can own it for a mere $700K.

This racy poster is up for auction, and its sales price is estimated to crack $700,000. It's being sold by vintage poster collector Todd Feiertag, who sold a poster of Karloff's The Mummy for a record-breaking $453,500 in 1997. The "I DEMAND A MATE" poster will likely break The Mummy's record.

From Heritage Auctions:

Of the three one sheet designs originally produced for in-theatre promotion for The Bride of Frankenstein, this only known Teaser (Advance) poster boasts the most powerful image of the lot. With it's brilliant cherry red printing combined with the shocking image of The Monster in torn, burned clothing, shackled and chained to a heavy chair with rays of energy and light bursting behind, it simply does not get any better. The compelling tagline "I DEMAND A MATE" arguably provocative given the time, is further enhanced by challenging the reader with "WHO will be THE BRIDE OF FRANKENSTEIN" and "WHO will dare?"

Wednesday, October 20, 2010

Thursday, October 14, 2010

Of Dolls and Murder

OF DOLLS AND MUDER explores a haunting collection of dollhouse crime scenes and our universal fascination with murder. From CSI and real-life forensics, to the Body Farm and a crime fighting granny, John Waters narrates this tiny world of big time murder.


YouTube - Of Dolls and Murder Documentary Film Trailer
Kudos to EZ for the link.

Sunday, October 10, 2010

Necrofascist - Clarification

The term "Necrofascist" is not used as a satire of Fascism, or as an excessive media-fuelled misinterpretation of Fascism. It is a direct slight aimed at the "Frankfurt School" species of Marxists and their politically correct gaggle of useful idiots. Anyone who has read Fromm's Anatomy of Human Destructiveness will get the joke.* It is intended to be specifically offensive to that target, as satire, ridicule and declaration of open hostility.

*I was impressed that almost immediately the project was singled out for attack by an overt Marxist citing Fromm's work without ever guessing the offense was calculated and intentional on my part. This was one of their rants:

"Well he also decided to spread the vestiges of his diseased mind to the forums of YouTube. James is a graduate of G.G. Allin's Ca-Ca, Poo-Poo school of "Aesthetic Terrorism". For a guy who proudly wears his "Goodguy Badges" of the anti-pederasty and anti-drug wing; James seems to have NO problem advocating the HIGHLY ILLEGAL acts of murder, torture, terrorism, eugenics and euthanasia for people and concepts he claims he is against. But all this rhetoric is really just a balm to quench his DESTRUCTIVE impulses..... A compulsive, shit-disturbing vandal of hyperbole and noise that lacks restraint; James, who is a law and order advocate conveniently breaks the rules and consistently violates Terms of Agreement clauses in YouTube AND MYSPACE according to his OWN law. Like a confused rabid-dog that jumps in your backyard and attempts to destroy a lively garden-party, he forgets his place often... And perhaps he is the one who should be euthanized by some of his more level-headed and rational peers (I don't mean "killed" for you literalist right-wingers, I mean weeded-out). ...Some people have unorthodox sexual fetishes; Up to, and including coprophilia, emetophilia and urolangia. Whatever your cup of pee is, some things are not for everybody. But his scatological snuff clips on YouTube were clearly meant to nauseate and--- not much else. I've seen all the footage he randomly wrapped together-- like a butcher of bad meat loaded with salmonella... For those who had the extreme good-fortune of NOT seeing it, James' piece-meal effort was random bits of stock footage (ala Ed Wood) with a turbulent, clanging soundtrack that sounded like it came out of "Eraserhead" (amped-up 10 times louder). In it he had: - A frog eating and insect, snakes slithering around, waves crashing against the shore. These were the only benign images in it. But they were soon interlaced with... - A woman taking a huge shit on the floor. - Genital torture with a rat-trap - Cows being skinned and having their throats slit-- while they're alive. Blood everywhere. - An Arab man with head being hacked-off by Muslim extremists-- WHILE HE WAS ALIVE!! It looked like his head was being hacked-off with a pen-knife. So it was slow and painful. Unlike the Nick Berg execution. there was plenty of spurting blood splashing all over the place. - A shit-smeared woman puking on a guy's dick, and lapping it up. - Another shit-smeared woman getting vaginally fisted.. - A close-up live animal heart beating. ....But there really was NO POINT to any of it other than for James to express his masturbatory NECROPHILE wet-dreams... Perhaps James doesn't masturbate to images of shit, dirt, and violent deaths. But he is definitely is OBSESSED with this subject matter as is any clinical necrophile (read Erich Fromm's "The Anatomy of Human Destructiveness" about the NECROPHILIOUS Personality, in which James could be a textbook case-study)."

AMUSING!

JDS

Ps. The only good Marxist is a dead Marxist.

Saturday, October 9, 2010

Is the Out of Africa Theory Out?

Is the Out of Africa Theory Out?
An examination of over 5,000 teeth from early human ancestors shows that many of the first Europeans probably came from Asia

By Nikhil Swaminathan Wednesday, August 8, 2007 0

All the ancestors of contemporary Europeans apparently did not migrate out of Africa as previously believed. According to a new analysis of more than 5,000 teeth from long-perished members of the genus Homo and the closely related Australopithecus, many early settlers hailed from Asia.

