2016 Presidential Elecctions (documentary)

A blog-post analyzing the video for Blondie’s Rapture, pointing out the occult symbolism in it wondering if Blondie were into that sort of thing

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It turned out they were, and one of them - the bassist Gary Lachman - had even become a historian of the occult, we ask him about the influence of occult ideas on rock and roll - and particularly the ideas of Aleister Crowley.

I'm interested in this because I'm interested in ecstatic states and how we reach them in modernity. Sex, drugs, rock n' roll, and magic are part of that story. It's not always a very nice story, as Gary's book ably chronicles.

He first encountered the occult in 1975, when he was playing bass in Blondie, and sharing an apartment with fellow band-members Debbie Harry and Chris Stein. ‘They had a fun, kitschy aesthetic appreciation of the occult, little voodoo dolls, pentagrams, a model of a nun with an upside-down cross painted onto her forehead.’

He was introduced to the writings of Aleister Crowley through Tommy Ramone, who leant him a couple of books. After he’d left the band, Gary became more and more interested in Crowley’s ideas and rituals.

One day in LA, he signed up to join the Ordo Templi Orientis, a secret cult dedicated to following Crowley’s religion of ‘Thelema’. For a while he got very into Crowleian magic - he got himself a robe, did every ritual in Crowley’s Magick in Theory and Practice, tried out sex magick with his girlfriend, even consumed a wafer containing menstrual blood as part of a ‘gnostic mass’.

Gary made the transition from punk-rocker to secret magus and writer on all things occult. But eventually his love-affair with Crowley waned as he decided his 'religion' was one long ego-trip. His new book, Aleister Crowley: Magick, Rock and Roll, and the Wickedest Man in the World, explores Crowley’s flawed personality and its influence on pop culture.

His influence is huge. It turns out all those nutty Christian evangelists who warned that rock and roll is demonic were right. The wafer of pop music is soaked in the occult, particularly in Aleister Crowley’s highly egotistical version of it.

So, a quick magickal mystery tour:

Crowley appears on the cover of the Beatles’ Sgt Pepper’s Lonely Hearts Club Band. John Lennon once said 'The whole Beatles thing was do what you want, you know?'

A statue of him also appears on the cover of the Doors’ album, Doors 13. The Doors admired Crowley as someone who'd 'broken through to the other side', and who was a master of anarchic showmanship. Jim Morrison once said, in very Crowley-ite words:

'I'm interested in anything about revolt, disorder, chaos, especially activity that appears to have no meaning.'

Jimmy Page was a huge Crowley fan, and bought his house next to Loch Ness

Crowley’s famous motto, ‘Do What Thou Wilt’, was embossed on the vinyl of Led Zeppelin III.

The Rolling Stones and Marianne Faithfull were into Crowleian magic through the film-maker Kenneth Anger - hence their album His Satanic Majesties and their song Sympathy for the Devil. Jagger also made the soundtrack to Anger’s film, Invocation to my Demon Brother, while Marianne Faithful appeared in Anger's Lucifer Rising, which starred a future member of the Manson Family.

David Bowie was also a big fan of Crowley - he mentions him in the song ‘Quicksand’, and was very influenced by Crowley’s magic techniques, symbolism, and superman philosophy. Bowie was deep into the occult in the 1970s, particularly during the making of ‘Station to Station’ when he feared he’d invoked an evil demon, and that witches were trying to steal his semen to make a Satanic love-child (no, really).

In the 1980s, of course, various metal bands were explicitly into Crowley, from Black Sabbath to Iron Maiden. More recently, and perhaps more surprisingly, Crowley’s ideas are apparently an influence on rap stars like Jay-Z, Kanye West, and that ardent practitioner of sex magick, Ciara.

More broadly, as we’ll examine, pop culture helped to make Crowley’s philosophy of unfettered egotism - do what thou wilt - the ruling philosophy of western society. We are all Crowley’s children.

Who was Crowley?

Crowley’s parents were Plymouth Brethren - a rigidly puritanical Christian sect. They were also quite well-off, and Crowley inherited a decent fortune. This combination of a sense of entitlement with a need to rebel against the puritanism of his parents seems to have been fatal for Crowley. He never grew out of the need to shock, to rebel, to provoke, and to get others to notice him.

As a teenager, he got into ‘Satanizing’, which initially meant being deliberately bad in the decadent style of Baudelaire or Huysmans. By his 20s, he was dabbling in the Occult, and fascinated by the idea of a ‘Hidden Church’ made up of magicians with secret powers.

He eagerly joined the Golden Dawn in London, a magical order whose members included the poet WB Yeats. However, he quickly fell out with them all, despising Yeats when he failed to appreciate Crowley’s attempts at poetry, and annoying the Golden Dawn elders with his desire to ascend rapidly up the ‘magical scale’ to become a top-level magus, even using black magic to do so.

