Showing posts with label Collective Unconscious. Show all posts
Showing posts with label Collective Unconscious. Show all posts

Friday, December 4, 2020

The Incredible Disappearing and Reappearing Monolith


We just discussed the Utah monolith about a week ago, where I wondered if this bizarre media sensation would soon disappear or if it had legs. Thus far, the later certainly seems to be the case. 

On the day my initial monolith post went up, the Utah variety disappeared. Days later, it was revealed that several individuals had taken it upon themselves to dismantle and remove the monolith. There stated reason was: "We removed the Utah monolith because there are clear precedents for how we share and standardize the use of our public lands, natural wildlife, native plants, fresh water sources, and human impacts upon them." 

They seem to be expressing concern over the impact of monolith pilgrims on the surrounding public lands. And in fairness, hundreds of people had already traveled to the mysterious monolith, leaving a subsequent ecological impact in their wake. 

But isn't this something that the Utah Division of Wildlife Resources (UDWR), the Bureau of Land Management (BLM), or some similar government agency should be handling, and not a group of "concerned" private citizens? Indeed, the BLM released a curious statement after the monolith was removed: "We have received credible reports that the illegally installed structure, referred to as the 'monolith,' has been removed... The BLM did not remove the structure, which is considered private property."

A scene of the monolith being dismantled

So, the BLM couldn't remove it themselves because it's private property, even if it was "illegally installed"? But private citizens can? 

And come to think of it, if the ecological threat was so grave, why did the UDWR play such a crucial role in bringing the monolith to public attention in the first place? Perhaps they didn't quite anticipate it becoming such a sensation, but did anyone seriously think the monolith wouldn't draw an audience?


Transmissions from Beyond

This sudden conclusion only raises further questions without offering any real resolution. Surely, this was the point. That, and to create a kind of "hypersigil." 

And then there is the alternate reality game (ARG) aspect. As I noted in my prior monolith post, a crucial component of all good ARGs is the "treasure hunt" aspect. Getting players out into the real world acting out aspects of the game is a longstanding objective of the original creators of the ARG concept.

At the forefront is Joseph Matheny, the creator of Ong's Hat, considered by many to be the first true ARG. Matheny has lots of interesting books on his website, but the one I'd recommend most enthusiastically is The Art of Memetics by Edward Wilson & Wes Unruh. There are lots of fascinating concepts in this book, but their take on "the law of attraction" is most relevant here:

"This isn't 'the secret' and it's not cribbed from an emerald tablet. It's advice based on experience and creative problem solving. Understanding your objective and focusing on it, explaining it to others in your social network, and then allowing that interaction to guide you will inevitably lead you to where you need to be. Kurt Vonnegut often wrote that 'you are what you pretend to be' but a more succinct phrase would be: You become what you do. Pretending is acting as if something is true, and it is that acting that is imprinted into the preconscious and unconscious mind over time."

(The Art of Memetics, pp. 54-55)


In other words, it is our actions that define what we are, not our thoughts. Thus, having people think about an ARG is not enough. They need to consciously act out the game. And certainly the Utah monolith offered this possibility. But it has now grown well beyond the confines of a mere treasure hunt. Rather, it appears to have inspired people across the world to craft their own hypersigils, which has led to even more performing art along the lines of what we saw in Utah when the monolith went down.  

Shortly after the Utah monolith's existence was revealed to the public at large, another appeared in Romania. Like the Utah monolith, it cropped in an area riddled with local lore. And like the Utah monolith, it disappeared not long after it gained international attention.

the Romanian monolith

On December 2, roughly five days after the Utah monolith was taken down, a third appeared in California. This was one was also removed, and in spectacular fashion. A rather pathetic band of white supremacist "desecrated" this monolith after having driven for nearly five hours to destroy it. Declaring "America first" and "Christ is king," they toppled the monolith and replaced with a wooden cross. A statement of purpose was given at the onset of the festivities along similar lines: "Christ is king in this country. We don’t want illegal aliens from Mexico or outer space. So let’s tear this bitch down.”


the California monolith in its pristine glory (top) and it's desecration (bottom) 

Yeah, the media is going to have a field day with that one. Elsewhere, a fourth monolith appeared on a community college campus in Austin, Texas on December 4. In this case, it was openly acknowledged that one of the Austin Community College District's welding departments were behind this particular spectacle. 

Austin's monolith

So, four monoliths then in the span of less than two weeks since the Utah one was revealed to the public at large. If actions are crucial to imprinting both the "preconscious and unconscious mind," then these four are certainly a coup. Rather than just inspiring pilgrims, they've spurred individuals and groups around the nation and world to create their own monoliths. And these monoliths in turn are inspiring even more drama, as the California incident illustrates. The level of participation the initial Utah monolith inspired is just staggering and it seems poised to continue. 

The question then becomes, what are these actions leading towards?


Evil Clowns and Other Curious LARPs

Already the monoliths are drawing comparisons to the evil clown sightings of 2016. Both the clowns and monoliths have become surreal stories in presidential election years here in these United States. 

Certainly the evil clowns provided a sinister context to the rise of Trump, and were even incorporated into American Horror Story: Cult, which eerily predicted the rise of the QAnon cult (AHS: Cult first aired on September 5, 2017, and wrapped up on November 14th of that year; what is generally considered the first Q dispatch appeared on 4chan on October 28, 2017). Naturally, AHS: Cult had its own ARG while compelling evidence has emerged that QAnon is in fact an ARG.

Are we seeing something similar playing out with the recent monolith flap? The original Utah monolith may have been left by the crew of Westworld, a show that's made heavy use of the ARG format for both it's marketing as well as it's storylines. But Westworld season 3 just wrapped up earlier in the year (after premiering shortly after the COVID lockdowns began here in the US), and likely will not return until 2022.