Erik Trinkaus, a physical anthropologist at Washington University in St. Louis (who was not involved in the study), says most evolutionary biologists and anthropologists believe there were three major waves of migration from Africa to Europe: the first occurring about two million to 1.5 million years ago during the late Pliocene and early Pleistocene epochs; a second during the mid Pleistocene, roughly one million to 500,000 years ago; and ending with the spread of modern humans, 50,000 to 30,000 years in the past.

The new findings, published this week in Proceedings of the National Academy of Sciences USA, casts doubt on the second migration out of Africa. "[The researchers] are not denying that it happened," Trinkaus says, "just that it was less important than movement across Eurasia."

The study was led by Maria Martinón-Torres, a paleobiologist at the National Research Center on Human Evolution in Burgos, Spain. The research team analyzed the choppers of human ancestors from the Pleistocene and late Pliocene epochs.

"Teeth are the best genetic marker that we have in the fossil record itself," Trinkaus says, because "they are as close as we can get to a reflection of the individual's genetic makeup." The reason: Tooth crowns are genetically determined—and thus reflect an individual's genotype—and are not affected by environmental stress during development.

Scientists found that teeth from African specimens were a different shape or morphology than those from Eurasian samples. The researchers wrote that teeth toward the front of the mouth from Eurasians had more "morphological robusticity," such as a triangular, shovel shape. Their back teeth were smaller and had smoother chewing surfaces; the rear teeth from African samples were larger and the chewing surfaces on them more pointy and jagged.

"The continuity of the 'Eurasian dental pattern' from the early Pleistocene until the appearance of upper Pleistocene Neandertals suggests that the evolutionary courses of the Eurasian and the African continents were relatively independent for a long period and that the impact of Asia in the colonization of Europe was stronger than that of Africa," the researchers wrote in the new report. "This finding does not necessarily imply that there was no genetic flow between continents, but emphasizes that this interchange could have been both ways."

http://www.scientificamerican.com/article.cfm?id=is-the-out-of-africa-theory-out&print=true

The Hellstrom Chronicle

This film was a staple of my childhood. Someone uploaded it to YouTube in 11 parts. Remarkable footage of insect predation and survival tactics.
Part 1:


The rest here: http://www.youtube.com/profile?user=Bratgoul#g/u

More Info From: http://en.wikipedia.org/wiki/The_Hellstrom_Chronicle

The Hellstrom Chronicle is an American film released in 1971 which combines elements of documentary and science fiction to present a gripping depiction of the Darwinian struggle for survival between humans and insects. It was conceived and produced by David L. Wolper, directed by Walon Green and written by David Seltzer, who earned a Writers Guild of America Award nomination for his screenplay.

Several cinematographers photographed this film using stop-motion photography with microscopic and telescopic lenses. The trailer resembled an announcement for a science fiction movie. The film provided the inspiration for Frank Herbert's science fiction novel Hellstrom's Hive.

A fictitious scientist called Dr. Nils Hellstrom (played by Lawrence Pressman) guides viewers throughout the film. He claims, on the basis of scientific-sounding theories, that insects will ultimately win the fight for survival on planet Earth because of their adaptability and ability to reproduce rapidly, and that the human race will lose this fight largely because of excessive individualism. The film combines short clips from horror and science fiction movies with extraordinary camera sequences of butterflies, locusts, wasps, termites, ants, mayflies, other insects rarely seen before on film and insectivorous plants/insects.


IMDB: http://www.imdb.com/title/tt0067197/

Monday, October 4, 2010

Unearthed Aryan cities rewrite history | The Australian

Unearthed Aryan cities rewrite history The Australian
The Sunday Times October 04, 2010 12:00AM

BRONZE Age cities archaeologists say could be the precursor of Western civilisation is being uncovered in excavations on the Russian steppe.

Twenty of the spiral-shaped settlements, believed to be the original home of the Aryan people, have been identified, and there are about 50 more suspected sites. They all lie buried in a region more than 640km long near Russia's border with Kazakhstan.

The cities are thought to have been built 3500-4000 years ago, soon after the Great Pyramid in Egypt. They are about the same size as several of the city states of ancient Greece, which started to come into being in Crete at about the same time.

If archeologists confirm the cities as Aryan, they could be the remnants of a civilisation that spread through Europe and much of Asia. Their language has been identified as the precursor of modern Indo-European tongues, including English. Words such as brother, guest and oxen have been traced back to this prototype.

"Potentially, this could rival ancient Greece in the age of the heroes," said British historian Bettany Hughes, who spent much of the northern summer exploring the region for a BBC radio program, Tracking the Aryans.
"We are all told that there is this kind of mother tongue, proto-Indo-European, from which all the languages we know emerge.

"I was very excited to hear on the archeological grapevine that in exactly the period I am an expert in, this whole new Bronze Age civilisation had been discovered on the steppe of southern Siberia."

She described driving for seven hours into the steppe grasslands with chief archeologist Gennady Zdanovich. "He took me to this expanse of grass; you couldn't tell there was anything special. Then, as he pointed to the ground, suddenly I realised I was walking across a buried city," she said.

"Every now and again you suddenly notice these ghostly shapes of fortresses and cattle sheds and homes and religious sites. I would not have known these had he not shown them to me."

The shape of each of the cities, which are mainly in the Chelyabinsk district, resembles an ammonite fossil, divided into segments with a spiral street plan. The settlements, which would each have housed about 2000 people -- the same as an ancient Greek city such as Mycenae -- are all surrounded by a ditch and have a square in the middle.

The first city, known as Arkaim, was discovered in 1989, soon after the soviet authorities allowed non-military aerial photography for the first time.

The full extent of the remains is only now becoming apparent. Items that have so far been dug up include many pieces of pottery covered in swastikas, which were widely used ancient symbols of the sun and eternal life. The Nazis appropriated the Aryans and the swastika as symbols of their so-called master race. Ms Hughes believes that some of the strongest evidence that the cities could be the home of the Aryans comes from a series of horse burials.

Several ancient Indian texts believed to have been written by Aryans recount similar rituals. "These ancient Indian texts and hymns describe sacrifices of horses and burials and the way the meat is cut off and the way the horse is buried with its master," she said. "If you match this with the way the skeletons and the graves are being dug up in Russia, they are a millimetre-perfect match."

More info: http://en.wikipedia.org/wiki/Arkaim

Thursday, September 30, 2010

It Happened Here (1966)

It Happened Here is a 1966 British film, set in an alternate history in which the German army successfully occupies the United Kingdom during World War II and sets up a collaborationist government apparently run by sir Oswald Mosley and a civilian group 'the immediate action organisation'. It is interesting for allot of reasons, but is also genuinely a fairly decent film. The message of the film is antifascist, but it is lost in the overall neutrality and lack of moral dualism with which the film is presented.

The genius who made this film was only eighteen years old when he started. The film took the highly unusual step of actually getting elderly fascists to play themselves in addition to members of Colin Jordan's National Socialist movement whose motives appear to have been confused.



The complete film, in 10 parts, here: http://www.youtube.com/profile?user=IronYouthRadio#g/u

Wednesday, September 22, 2010

Necrofascist - The Festival


YouTube - Necrofascist - The Festival

The Noble Savage: Genocide Wiped Out Native American Population : Discovery News

Of course they were just gentle innocent tribes living in tune with nature until the Europeans came!

Genocide Wiped Out Native American Population
Physical traces of ethnic cleansing that took place in the early 800s suggest the massacre was an inside job.
By Jennifer Viegas Mon Sep 20, 2010 07:00 AM ET

Crushed leg bones, battered skulls and other mutilated human remains are likely all that's left of a Native American population destroyed by genocide that took place circa 800 A.D., suggests a new study.

The paper, accepted for publication in the Journal of Anthropological Archaeology, describes the single largest deposit to date of mutilated and processed human remains in the American Southwest.

The entire assemblage comprises 14,882 human skeletal fragments, as well as the mutilated remains of dogs and other animals killed at the massacre site -- Sacred Ridge, southwest of Durango, Colo.

Based on the archaeological findings, which include two-headed axes that tested positive for human blood, co-authors Jason Chuipka and James Potter believe the genocide occurred as a result of conflict between different Anasazi Ancestral Puebloan ethnic groups.

"It was entirely an inside job," Chuipka, an archaeologist with Woods Canyon Archaeological Consultants, told Discovery News.

"The type of event at Sacred Ridge is on the far end of the conflict spectrum where social relations completely melt down," he added, mentioning that the Sacred Ridge "occupants were targeted to take the blame."

Chuipka and Potter analyzed objects excavated at Sacred Ridge, which was a multiple habitation site of 22 pit structures, some of which may have operated as communal ritual facilities for a population that extended beyond the immediate site inhabitants. This suggests the residents at one point exerted some social control in the area.

The unearthed bones and artifacts indicate that when the violence took place, men, women and children were tortured, disemboweled, killed and often hacked to bits. In some cases, heads, hands and feet appear to have been removed as trophies for the killers. The attackers then removed belongings out of the structures and set the roofs on fire.

"I think that the major event was preceded by social stress within the community that may have been exacerbated by a period of drought," Chuipka said. "The scale of the mutilations suggests that it was planned and organized in the preceding days or weeks, and that the violence took place in a relatively short period of time -- a few days."

"All evidence points to a rapid event, which is only possible with coordination and complicity within the community," he added.

The researchers ruled out other possible explanations, such as starvation cannibalism, traditional preparation of the deceased, and even individuals targeted for practicing witchcraft. Cannibalism, for example, usually involves bone marrow processing. Witch roundups tend to affect a relatively small number of victims.

In this case, a large group of people was dispatched at one time.

For a separate study, John McClelland, lab manager of osteology at Arizona State Museum, analyzed teeth from human remains within the Ridges Basin region, including Sacred Ridge.

He found that the population at Sacred Ridge in the early 800s was distinct from others in the area.

"The individuals at Sacred Ridge whose remains were disarticulated and processed were not a random selection from among the overall population of Ridges Basin," McClelland determined. "In addition to the biological differences, they appear to have had a somewhat different diet and may have experienced a higher level of juvenile growth disruption."

At least two other separate studies have come to similar conclusions, suggesting the genocide victims at Sacred Ridge belonged to an ethnic group that was different from that of other nearby populations.

Given basic established patterns from more recent ethnic cleansing in Yugoslavia, Iraq and Rwanda, the researchers think political structures that had been keeping ethnic conflict at bay probably broke down at Sacred Ridge.

"What we can learn from Sacred Ridge is that archaeological sites are not simply piles of rock and refuse, but that they were occupied by people that were involved in complex webs of social relations," Chuipka said. "Sacred Ridge is a case where social relations melted down and the solution chosen was absolute and shocking."