What then? Certainly the symbolism of the monolith, derived from Kubrick's 2001: A Space Odyssey, is far more idealistic than the evil clowns, to put it mildly. In the classic film, the monolith drives humanity on an interstellar journey that results in the next evolutionary step of the species (at least in popular interpretations). This is a story arch I'm sure delighted some die-in-the-wool globalists, especially in the aftermath of presumed Biden victory. 

the monolith from 2001

But this isn't the first time the US has witnessed a monolith LARP in the twenty-first century. The first one occurred on New Years Day 2001 when a monolith appeared in Seattle. It generated a similar mystery over the creators, disappeared, reappeared, and generally moved around the Seattle area for the first couple of months of 2001. The artists behind this particular monolith no doubt felt it was apt for the times. The feel-good vibes of the Clinton era were still going strong, by and large. Then came 9/11, which certainly ushered in a new age, both domestically and globally. 

Will 2021 offer a similar kind of new age? The third season of Westworld (dubbed "The New World" no less) offers as apt a vision as one is likely to find for the world we are heading towards, which is why I find the timing of its premier with COVID lockdowns to be especially ominous. And the Utah monolith has brought the show back into the limelight at time when it's would otherwise be out of the public consciousness. It is revelation of method of the highest order, especially in light of recent accounts of Q. 

And with that I shall sign off for now dear readers. Thanks for tuning in and a big thanks to those of you supporting The Farm's exclusive content on our Patron page. Expect some great content there related to the themes I've been exploring of late in the coming weeks. Anyway, until next time dear readers, stay tuned. 

Friday, June 7, 2019

You're Gonna Miss Me


Roger Kynard "Roky" Erickson was both an American original and an American tragedy. He is most well known now as the American Syd Barrett, but with a somewhat happier ending. The body of work Erickson put together over the course of nearly six decades in the music industry (sans a decade or two when he gave up music) has proven to be enormously influential. A host of acts ranging from ZZ Top, Echo & the Bunnymen, Julian Cope, the Butthole Surfers, R.E.M., Primal Scream, and legions of modern neo-psych bands claim him as an influence.  When Erickson passed away on May 31, he was several decades into a remarkable career resurgence that would have seemed impossible in the 1980s.

During that particular decade Erickson was practically homeless at times, almost completely incapacitated by mental illness, and suffering numerous other health and substance abuse problems. He had almost completely given up on music, and was often seen wandering about Austin, Texas in a disheveled state, adding to his legacy as one of the 1960s most notorious acid causalities. And yet, by the middle of the last decade, he was the subject of a successful documentary, releasing new studio albums, and even performing live with upstarts acts such as the Black Angels who based so much of their sound on Erickson's work from the 1960s.

After enjoying some regional success with the Spades, his first band, Erickson co-founded the legendary 13th Floor Elevators in 1965. The Elevators, in turn, are considered to be one of the pioneering psychedelic acts, their sound crystallizing concurrent to, and largely independent of, the far more well known San Francisco sound. Indeed, it is likely that the San Francisco psychedelic scene was even more influenced by happenings in Texas than vice versa. Both Janis Joplin and Family Dog's Chet Helms had spent time in the same Austin scene that spawned the Elevators before relocating to San Fran. Helms in particular would play an enormous role in shaping both the music and counterculture of the city during the 1960s to the point that he has been described as the father of the Summer of Love.

Janis Joplin and Chet Helms
The Elevators emerged out of the burgeoning psychedelic scene centered around the University of Texas at Austin (UT Austin) during the early 1960s. This scene was fueled, unlike other such happenings, by peyote rather than LSD. The hallucinogenic and spiritual properties of the cactus buttons had first been observed by anthropology students during 1960 and later spread to others across the campus. At the same time, some curious figures were lurking about the school.

There was Whitley Strieber, the famed horror novelist turned UFO abductee and New Age guru. And then there was the infamous Charles Whitman. At one time a student at the Austin branch of the University of Texas during the early 1960s, the former Marine would return there on August 1, 1966, and embark upon a shooting spree that earned him the nickname the "Texas Tower Sniper." Whitman used the university tower as a sniper's nest, using multiple firearms to pick off students indiscriminately. When all was said and done, fourteen people were dead with an additional 31 wounded. At the time, the Elevators had just been subjected to the first of many drugs busts days before hand.


Strieber (top) and Whitman (bottom), who were both students at the UT Austin during the early 1960s along with several future Elevators
Austin remains a curious place to this day. In many ways, it seems like it should be a part of California. Its music scene, which the Elevators played no small part in putting on the map, has become the stuff of legends. Thanks to the efforts of filmmaker Richard Linklater and his Austin Film Society, it has a vibrant role in the motion picture industry as well. Elsewhere, Austin has become one of the leading tech hubs in the South as well. Locals have even gone so far as to refer to a part of the city as Silicon Hills.

As both the entertainment and tech industries are closely related to the intelligence sector, it should come as little surprise that at least one major private intelligence company calls Austin home. That would be Stratfor, which Barron's once referred to as "the shadow CIA." Unsurprisingly, famed conspiracy theorists (and CIA asset) Alex Jones also calls Austin home.

Jones
Given all these associations, it should come as little surprise that the Elevators have provided ample fodder to the likes of David McGowan and Jan Irvin in their efforts to prove every aspect of the 1960s counterculture as some type of CIA plot. And indeed, if one subscribes to this particular brand of "Aquarian conspiracies," no 1960s rock 'n roll band may better fit this mold than the Elevators. They and their hanger-ons were all from solidly upper middle class backgrounds, and had parents connected to the military and/or the Texas elite of the time. The band sold drugs, most notably LSD, to make ends meet, with one member eventually linking up with the Brotherhood of Eternal Love. 

That member, electric jug player and chief lyricist Tommy Hall (who had previously displayed far right views), made no bones about his agenda for the band: namely, to use it as venue to promote his acid-fried spiritual vision that adopted a host of occultic and esoteric concepts. Indeed, Hall had a far more profound notion of occult doctrine that practically any other rock 'n roller circa 1965. While the Beatles were just beginning to dip their toes in, Hall had already catapulted into the deep end. Hell, they even adopted Great Pyramid and All Seeing Eye as their logo! The band had all but walked out of the Illuminatus! Trilogy.