Genocide Wiped Out Native American Population : Discovery News

Monday, September 20, 2010

The Eagle of the Holy Roman Empire, c. 1510

The first mention of a double-headed eagle in the West dates from 1250, in a roll of arms of Matthew of Paris for Emperor Frederick II of the Holy Roman Empire. Usually depicted black on a gold background, it replaced the earlier single-headed eagle, and was subsequently adopted in the coats of arms of many German cities and aristocratic families. After the dissolution of the Holy Roman Empire in 1806, the double-headed eagle was retained by the Austrian Empire, and served also as the coat of arms of the German Confederation.
The eagle of the Holy Roman Empire, c. 1510

Source: http://en.wikipedia.org/wiki/Double-headed_eagle

Saturday, September 18, 2010

Gabriele d'Annunzio speaks at the Vittoriale - D'Annunzio filmato recita Dante al Vittoriale


YouTube - Gabriele d'Annunzio speaks at the Vittoriale - D'Annunzio filmato recita Dante al Vittoriale
Il Vate al Vittoriale, scherza, parla e recita dalla Divina Commedia di Dante.
D'Annunzio in his garden at the Vittoriale. He speaks, makes jokes and recites a few lines from Dante's Divine Comedy. Fox Movietone News, restored sound.

Gabriele D'Annunzio e Fiume:

Gabriele d'Annunzio and the Vittoriale (Gardone)


YouTube - Gabriele d'Annunzio and the Vittoriale (Gardone)
Once when Mussolini was questioned about the regular payments Il Duce doled out to writer, womanizer, and daredevil Gabriele d'Annunzio, he's reported to have replied, "When you are saddled with a rotten tooth, you have two possibilities open to you: either you pull out the tooth or else you fill it with gold. With d'Annunzio I have chosen the latter treatment". The dentist and the patient have long disappeared, what remains is the gold tooth, d'Annunzio's country villa, modestly called Vittoriale degli Italiani (The shrine of Italian victories in English). With its grounded battleships and design, Alan Licht wrote that "The Vittoriale is at once the tomb, the Luna Park and the sinister torture chamber of Fascism".
Mission by Rossana Iantorno, Enrica Fantino
Look at this mission also on Check-in Architecture website
http://www.checkinarchitecture.com/mission/203
or on Google Earth
http://www.checkinarchitecture.com/index/earth/mission/203.kml

You're Bound to Look Like a Monkey When You Get Old - Clarance Williams' Novelty Band

Thanks to A.C. for this one:

YouTube - You're Bound to Look Like a Monkey When You Get Old - Clarance Williams' Novelty Band

Wednesday, September 15, 2010

Nico at her most HEROIN GHOULISH

I am a huge Nico fan. This video is fascinating in the macabre sense, but also a great version of one of my favorite songs by her, although I'm partial to her later material, especially when she started playing the Harmonium. (Playing Harmonium is also one of my favorite pastimes).


YouTube - Nico - All Tomorrow's Parties (Live - An Underground Experience)

River Monsters- The Demon Fish

Thanks to Paul S. for this one. The goliath tigerfish is Africa's equivalent of the piranha, only much bigger.


YouTube - River Monsters- The Demon Fish

Monday, September 13, 2010

United States Holocaust Memorial Museum

This is amusing, especially with the upbeat background music. The "get on the train" part almost seemed like it was going to be an amusment park ride. I'll go when they have rides. Fun for the whole family! The Holocaust Rocks!


YouTube - United States Holocaust Memorial Museum

La procession de la Sanch

Procession de la Sanch
Impressive, atmospheric, just a little frightening, the long black and red hooded and robed figures of the Procession de la Sanch march slowly through the streets of Perpignan to the solemn beat of black veiled tambourines The Procession de la Sanch, which takes place every ’Vendredi Saint’, (Good Friday), opens the celebration of the Easter Holy week.

The brotherhood of “La Sanch” (the blood) was founded in1416 by Vincent Ferrier at the church of St Jaques in Perpignan, its origin to assist and accompany the condemned to their execution. A preacher, Ferrier is said to have undergone a life changing experience in 1398 when he nearly died of the fever, but was miraculously cured after Christ appeared to him in an apparition. He attracted followers, penitents from all walks of life, who he led around Europe, preaching penance and helping sinners to prepare for judgment and punishment. The wearing of the black and red hooded robes (orcaparutxe) was to prevent criminals being recognized and ‘lynched’ in the streets as pay back for crimes committed, and prisoners, penitents, (there to give solace to the person about to die), and executioner were hooded for maximum confusion.

The procession as a whole commemorates the Passion and the Agony of Christ. At the head of the parade walks a red robed figure “le regidor”, warning the crowds of the procession’s approach. by intermittently ringing an iron bell as he leads the penitents to the gallows. They carry ‘misteris’ (full-size representations of the different scenes of the Passion) through the streets of Perpignan. Of course, over the years the Sanch has become a great crowd puller and a fabulous photo opportunity but for the ‘penitents’ carrying crosses, crucifixes and religious statues weighing up to thirty to fifty kilos, this re- enactment of Christ’s Passion is real enough. The procession takes place in silence – some walk bare-foot, others are on their knees…... only the sound of the tambourine, and the occasional peal of the bell breaks the eerie atmosphere, along with the Goigs, traditional Easter songs which accompany the march.

Over the centuries the Sanch has been forbidden several times. It has always survived.

La procession de la Sanch

Saturday, September 11, 2010

Soiled Sinema: Interview with Magister James D. Sass


Sep 11, 2010
Interview with Magister James D. Sass

SS: In the most general terms, what makes a film Satanic?

JDS: A film is “Satanic” insofar as it deals with themes of Satanism, such as productive alienation, stratification, nonconformity, total environments, artificial human companions, justice, revenge, incursions of the irrational, misanthropy, etc. in a productive or insightful manner that frequently paints the outsider-antihero in a sympathetic light (intentionally or not) in contrast with the bland mediocre conformists. Aesthetics are also a huge part of what makes a film “Satanic.” A film such as The Cabinet of Dr. Caligari would still be “Satanic” to some degree if it were an entirely different story using the same aesthetics and psychological devices in sets (The Law of the Trapezoid), photography (The Command to Look), editing and whatnot.

Another thing I would point out, although it digresses from your question, more than how Satanism features in films, it think it is interesting to observe how film features in Satanism as a legitimate recognized religion. I cannot think of any other religion that considers a body of film work as a primary source or example of its doctrine, aesthetics, and ideals. This is one of the truly unique aspects of Satanism. Other religions have music and art, I can’t think of any that have films they regard as centrally related to their religion as does the Church of Satan.

SS: Can a Satanic film come from any genre? Are there certain genres that feature Satanic films more prevalently? If so, which genres?

JDS: Yes, I cannot think of a genre that would be incapable of fitting a Satanic film within its parameters. Skimming over the “official” Church of Satan film list we see everything from horror and gangster films to comedies, musicals, and children’s cartoons. Of course for obvious reasons Film Noir and classic Horror feature Satanic themes more explicitly, because they are based in the “dark side” of human nature, or depict man as “just another animal… worse than those that go on all fours,” and frequently center around themes of obsession, justice, and revenge.

SS: Would you describe the post-World War I German expressionist movement as Satanic?

JDS: Personally, I cannot think of one German expressionist without some type of Satanic theme in it. Most definitely, and this is explicitly stated by Dr. LaVey in more than one place in his writings, especially pertaining to the Law of the Trapezoid. It is also important to note how much of this was intentional on the part of the film makers, directors, and art directors of these films. Even later films by the same people made in the USA follow the same line of thought. F.W. Murnau’s Sunrise for example is outwardly a simple love story with a happy ending, yet there are Satanic undercurrents in the story, and the aesthetics are extremely Satanic.

SS: Many of the filmmakers and actors that were involved in making low budget Hollywood film noir films immigrated from Germany and Austria to the United States. Many (if not the majority) of these filmmakers were German expressionists. Do you believe that these European directors helped to bring a Satanic element to American films that was lacking before?

JDS: Of course! This is all well-documented. The influence of German expressionist ideas on Universal Classics such as Dracula, Frankenstein, The Wolf Man, and a slew of others is indisputable. The German expressionists coined the aesthetic that would defined Film Noir and Horror. The films of Carl Lemele, James Whale, Val Lewton, Howard Hawkes, etc. are all saturated with the expressionist aesthetic.

SS: In your book Essays in Satanism, you make no lie about the fact that you’re a horror film connoisseur. Were horror films an early obsession of yours?

JDS: I cannot over-emphasize how strongly horror films were an early obsession of mine. My mother still has drawings I made when I was four years old of Frankenstein, Dracula, the two-headed man, and others. I lived for this stuff. I was in second grade when I watched my first Creature Feature episode, and never missed it until it went off the air some ten years later. I also had a huge collection of Famous Monsters of Filmland from before I could read because I liked the pictures. I was very much a “Monster Kid” of the 70s.

SS: In Essays in Satanism, you talk about how younger horror fans just cannot appreciate the genius of the Satanic themes featured in older films. Do you believe there is any hope for these sad individuals?

JDS: Probably not – I have no idea what is wrong with someone who still cannot tell the difference when they have seen the classics, or who dismiss them as “slow” or “boring.” Don’t get me wrong, I’m a huge fan of John Carpenter, Wes Craven, and a lot of the “post-classic” horror films, I just get disgusted with people who can’t appreciate something like The Ghoul, while at the same time praise some filmic atrocity like Coppola’s Bram Stoker’s Dracula, or worse, some mindless schlock like the Friday the 13th sequels. I appreciate the humor element in horror, this is even present in classics such as Bride of Frankenstein and The Old Dark House, but when it becomes the dominant element in the genre something has been lost. Then on the flipside there are films that take themselves too seriously, trying to be hard-edged horror, and fall face-down. It is also appalling that there are so many dumb kids stumbling around who have seen all the bad remakes of films like The Texas Chainsaw Massacre, Psycho, House of Wax, and think they are somehow in touch with the “tradition” without ever having seen the originals. Or worse, they think the remakes are better! There is no hope for them.

SS: Is Rosemary’s Baby the definitive Satanic film? What are your personal thoughts on the film?

JDS: The gathering of eccentric Satanists at the end could literally have been home movies of a Church of Satan event, in terms of the cast of personalities involved. Compare it for instance with the Church of Satan individuals interviewed in Satanis. Really not far off the mark!

SS: The good doctor Anton LaVey has been said to have given new life to old and forgotten films like Tod Browning’s Freaks. Can you tell us anymore about LaVey’s endorsement of films that would probably otherwise have been forgotten?