But things are not always as they seem. Unlike their LA and San Francisco counterparts, the Elevators were crack musicians (at least until they toured San Fran and embraced the habit of not practicing) who wrote the bulk of their own material. In other words, they were not a studio creation like so many LA and San Fran bands of the era (see The Wrecking Crew). Further, rather than achieving stardom, the Elevators were confined to cult status thanks to the inexplicable ineptitude of their label, the infamous International Artists (IA). With little promotion, the Elevators had achieved a hit single in "You're Gonna Miss Me."  This, combined with the musical/songwriting prowess of the band and Erickson's movie star good looks, all but ensured they could have been huge. If you thought the occult influence of the Beatles and the Stones on America's youth during this era was a problem, be thankful that Tommy Hall never got such a platform.

the enigmatic Tommy Hall
Indeed, IA appears to have done everything in their power to suppress the band, effectively refusing to promote any of their material after "You're Gonna Miss Me." This ensured that the Elevators were rarely heard outside of Texas during the 1960s. And as for the band members themselves, they suffered profound personal tragedies --unlike so many of their California counterparts.

At the forefront was Roky Erickson. In 1969, after a minor drug bust, he was admitted to Rusk State Hospital in 1969. There, he was subjected to electroshock "therapy" while rubbing elbows with the criminally insane that comprised the bulk of Rusk's population. Former bandmates and family members largely insist that Roky's time in Rusk is what fueled his later mental health problems rather than the LSD, as is commonly claimed. While the acid no doubt contributed on some level, there's no question that the three years he spent in Rusk profoundly changed Roky. It especially evident in Erickson's post-Elevators solo work.
"Meanwhile Roky survived hell at Rusk. His resurrection was simple – Horror Rock. The whole point of good horror is that the audience is meant to suffer and, in turn, horror could be viewed as a subtle form of revenge for what had happened to him. One of Roky's biggest problems was countering his sense of the mundane, and horror offered a highly theatrical cast of monsters and gremlins to express himself. Although he prefers not to elaborate on the background of his songs, it's not hard to spot the adaptation of horror titles from his youth into autobiographical metaphors: 1943's 'I Walked With a Zombie' for the 'Thorazine shuffle' and 1957's 'Night of the Demon' for Rusk and 1955's 'Creature With the Atom Brain' for electric shock treatment. Screamin' Jay Hawkins employed voodoo and the macabre in his songs and Roky's hero Joe Meek used extraterrestrials. In 1975 Roky lost all his manuscripts in a huge fire and set about a marathon typing session assisted by Billy Miller in which he recalled all of his songs. What's intriguing was that Roky had become absorbed in the twin motion of acceptance and rejection and typed many of the songs with the lyrics 'God' and 'Jesus,' which were then crossed through with red pen and then replaced with 'Lucifer' and 'Satan.' "
(Eye Mind, Paul Drummond, pg. 380)
While I've always preferred Roky's work with the Elevators, there's no denying the power of his "Horror Rock" stage. While look to both 1950s horror and rock 'n roll for inspiration, Roky offered up a truly demented attempt to make sense of his experiences at Rusk. In addition to "Creature with the Atom Brain," there's no question that songs such as "Bloody Hammer" were also attempts to make sense of the electroshock "therapy" he was subjected too. An effort was made by Creedence Clearwater Revival's Stu Cook to record many of these songs during the late 1970s. Eventually, they were collected together during the early 1980s for the classic The Evil One.


But despite the creativity Roky was still capable of in the 1970s, there's no question his mental state had seen better days. In 1975, he had an attorney draw up an official document declaring that he was not human, but rather a Martian. Erickson's mental state would only get worse. By the 1980s, he had largely given up on music all together, as well as basic hygiene. Erickson had claimed to have heard voices since the late 1960s, but by the 80s the situation had become dire. Erickson, by now a recluse, spent much of his time holed up in his house with countless TVs and radios, all tuned to different stations, blaring at once. He allegedly used the white noise from these devices to drawn out the voices in his head. This would remain his preferred form of medication until the 1990s.

While Erickson seemed destined to fade away into obscurity, the Herculean efforts of his brother, Sumner, during the early 00s spurred a remarkable transformation in Roky. After wresting away custody from their mother in 2001, Roky was finally able to get effective psychiatric treatment. By the end of the decade, he was once gain touring and even recording.

After spending much of the 1980s and early 1990s in a special kind of hell, Roky's striking career resurgence was a fitting coup de grace for one of the most enigmatic figures in rock 'n roll. After years of obscurity, Roky finally possessed a fitting cult following of a respectable scale. And the poor bastard finally made some money, after years of being exploited by family members and assorted hanger-ons. As such, Roky had about the closet thing to happy ending as this type of saga is likely to produce.

the Elevators
But Roky will always be most remembered for his work with the Elevators. And the Elevators' story is ultimately a tragic one. Like Icarus flying to close to the sun, the band rubbed shoulders with powerful forces as part of their psychedelic evangelicalism and more than a few band members were burned in the process. For more information on these tragedies, check out my early series on the Elevators, "Slip Inside This House: The Nightmare Trip of the 13th Floor Elevators":

Part One
Part Two
Part Three
Part Four
Part Five

Before signing off, I would like to note that the reverberations continued even with Erickson's death. As was noted above, he died on May 31. Reverse the numbers in 31 and one is left with a 13. And it just so happens, Roky's death is not the only tragedy that unfolded on May 31, 2019 related to 13. That date also witnessed a mass shooting, the Virginia Beach shooting, to be precise. Twelve individuals were gunned down by the perpetrator, who was later was killed by police. This resulted in a total of 13 deaths.

Powerful forces, indeed. And with that, I shall sign off. Until next time dear readers, stay tuned.


Sunday, April 28, 2019

From Catholic to Pagan



Black metal and churches burnings are headlines once again, making for one of the more unsettling aspects of 2019 thus far. February of this year witnessed the release of Lords of Chaos, a fictionalized account of the rise of the pioneering black metal band Mayhem. By April, a budding black metal musician by the name of Holden Matthews was arrested for setting fire to three historic black churches in the state of Louisiana. Of course, Louisiana has its own dark history of black churches being burned. But churches burnings have very much became one of the founding myths of the black metal community.

This too traces back to Mayhem. The group had been founded in 1984. Throughout its initial run (until 1993), the driving force had been Ã˜ystein Aarseth, who went by the name of Euronymous. By the early 1990s, the band had generated much hype around itself despite having only issued a handful of demos, bootlegs, and one EP. Their proper debut album wouldn't even be issued until 1994, after the first incarnation of the band was defunct.

Despite this, band members were largely able to focus on the group full time without being burdened with holding down a job. Euronymous was even able to procure his own record store in 1991, Helvete (which means "hell" in Norwegian), which generated little to no income, but which served as a rallying point for the emerging Norwegian black metal scene. How exactly Mayhem was able to establish a reputation within the metal community and financially support themselves with so little output from the band (which rarely played live either) is one of the more curious aspects of their saga that has been little explored.

Helvete, which since become something of a shrine for black metallers
According to Dayal Patterson's Black Metal: Evolution of the Cult, at least some of the funding for Helvete came from Euronymous' parents, of whom few details are available on. Presumably, they also helped financially support Euronymous during his time with Mayhem in addition to the record label he launched around the time of opening Helvete. Another future Mayhem member, Varg Vikernes (of which much more will be said below), also appears to have come from a well-to-do family. Lena Bore, Vikernes' mother, reportedly gave $20,000 to a neo-Nazi clique in 1997 to break Varg out of prison after he was convicted of murdering Euronymous.

But what of the other band members and hanger-ons? In Patterson's work, it is hinted that some supported themselves through various illicit acts, most notably selling drugs and firearms. But this may not have been the case in the early days. Many of the participants in the early scene are described as coming from solid middle class background, but even the middle class of the 1990s would have struggled to come up with $20, 000. On the whole, one is left with the impression that there was some real money backing up the early scene, though naturally few researchers have explored this angle.

The band's reputation is a bit harder to pin down. Certainly, the shock factor was a big part of it. In 1991, Per "Dead" Ohlin, one of the band's early singers, committed suicide in 1991 at Euronymous' house. Euronymous did not immediately report the suicide to the police, but rather took pictures of Dead's corpse and collected pieces of his skull, which were later used to fashion necklaces with. One of these pictures was later used on the cover of the infamous bootleg live album Dawn of the Black Hearts.

Dead (left) and Euronymous (right)
Needless to say, this was the type of thing that draws attention. Still, Black Hearts was not released until 1995, well after the band had become legends in the metal community. Sure, rumors of these types of activities were making the rounds in said community years before, but would this have been enough to establish Mayhem as a pivotal act with so little actual output?

The Inner Circle

Regardless, things took a truly radical turn in the aftermath of Dead's death. When Mayhem had first been founded in the 1980s, Euronymous and his cohorts approached their pioneering brand of black metal with tongue firmly in cheek. There was a sense of humor to the whole thing, in other words. But by the early 1990s, Euronymous appears to have firmly bought into what he was preaching. His philosophy has been described as "nihilistic hatred, colored by the brooding, depressive morbidity often associated with the negative side of the Scandinavian psyche" (Black Sun, Nicholas Goodrick-Clarke, pg. 204). Satanism had long played a role in this scene as well, but solely for the shock value during the 1980s. But by 1992, Euronymous became very serious about creating a Satanic underground. Fortunately, several of the more extreme denzies of Helvete found a certain appeal in this vision.
"Well he was perhaps exaggerating his own importance for dramatic effect, there's no doubt that Euronymous played a major role in setting the scene for the culture of destruction taking place across Norway. The 'militant people' he spoke of – along with some aware but uninvolved in their activities – would become known as the Inner Circle, Black Circle, or Black Metal Mafia, though more recent statements from those involved highlight that this was not as formal or organized a group as such phrases might suggest. Nonetheless, black metal's anti-Christian/Satanic ethos had, for the first time, been turned into significant direct action, and activities such as grave desecrations and church arson became relatively common.
"Pinning down exactly what inspired the situation isn't easy, and it's important to note that the majority of those involved came from untroubled middle-class backgrounds and weren't involved in other illegal activity. With a few exceptions, drugs were only notable in the scene by their absence, and though drinking with some, it was not widespread at that time. Some members of the circle, such as Mortiis and Vikernes, didn't drink or use drugs, and the use of intoxicants was criticized by several bands in interviews. Though certainly not true today, the Norwegian scene of that period could actually be quite militant and even puritanical, especially compared to most other youth music cultures, not least within metal itself."
(Black Metal: Evolution of the Cult, Dayal Patterson. pg. 161)