JDS: It’s funny because there are so many films that are still forgotten even after Dr. LaVey’s endorsement! Even within the Church of Satan, the individuals who have systematically worked their way through the recommended film lists are few and far between. I can think of just a handful of people who have actually watched The Boy With Green Hair. As far as keeping some films alive: Just about anyone I’ve met who has seen The Ruling Class heard about it from Church of Satan sources, likewise Night of the Generals and a handful of others. There are others that until recently were very hard to come by, including Island of Lost Souls, Svengali, The Most Dangerous Game, etc.

SS: What are your thoughts on Kenneth Anger and his filmography? I was personally happy to see Anton LaVey’s appearance in Kenneth Anger’s Invocation of my Demon Brother. Is he (or was he ever) a member of the Church of Satan?

JDS: I’m a huge Kenneth Anger fan. I was very pleased to see his collected films finally released on DVD with the supplementary material they deserved. Anger had been something of a secret influence on so many film makers, more than suspected by most fans attracted to his work because of occult connotations. It is impossible not to see signs of Scorpio Rising in the work of Lynch, or the influence of Kustom Kar Kommandos on specific scenes in Scorsese’s Goodfellas.

Kenneth Anger and Anton LaVey were personal friends since childhood. In spite of false reports in some gossipy journalism, Anger has to my knowledge never uttered a negative word about Dr. LaVey. Somewhere in The Devil’s Notebook, I think LaVey refers to Anger as a “magus”, although I’m sure he meant it in the sense of being a magician and master of his art rather than as the technical title of a degree within the Church of Satan, although I’m also fairly certain Anger was an honorary member, even though his interests rant more toward Aleister Crowley, which has little or nothing to do with Satanism. But on that note I would add that Anger has, from my perspective anyway, done more than anyone to present the symbolism of Crowley’s work in an aesthetically interesting and “magically charged” way.

SS: In your book Essays in Satanism, you have listed 200 Essential horror films. I must admit that I have yet to see another list of horror films with such refined and eclectic taste. It is not everyday that you find someone that is a fan of both Der Golem (1915) and Clean, Shaven (1993). That being said, could you narrow down a list to your top 5 essential films and why a serious horror fan should see these particular films?

JDS: Narrowing it down to a list of five would be nearly impossible. The five I would list today might not be identical to the five I would list tomorrow.

1. Nosferatu
2. Frankenstein
3. Dracula
4. Freaks

Like I said, restricting it to five is impossible, conceptually, and forces it to be a very flawed list.

SS: On your 200 Essential horror films list you have David Lynch’s Eraserhead (1977), Twin Peaks: Fire Walk With Me (1992), and Mulholland Dr. (2001) listed. What are your thoughts on David Lynch as an American filmmaker and his unconventional cinematic portraits of America? Do you believe that David Lynch is someone that is primarily interested in Satanic themes?

JDS: You are the only person to catch that. I put Lynch on the list because, while he is not exactly a “horror” filmmaker, he incorporates horrific elements and genuinely terrifying manifestations of the supernatural or irrational in a way most contemporary horror filmmakers could stand to learn a lot from. Without being a horror filmmaker, he does horror better than most horror film makers. He also orchestrates a genuinely disturbing atmosphere, whereas most contemporary horror filmmakers would have to look up “atmosphere” in a dictionary and probably still be at a loss how to incorporate it into film. That is a huge disconjunct between guys now and the old classics. Lynch also deals with psychological themes, intrusion of the irrational, and compulsions that make him of Satanic interest for the same reasons that makes someone like Alfred Hitchcock a categorically Satanic filmmaker, and Hitchcock similarly was better at “horror” than most horror filmmakers, without being a horror filmmaker himself. He and Lynch share a visceral understanding of the monstrousness in human nature, even though their overt “shock tactics” are dissimilar.

Of the Lynch films included on my list, Fire Walk With Me was hated by critics, and Mulholland Dr. is hated by most Lynch fans I know. Both contain the best examples of Lynch’s effective use of horrific imagery, and I’m continually impressed by the way he depicts the intrusion of the irrational or supernatural into normal consciousness. The burned-witch episode in Mulholland Dr. stands out as one of the most horrific moments in film that I can think of. I had a friend who had nightmares about that after I reminded him of it, and he hadn’t seen the film in years. I get the feeling Lynch incorporates nightmare material from his personal unconscious into his art in a manner similar to H.P. Lovecraft, his work is more authentic because of it, even if only those elements. I would add Inland Empire alongside Mulholland Dr. for the same reasons. I am the only person I know who has anything good to say about Inland Empire, but it hinges on these same themes, and has some of Lynch’s strongest material along these lines. The film is entirely self-indulgent, and his most irrational film, which is why most people detest it or can’t follow it, and also why I liked it.

SS: As someone that owns over 30,000 books, you’re obviously a bibliophile. About how many of these books are on cinema? Do you have any favorite books or authors(or critics) that are dedicated to the art of cinema? Better yet, are there any certain film critics/authors that you hate?

JDS: I have surprisingly few books on film, probably less than 100 and I haven’t read most of them. I will mention one book, American Movie Critics: An Anthology from the Silents Until Now, edited by Philip Lopate and published by The Library of America, that is a fantastic collection of film writing, including such unlikely things as a review of The Cabinet of Dr. Caligari by Carl Sandburg.