Patterson goes on to note that quite a cultish atmosphere grew out of this scene:
"Undoubtedly, there was more at work behind the arsons than simply an ideological opposition to the church. There was, for a start, a somewhat cultish atmosphere, wherein young participants (mostly those carrying out these activities were in their late teens) wished to be accepted within the scene by older members, such as Euronymous. And a culture had been created by charismatic individual such as Dead, Euronymous, and Vikernes, that celebrated evil, hate, misanthropy, and Satanism.
"Interviews of the time saw bands attempting to break every taboo still standing, glorify murder, torture, suicide, arson, and more, often tying this to an overtly spiritual, even supernatural, theme, with frequent references to the devil, spirits, hell, and the like. At the same time, music and art were being created that far surpassed what had come before – recordings whose timelessness has been proved by their enduring popularity. For those swept up in all this, the lines between everyday reality, art, ideology, and the glorious melodrama of black metal were blurred in what must have been an intoxicating mix."
(ibid, pg. 164)
Perhaps "psychodrama" would be a more apt description of what the Norwegian scene had unleashed. Curiously, this militant approach to black metal began to spread throughout Norway, creating local scenes that had no initial links to the Oslo-based scene of Mayhem. One especially notorious scene was the one that developed around the city of Kristiansand. This scene spawned musicians such as Terje Vik Schei (who performed under the pseudonym Tchort, a Slavic word for devil), who would go onto to work with such acts as Emperor, Satyricon, and Carpathian Forest.
"As Terje confirms, the Kristiansand scene was notably extreme even by the standards of the time, with members attacking Christians in the street with knives in the middle of the day. Going some way beyond mere anti-Christian ideology or even straightforward antisocial behavior, these activities were entrenched in the destructive Satanic culture similar to the one that had grown up in Oslo. Like Mortiis (whom he would replace in Emperor), Terje admits a certain 'saturation' of extreme ideas. Even for Terje himself – no longer a Satanist and now married with children – this period is quite surreal to look back upon.
" 'I have to force myself in order to recall these events,' he admits. 'The actions were extreme, but so were we all at that time. Living off human blood, decorating your flat with tombstones, animal carcasses, digging up graves and shit, does something to you, and what is considered extreme didn't seem so extreme back then. Again, it was more about the atmosphere, the emotions and feelings and pushing our limits that led to stuff like animal sacrifice, drinking blood, etc. We didn't see this as part of the music scene we now "belonged" to, but as part of the life situation we were experimenting with. We had some books and ideas on how rituals were performed, but we followed our own instincts – or lack of them – more than anything else. I remember that I passed out on the street on one occasion as I had been living off animal blood solely for quite some time.' "
(Black Metal: Evolution of the Cult, Dayal Patterson, pg. 166)
Tchort
Charming. Later, these Kristiansand lads would make the pilgrimage to Oslo where they encountered Euronymous in all his glory.  Reportedly, he tried to recruit them as the "muscle" for some of the projects then being discussed among the Inner Circle.


Enter Varg

Easily the most notorious member of the Inner Circle, and a pivot figure in launching the church burning spree that made the scene infamous, was Varg Vikernes. After playing in several death metal outfits, Varg founded Burzum in 1991, a black metal band in which he was the only member. Euronymous signed Burzum to his fledgling record label, Deathlike Silence Productions. Vikernes later joined Mayhem as their bassist in 1992. Vikernes' arrival at the Oslo scene is generally credited with unleashing the wave criminality that followed.
"... Having introduced a devil-worshiping called in the Norwegian black metal, Euronymous and Vikernes began to proclaim their readiness to commit outrages. On 6 June 1992 the beautiful old wooden stave church of Fantoft, one of Norway's architectural treasures dating from the twelfth century, was burned to the ground by arson. By January 1993, fire attacks occurred on at least seven other major Norwegian stave churches. Vikernes was subsequently convicted of the murder of Euronymous in August 1993 and of three of the church arson; he was sentenced to twenty-one years in jail. Sensational publicity during the trial period guaranteed Vikernes the media role of an arch-satanist."
(Black Sun, Nicholas Goodrick-Clark, pg. 204)
Euronymous more accurately deserves the credit for the Satanic cult, as he had been working towards such a thing well before Vikernes enjoyed the scene. What Vikernes really deserves credit for, in addition to turning Euronymous' fantasies into action, was the introduction of far right politics into the scene. Reportedly a former skinhead, Vikernes would become deeply infatuated with Nazism and other extreme right ideologies during his incarceration.
"While in jail, Vikernes began to formulate his nationalist heathen ideology using materials from Norse mythology combined with racism and occult National Socialism. These essays were published in various underground publications and in Filosofem, a neo-Nazi magazine published by Vidar von Herske, another member of Burzum, who migrated to France. Vikernes' articles typically revolved around esoteric interpretations of myths in the Edda, with discussions of Odin, his magical ring, ravens and wolves. Vikernes identified himself with Wotan or Odin: 'I am his flesh and blood, his soul and spirit; for I am his posterity and the archetypes in our race are his.' Other articles focused on Norse cosmology and magical practices. With his increasing racial nationalism, Vikernes sees himself as a successor to Vidkun Quisling, the Norwegian political leader who headed the collaborationist government during the Nazi occupation of the Second World War. In particular, Vikernes is interested in Quisling's mystical doctrine of 'Universalism,' which combines pantheism with a Nietzschean will to power. He has also written a book Vargsmal, underlining his role as chieftain of his Norwegian Heathen Front."
(ibid, pgs. 204-205)
Varg
Curiously, one of the leading figures in creating the mythos surrounding the Norwegian black metal scene also has extensive links to far right politics. This would be none other than Michael Moynihan, the co-author of Lords of Chaos. As Lords was for years the chief source of information Americans had on black metal (its biggest market being the US), Moynihan has played an enormous role in how the genre is perceived here. As such, Moynihan has been accused of exaggerating the fascist tendencies within the movement. And generally speaking, it does not appear that extreme right politics had a significant influence on black metal in the early days. Euronymous had in fact long identified with Communism, for instance.

Moynihan
Still, there's no question that a far right variety has became firmly entrenched within the genre --consider, for instance, the rise of National Socialist black metal (NSBM). In recent years, scholars have attributed these developments to Moynihan himself and how he framed black metal in Lords.


The Curious Associates of Mr. Moynihan

This would hardly be the first time Moynihan has attempted to launch a far right movement. In 1989, he joined a curious entity known as the Abraxas Foundation. Founded in 1984 by industrial musician (and fascist sympathizer) Boyd Rice, Abraxas has been described as a "social Darwinist think tank." Other figures linked to Abraxas have included Adam Parfrey, the legendary founder of Feral House, and Zeena LaVey, the daughter of Church of Satan (CoS) founder Anton. It probably goes without saying, but Abraxas maintained links with the CoS.

It also forged ties with cult leader Charles Manson at some point during the 1980s as well. It was through Manson that Moynihan was introduced to James Mason, the head of the Universal Order (which Manson had provided the name for). Mason was a longtime far right activist who had joined George Lincoln Rockwell's American Nazi Party in 1966 while still a minor. A decade later, Mason joined the more militant National Socialist Liberation Front  (NSLF) and began editing a publication known as Siege. There, he advocated urban warfare and cultish murders as to destabilize the system. Eventually, Moynihan collected these writings into a book he published, which was also titled Siege. Moynihan's publication of Siege would become a cult classic among neo-Nazis and ultimately spawn more militant groups such as the Atomwaffen Division, which has recently be linked to several murders across three states.

James Mason
Mason is not Moynihan's only link to the old American Nazi Party either. Another organization Moynihan has been affiliated with is the Asatru Alliance (AA), an "Old Norse and Germanic religion" movement that grew out of 1960s Norse revival. The Norse revival, in turn, has long been linked to the far right in these United States.
"... Odinism began its modern career with the establishment of the Odinist Fellowship in 1969 by Else Christensen. Born at Esbjerg on the Danish West Coast in 1913, Else Oscher was involved in revolutionary unionism and politics in Copenhagen during the 1930s. She was eventually attracted to the left-wing Strasserite wing of the emerging Danish National Socialist Worker's Party, and in 1937 married Alex Christensen, who had served as a senior aide to the party leader later ousted in 1933. Following the Nazi occupation of Denmark in 1940, Alex was briefly imprisoned as a dissident. In 1951 the Christensens emigrated to Canada, where they settled in Toronto. Else Christensen's interest in racial radicalism brought her into contact with Willis Carto, a leading figure of the American far right, and James K. Warner, New York organizer of Rockwell's American Nazi Party. Carto introduced her to the writings of Francis Parker Yockey, Oswald Spengler's American eulogist and author of Imperium. Abandoning the idea of using Odinism as the religious counterpart of National Socialism in America, Warner gave Christensen his Norse material, which included the writings of Alexander Rud Mills."
(Black Sun, Nicholas Goodrick-Clarke, pg. 259)
Else Christensen
According to the great William Turner in Power on the Right, the above-mentioned Rockwell lieutenant James K. Warner had relocated to Los Angeles in 1966 to establish what was described as the "Odinist Religion and Nordic Faith Movement," of which he was the high priest of. Warner would continue promoting Odinism in LA until the late 1960s, at which point he turned his material over to Christensen and embraced Christian Identity theology.

Nor is Warner the only connection the American Odinist movement has to the American Nazi Party. During the 1970s, two Arizona-based ANP members, "Valgard" (Michael) Murray and Elton Hall, would join Christensen's Odinist Fellowship. Murray would eventually become the vice-president of the group and go on to found the AA in 1987. Hence, the ANP has longstanding ties to the American Odinist movement.

Another crucial figure in the AA was Robert Nicholas Taylor. Prior to hooking up with the AA, Taylor had been deeply involved with the Minutemen, one of the earliest post-WWII far right militias. The Minutemen had many interesting connections, including the US intelligence community, noted before here. Taylor was allegedly the "director of national intelligence" for the Minutemen and boasted of setting up "the first guerrilla training schools ever to exist in the United States."

Minutemen "promotion" material
On the whole, Moynihan appears to have had extensive links with especially militant sections of the far right. As such, his fixation on Varg Vikernes and the fascist aspects of black metal are most unsettling. While working on Lords, did Moynihan see Varg and black metal as being capable of establishing the type of revolutionary movement that he appears to have been working towards for decades?


Bouchet and the Sith Lord

Moynihan was not the only far right activist to become smitten with Varg either. In France, he found a staunch supporter in the highly controversial figure of Christian Bouchet. In recent years, Bouchet has gained something resembling respectability in French politics. In 2008, he became a member of the Front National (FN), the party of Marine Le Pen. Since then, he has stood for election as an FN candidate in several contests, most recently in Nantes, France's sixth largest city. 

This is quite curious in light of Bouchet's longstanding interests in far right ideology and the occult. As to the former, Bouchet had been the head of the Radical Unity party. In 2002 one of its members, Maxime Brunerie, attempted to assassinate then-president Jacques Chirac. The group was disbanded by the French government soon thereafter. Apparently this type of militancy did not dissuade the FN from embracing Bouchet. 

Bouchet's occult interests are equally extreme. He is credited with being at the forefront of the rediscovery of Francis Parker Yockey, an American far right philosopher recently embraced by the alt-right. Yockey was hardly Bouchet's only point of reference, however.
"The link between the current Yockey revival and the occult is equally clear in the case of the French 'third-positionist' Christian Bouchet, who helped found a new European Liberation Front in homage to Yockey. Bouchet has been associated with the French branch of the Ordo Templi Orientis (OTO), and his occult journal is named Thelema in homage to Aleister Crowley. He is a leading figure in Nouvelle Resistance, whose journal Lutte du Peuple he also edits.
"... Bouchet... tried to turn the 'Satanic' or 'black metal' music scene in a fascist direction... Bouchet's group, Nouvelle Resistance, meanwhile, is behind the music fanzine called Napalm Rock. Napalm Rock has embraced a leading Norwegian black metal musician named Varg Vikernes..."
(Dreamer of the Day, Kevin Coogan, pg. 620) 
Bouchet
Bouchet has continued to defend Vikernes, who relocated to France after his incarceration, as recently as 2013. Between Varg, Crowley, and Yockey, Bouchet certainly has some curious occult influences. But for our purposes here, it is the origins of Bouchet's occult beliefs that are of greatest concern.
"... The national-revolutionary Bouchet was previously influenced by both Evola and Thiriart, and despite being very far from Marine Le Pen's alleged 'normalizing' line, he was still a FN candidates in the 2012 general elections and maintains a significant party role at the local level. A former member of Organisation Lutte du Peuple and Troisieme Voie (Third Way), and founder in 1991 of the (now disappeared) pan-European and national-revolutionary Nouvelle Resistance (New Resistance), this French activist has been constantly spreading the works of Evola, Mutti, Adinolfi, and many others..."
(Transnational Neofascism in France and Italy, Andrea Mammone, pgs. 223-224)
That would be Julius Evola, the infamous Italian philosopher and occultist. In the twenty-first century, Evola is more influential than he has ever been. Most recently aspects of his ideology have been embraced by the American alt-right, the Greek Golden Dawn, Russia's Alexander Dugin, and so many more. Indeed, it would seem that Evola has even managed to influence the architects of neo-fascist black metal. While Varg Vikernes apparently finds Evola's work at times to be too "oriental oriented," he has none the less recommended Evola's books to his fans. And then there's Moynihan, who has been at the forefront of the Evola revival. Moynihan founded the journal Tyr to promote a brand of Traditionalism inspired by Evola and has even edited and published one of Evola's most influential works.