SS: About how many films (in any format) do you own? Is your film collection anywhere near the size of your book collection?

JDS: I really have no idea how many films I own or have owned in my personal collection, probably 1000 or more, which isn’t very many. I probably have thirty times that many books.

SS: What are your thoughts on the future of cinema? Do you see any parallels between the decline of the west and film as an art form?

JDS: The future of cinema holds a lot of potential, especially considering the advances made in digital technology, the quality of digital filmmaking and editing is continually improving and becoming more affordable. The more ability placed in the hands of filmmakers without having to go through the suppressive distortion of the studio system, or the marketing system. I suspect even more creative filmmakers will develop their own cottage industry marketing their own work through the internet. At least I hope so.

SS: Can you mention a couple mandatory films for those interested in Satanism, The Church of Satan, and Anton LaVey? Why are these films essential viewing?

JDS: The two documentaries about the Church of Satan, Satanis and Speak of the Devil! would be at the top of the list, followed by the cream of the Church of Satan film-list in terms of exerting the most overt influence on the Satanic philosophy, or embodying it; The Black Cat, The Seventh Victim, Freaks, The Most Dangerous Game, The Sea Wolf etc. Really it is hard to narrow it down from the CoS film list because they are all relevant in some way. The two abovementioned documentaries are essential for being the story straight from the horse’s mouth so to speak. Edward G. Robinson’s portrayal of Wolf Larson in The Sea Wolf is probably the most quintessentially Satanic character in film or literature. Once someone gets a grasp of what authentic Satanism is about, you start noticing Satanic themes and characters in various places and films – usually there is one character that will stand out in almost any film as being more “Satanic” than the others, although I’m sure there are mainstream “feel-good” films, or comedies lambasting average mopes, that feature NO Satanic characters but are still “Satanically” relevant films for the way they treat normal people.

SS: Are you planning any future projects related to film? I know that I am sure as hell interested in reading a book on cinema and/or a film directed by Magister James D. Sass.

JDS: Actually, just because you mentioned it, I gathered together everything I’ve written so far into one document and it is already over a hundred pages, so the answer is yes, I probably will put out a collection of film writing when I have enough material. You will be to blame!

http://soiledsinemass.blogspot.com/

Europeans and Asians did not originate in Africa

ArticleSafari » Europeans and Asians did not originate in Africa
Europeans and Asians did not originate in Africa
Posted By articlesafari On September 9, 2010 @ 4:56 pm

Plural Lineages in the Human mtDNA Genome
In addition to the plain text below, Recombination or Mutational Hotspots in Human mtDNA
http://mbe.oxfordjournals.org/cgi/content/full/19/7/1122

Data from Natural selection shaped regional mtDNA variation in humans is also analyzed in this paper.
http://www.pnas.org/cgi/reprint/100/1/171.pdf

Analysis of recent research indicates a plural genealogy for the human mtDNA genome: an African, and two indigenous Eurasian lineages that are NOT derived from the African. This falsifies the ‘Out of Africa’ radiation and replacement theory, and means there is NOT one, African ‘Eve’, who is ancestral to all modern humans.

[1]Consider this sentence, from the first paragraph of the Innan-Nordborg paper, “The argument for recombination is based on the observation that the pattern of polymorphism in mtDNA is incompatible with a single genealogical tree and unique mutations.” Thus, there are three things that might account for the observed pattern of polymorphisms:

1) recombination,
2) more than one lineage, or
3) multiple mutations at many sites.

Look at the Innan paper and you will see that the possibly recombined or repetitively mutated sites are scattered throughout the genome, and do not occur only in the hypervariable region. Note that the quote from Innan & Nordborg implies that the less recombination or repetitive, same-site mutation has affected the mitochondrial genome, then the LESS likely it is that there is a single genealogy for the human mtDNA genome. In other words, unless there has been enough repetitive mutation or recombination to account for the observed pattern of polymorphism, then not all mtDNA is from the same source, as claimed by proponents of the ‘African Eve’, or African radiation and replacement theories.

[2]On the other hand, the more recombination, or repetitive mutation that has occurred, then the more Eve’s age has been under-estimated. That is because the effect of either repeated mutations at one site or recombination is to make the mtDNA genome appear younger than it really is. If we knew Eve’s era from historical or anthropological data, we could compare that date with the one derived from the mtDNA coalescence algorithm. The difference between the calculated coalescence result and the historical date would reveal the combined effect of recombination and repetitive mutation. If that combined effect is obviously insufficient to account for the observed pattern of polymorphism, then we may infer a plural genealogy for the human mtDNA genome.

There is nothing in the historical or anthropological record to independently establish the era of a (supposed) speciation of humans in Africa. However, the situation in Eurasia is very different. There we can calibrate the coalescence date of Eurasian strains of mtDNA with an historical event, anthropological evidence, and research on the human y-chromosome. Thus we can infer the effect (hence extent) of recombination and repeated mutations, by comparing those other dates with the result of the mtDNA coalescence calculation. If the fit on these dates is fairly close we can be assured that little recombination or repetitive mutation has occurred, hence the observed pattern of polymorphism must reveal a plural genealogy for the mtDNA genome.