Notre Dame

Of course, it would be impossible to write about church burnings in 2019 without addressing the fire that engulfed the Notre Dame de Paris. While many individuals looking for occult significance in the fire have focused on its connection to the Knights Templar, there is a much more recent connection.

On May 21, 2013, the 78-year old Dominique Venner strolled into the ancient cathedral. After laying a sealed envelope on the altar, he pulled a Belgian-made pistol from his pocket, placed the firearm in his mouth and pulled the trigger. When the contents of the note were read, in addition to a blog post the journalist and historian had written shortly before his death, it was revealed that his suicide was  in protest of the recent legalization of gay marriage.

To many Americans, this may have seemed quite a curious event. After all, France has quite the reputation for sexual liberation. And to further muddy the waters, Venner was an openly acknowledged pagan and had been for some time.

Venner
How then did this state of affairs come about?

To be sure, Venner's journey to Notre Dame was a curious one. He had served as a paratrooper during the Algerian conflict, which likely introduced him o far right politics. As Andrea Mammone notes in Transnational Neofascism in France and Italy, something of a cult surrounded the elite paratroopers in France during the 1950s and these elite units would be at the forefront of the attempted coup against de Gaule in 1961. Later, they would serve as the backbone of the Organisation Armee Secrete (OAS), a paramilitary organization links to numerous terrorist, including multiple on de Gaulle's life.

Venner would sign up with the OAS shortly after the organization was founded and would end up serving 18 months in prison after he was captured. Upon his release in 1962, he would take a more intellectual approach to far right activism. He wrote a book, Pour une critique positive (Towards a positive change), which some have described as the Right's What Is to be Done?. Then, in 1963, he founded a movement known as European Action (EA), which also featured a journal of the same name. EA would feature many of the guiding lights of what became known as Nouvelle Droite (ND ---New Right) in France. Among them was journalist and writer Alain de Benoist, who would become one of the leading intellectuals of the French right in the post-war years. De Benoist founded the highly influential think tank known as Groupement de recherche et d'études pour la civilisation européenne (GRECE), of which Venner was also a member. EA and GRECE would do much to provide academic respectability to far right activism from the 1970s on wards.

Alain de Benoist
Both the EA and GRECE, in addition to the broader ND, were heavily influenced by the Traditionalism of Evola.
"Like the Italian theorist Gramsci, Evola was especially read among the followers of the ND. Setting aside some differences in the meaning of concepts such as traditionalism, Alain de Benoist, remarkably, pointed out the importance of the Evolian thinking for the Nouvelle Droite:
We think that some of Evola's criticisms in particular seem likely to inspire a reflection which pays attention to the evolution of modern world.... The Evolian critique of the nation state, for example, maintains a strong relevance in an era where the political entity, which is emblematic of modernity, appears every day a little more struck by impotence and obsolescence... Evola also had the great merit... to denounce any general conception of life or society based solely on economic terms strongly.... But ultimately, and as always with Evola, it is probably in the area of ethics which one can find his most inspiring considerations for our everyday thinking... In these pages, both men and women can take some lessons.
Some important and cross-national connective links may be observed between Evola's and de Benoist's intellectual and doctrinal productions along with the parallel apolitia and the criticism of the modern world, contemporary ideologies, and the Americanization of European societies. Similarities can, in fact, be found in a number of different domains. An example of this is the common Europeanism and the embracing of a post-national stance. Bar-On to find this as the 'dream of a pan-European empire': a kind of transnational place where the objective was to preserve a homogeneous European identity. As we know from the previous chapters, this 'Nation Europe' had fascinated part of the extreme right since 1945. However, this was also a spiritually defined and hierarchical Europe, and it represented another commonality between these ideologues. The state (and the community) itself had, in sum, to be possibly organized on sovereignty and a caste system (probably not on theories of mass democracies)...
"Also strong was the common attack on the West and the Judeo-Christian paradigm, which was also made through the promotion of pagan thinking. It is well-known that Evola was one of the precursors of this paganism, and that the ND borrowed a considerable amount from this doctrine, even if there were differences in tone and understanding of it. Unsurprisingly, the new rightist Editions Pardes had many contributions on the subject and on traditionalism, as well as some of Evola's manuscripts (such as Imperialisme paien). For Evola and de Benoist, paganism went along with a concept of humankind based on pre-Christian hierarchy, although also with an importance given to 'magic,' symbols, and the 'myth' perceived as moving forces."
(Transnational Fascism in France and Italy, Andrea Mammone, pgs. 169-170)
As such, it is all but certain the paganism of Venner was influenced to some degree by Evola. This would, in turn, explain Venner's objection to gay marriage. Needless to say, Evola was not especially impressed with homosexuality.
"Thus overall, when homosexuality is not 'natural' or else cannot be explained in terms of incomplete inborn forms of sexual development, it must have the character of a deviation, a vice, or a perversion. And if some instances of extreme erotic intensity in relations between homosexuals should be adduced, the explanation is to be sought in the possibility of the displacement of eros. Indeed, it is enough to go through any treatise on sexual psychopathology to see in how many unthinkable situations the erotic potential of a human being can be aroused, sometimes to the level of orgiastic frenzy (from fetishism even to animal sodomy and necrophilia). The same anomalous background could include the case of homosexuality, although the latter is much more frequent: a displaced eros for which a being of the same sex can service a simple, occasional cause or support, as in so many cases of psychopathy, although it must wholly lack every profound dimension and every meeting higher than experience because of the absence of the necessary ontological and metaphysical premises. As we shall see in certain aspects of sadism and masochism, it is possible to find elements that can be included in the deep structures of heterosexual erotics and that become perversions only when freed from limitations. No similar recognition can be given in respect to homosexuality."
(Eros and the Mysteries of Love, Julius Evola, pgs. 65-66)
Earlier in the same work, Evola linked the increase in homosexuality and what would now be considered transgenderism to the egalitarian nature of the West.
"... It may be that the governing power on which the sexual nature of a given individual depends (a nature that is truly male or truly female) may grow weak through neutralization, atrophy, or reduction of the latent state of the characteristics of the other sex, and this may lead to the activation and emergence of these recessive characteristics. And here the surroundings and the general atmosphere of society can play a not unimportant part. In a civilization where equality is the standard, were differences are not linked, where promiscuity is in favor, where the ancient idea of 'being true to oneself' means nothing anymore – in such a splintered and materialistic society, it is clear that the phenomenon of regression and homosexuality should be particularly welcome, and therefore it is in no way a surprise to see the alarming increase in homosexuality and the 'third sex' in the latest 'democratic' period, or an increase in sex changes to an extent unparalleled in other eras."
(ibid, pg. 64)
Evola
In this context, the increase in homosexuality and transgenderism could only be seen as further evidence of the West's decline as it moved further and further from "traditional" society. Specifically, as the distinction between the genders has declined, it is theoretically inevitable homosexuality and gender fluidity would become the norm. Surely, this is the context that fueled Venner's suicide.