[3]Refer to the Mishmar paper (second full paragraph, right-hand column, on the first page) for a brief description of the M and N mtDNA lineages. Technically, one can’t say that these are ‘Eurasian specific’ lineages, only because they have found their way into the African population. Note Mishmar’s admission concerning the afrocentrists’ assertion that M and N evolved and diverged in North Africa. This paper’s authors come about as close to admitting that is implausible as they can, while remaining politically correct and afro-orthodox. To sum up: on the afro-view, M and N lineages diverged from the African Eve’s lineage, while on my view they are the oldest surviving Eurasian lineages. Either way, it doesn’t affect the argument I am making in regard to determining the relative contribution of repeated mutation and/or recombination versus plural genealogy.

With either theory, there’s a coalescence date for the M and N lineages. Mishmar calculates the M and N lineages are both 65,000 years old. I regard it as significant that these Eurasian Eves’ ages are the same, as will be explained below. And whether M and N split off the African lineage then, or they are the most ancient, indigenous Eurasian lineages still extant: either way, they are 65kyr old, as calculated by the coalescence algorithm.

[4]There was a lot going on in Eurasia around -65 kyr. The last common paternal ancestor of Europeans lived at -59 kyr, as calculated from y-chromosome data. So we have a date for the male counterpart of Eurasian Eve, calculated from a different genome, at a date within 10% of agreement. Then, ‘modern’ human artifacts are found in Eurasia by -50kyr. Considering that it is unlikely we have found the very first artifacts, and that people may have been genetically modern for awhile before developing human (Homo sapiens sapiens) culture, those dates are in remarkable agreement. Add to that, radiation into Australia by anatomically modern humans occurred at a date that may be as early as -60 kyrs, and no doubt that radiation took some millennia.

It begins to look like that -65kyr coalescence date is right on target, and we could claim there is no influence from recombination and repeated mutation, so all the sites reflected in Figure 2 are evidence for plural genealogies: QED! However, that would be disingenuous, because I believe there has been some recurrent mutation, though it is possible they have fully accounted for it in their model, and some recombination, which they probably have not explicitly factored in. So, I would expect that coalescence date to be a little more recent than the era of a genetically significant event, which actually caused modern humans to differentiate from a relatively advanced population of archaic sapiens.

[5]One reason we can expect the loss of lineages existing before the modern type differentiated, is that there must have been a population ‘bottle-neck’ associated with speciation itself. Moreover there must have been a severe population loss in temperate or higher latitudes when Mt. Toba erupted around -74kyrs and caused a nuclear winter in Eurasia. That savage selection event alone would account for the loss of more-ancient Eurasian mtDNA lineages: all the more so if it was followed by the constriction attendant to speciation. Earlier, I said it is significant that the two oldest Eurasian mtDNA lineages are the same age. The fact that they both date from the same era makes it most plausible that more-ancient lineages were lost in a specific selection event and/or population bottleneck, rather than merely through ‘lineage sorting’. It is comparatively unlikely that two mtDNA lineages would simultaneously diverge from a putative African lineage, and both (but only they) migrate from Africa and survive to the present. It is far more reasonable and parsimonious to assume that no older Eurasian maternal lineages survived two severe bottlenecks, and subsequent lineage sorting, in the indigenous Eurasian population.

So, even if we assume that the actual population constriction occurred prior to the coalescence date, and associate it with the obvious selection event of Toba’s eruption, a -65kyr coalescence date still calibrates quite closely. Note that -65 kyrs is only about 12% less than the putative genetically significant date of -74 kyrs. So, both recombination and repeated mutations can only have had a small effect on the calculation of a coalescence date, hence there are not many sites in the mtDNA genome that have experienced recombination or repeated mutation.

[6]But where it is evident that many of the sites show evidence of either recombination or repeated mutation, or else they are evidence of more than one genealogy for the mtDNA genome! Therefore, most of the sites graphed in Figure 2 must be considered as evidence for more than one mtDNA genealogy. Therefore, M and N lineages are not derived from the African genome, but represent the most ancient, surviving lineages of the Eurasian type. Hence M and N are Eurasian specific lineages that only entered Africa through radiation, rather than coming from Africa.

In conclusion, recombination and repetitive mutations are not enough (by a wide margin) to explain the observed pattern of polymorphisms in the mtDNA genome. Therefore, there is more than one genealogy: there are two Eurasian maternal lineages, associated with the speciation of modern humans (Homo sapiens sapiens) in Eurasia, and another, African lineage. This refutes the ‘Afro-radiation and replacement’ theory, and the politically correct shibboleth that ‘we are all Africans’. As explained in Age and Origin of the Human Species (Fonda, Mankind Quarterly, Dec 2000; & posted at rafonda.com) the evidence already pointed to a recent, Eurasian origin for modern humans. Only the assertion of a single genealogy for mtDNA could be construed to supported the afro-replacement theory, and that assumption is now revealed to be false.

Mishmar et al, are probably correct to attribute variation, in lineages derived from M and N, to natural selection. One supposes that Mishmar et al., theorize that mtDNA selection took place in the last 50kyrs (Wallace’s date for an African radiation, quoted in NY Times, “Ice Age Ancestry”) in order to accommodate their theory to the constraints of assuming an African origin for modern humans. However, it is more plausible that such selection took place in very ancient times (when pre-human species were adapting to a cold climate) and was only retained at high latitudes, among people living at low culture levels, as the adaptations come at a fitness cost, and thus were lost when and where physical adaptations were superceded by elaborated clothing and shelter, in the temperate zone and the recent era.

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