Egregores

There is no question that Venner's suicide was a highly symbolic act, committed at an equally symbolic location. And in this context, I can not help but be reminded of the occult concept of egregores. Egregores are defined as psychic entities composed of and influencing the thoughts of groups. They are collective entities, sometimes referred to as "thought forms," that can formed around nations, states, religions and sects, and draw power from the beliefs of the individuals who occupy these things. As such, egregores can be likened in a sense to the collective unconscious as they are the product a collective group mind. Egregores are sustained by belief, ritual, and sacrifice and are dependent upon the devotion of the group that gave it life.

As with humans, egregores can also die and be destroyed. An especially potent means of destruction can be achieved by fire.
"To remove oneself from the influence of an egregore, particularly a religious, esoteric, or even political one (especially when a ritualistic formula is actively present, such as in National Socialism, Communism, and any form of idolization of the leader or the particular creed or code), the objects connected with the organization or movement must be destroyed. Fire is the principal means of separating the energetic link and destroying it. This separation and destruction is on a personal level but can also be extended to the larger group as well. 
"This is why occupying armies often destroyed the symbols of their defeated enemy. For example the revolutionaries in France in 1789, the Soviet Union to Nazi Germany in 1945, the Chinese Communists in Tibet in 1959, the period of the Cultural Revolution 1966 to 1976, and the destruction of monuments, texts, and places of worship by various Islamic fundamentalist paramilitary forces are among the most obvious examples in modern history. While the spiritual or intelligence aspects of the egregore will continue to live for a very long time period of time without a physical anchor, devotees, or rituals to feed it, its emotional or astral counterpart will not be able to sustain a presence in the physical world as a result of such acts of destruction."
(Egregores: The Occult Entities That Watch Over Humanity, Mark Stavish, pgs. 103-104)
In this context, the return of black metal-inspired church burnings to pop culture, the fire at Notre Dame and the numerous arsons committed at Christian sites that have characterized 2019 thus far can be seen as a full blown assault on Christianity by attacking this particular egregore where it is most vulnerable: its places of worship.


This may be driving the push by the neo-liberal elite to rebuild Notre Dame as "secular shrine" that more accurately reflects modern France. While the idea of making Notre Dame more inclusive may be quite appealing to academics and capitalists, the fresh wave of Yellow Vest protests that broke out days after the fire does not indicate that the public is getting a warm, fuzzy feeling about it.

This researcher would suggest that, regardless of whether there was a plot or not behind the sudden fire (chalked up to a "computer glitch"), powerful forces had already been set in motion years before the cathedral went up in flames. Egregores are born out of emotion energy. This energy can in turn be focused upon highly symbolic acts --such as a suicide in a symbolically loaded location.

Such a potent act would no doubt be seen as a sign of things to come. And it just so happens, a magical circle Evola would become affiliated with during the 1920s bore witness to such signs during the prior decade.
"Hence, some egregores may be reinvigorated even after centuries or millennia of disuse, which is a closely kept secret of operational magic. According to an article published in 1929 in an esoteric journal edited by Julius Evola... it was efforts to revive the egregore of the Roman Empire that led to the political ascendancy of Benito Mussolini. The initial signs were seen in 1913 and were fully realized in 1919...."
(Egregores: The Occult Entities That Watch Over Humanity, Mark Stavish, pg. 104)
Six years separated the early signs from the realization of the objective. Six years also separate Venner's suicide and the fire at Notre Dame. Naturally, the fire broke out of April 16, which also happens to Venner's birthday.

Powerful signs and portents, indeed. And further evidence that the neo-liberal elite are losing the plot.