He claimed to have achieved top-level magus status by 1904, when he says he made contact with a demi-god called Aiwass in Egypt (in the Great Pyramid of Giza, to be precise), who dictated a book to him called the Book of the Law. Aiwass was an emissary of the Egyptian bird-god Horus, and he came to Crowley to declare a new age, the aeon of the ‘Crowned and Conquering Child’.

This new aeon would be, writes Lachman, ‘a time of unconstrained personal freedom’, in which a handful of supermen (led by Crowley) would perfect their wills and become gods. ‘Do what thou wilt shall be the whole of the law’ for the supermen. They will delight in ‘wines and strange drugs’ which ‘shall not harm ye at all’, as well as every kind of sexual excess. Meanwhile, the rest of humanity, ‘the slaves’, shall be made to serve the supermen. ‘Compassion is the vice of kings’, Aiwass told Crowley. ‘Stamp down the wretched and the weak.’

Crowley was excited, though perhaps not surprised, to discover he was the Messiah of the New Age. He tried to usher in the New Age with magic rituals, both private ones (long orgies of sex, drugs and magic) and public ones - most famously, a ‘Rite of Eleusis’ which he organized in London in 1910, where participants took peyote, danced to bongoes and listened to Crowley declaiming his magickal poetry. This was, I think, the first hallucinogenic rave of the modern age.

Other people were disposable ingredients for his operational magic. A succession of mentally unstable women were cast in his magickal S&M orgies as ‘the Scarlet Woman’. The women usually ended badly, in alcoholism, drug addiction, madness or suicide.

The debris included his first wife, Rose, who he abandoned along with his daughter, the unfortunately named ‘Nuit Ma Ahathoor Hecate Sappho Jezebel Lilith’ , who died of typhus in Rangoon. He didn’t much care. ‘‘Morally and mentally, women were for me beneath contempt’, he wrote. ‘Intellectually of course, they did not exist.’

He was equally cruel to any man foolish enough to follow him. This included an acolyte called Neuberg, who signed up to be his student. Crowley subjected him to years of sadistic humiliation at his hut in Scotland, including making him cut his arms and sleep naked on a gorse bush for ten days. Crowley also tortured cats, crucified a frog, and was an enthusiastic big-game hunter.

A keen mountaineer, he fell out with a team he was leading in the Himalayas, after they complained about his fondness for beating the sherpas to assert his racial superiority. He flounced off, and then failed to come to the team’s aid when it was hit by an avalanche, despite their cries for help. Several of them died.

His desire for ‘blasphemy, murder, rape, revolution, anything good or bad, but strong’ led him to consider the idea of human ritual sacrifices as the ultimate magickal taboo. Lachman tells me he ‘would tease his readers with remarks about human sacrifice in his book, Magick in Theory and Practice’. There’s no evidence he actually did kill anyone, though he gleefully claimed his spells had driven one lady to suicide, and his ideas about human sacrifices inspired later psychopaths like Charles Manson.

Was Crowley a black magician? He certainly wanted to be, recklessly invoking evil demons, and trying to harm his many enemies with spells. But if he did sell his soul to a devil, he didn’t get much in return. His poetry and writing are rubbish, he never made much money, he never had much power, although he did apparently have a great deal of sex. He died poor, friendless, unread, addicted to heroin, the same gargantuan egotist he'd been as a teenager. His last words were ‘I am perplexed.’ He used many pseudonyms - Master Therion, Baphomet, the Great Beast, Nemo, Perdurabo - but the most accurate word for him is probably a ****

The age of the crowned and conquering child

So how did this idiot become such a huge influence on 1960s culture? Partly, because his ideas were embraced as part of the 60s counter-cultural philosophy of what Robert Bellah called ‘expressive individualism’, or what Gary Lachman calls ‘liberationism’.

Lachman says: ‘It’s the idea of breaking the rules, getting rid of repression and going beyond all convention. Liberationism goes back through George Bataille, Nietzsche and his idea of the Dionysiac, all the way to the Marquis de Sade. And Crowley was a poster-boy for liberationist philosophy. It makes perfect sense that he would be picked up by rock and roll and later forms of pop music, because in many ways it’s tailor-made to the adolescent sensibility. Think of Jim Morrison’s ‘we want the world and we want it now’, or Iggy Pop: ‘I need more than I’ve ever done before.’ When you’re young you want to throw away all constraints on you. Crowley did that his whole life. His whole thing was excess in all directions.’

Liberationists want to liberate themselves from any social hang-ups, which means liberating themselves from traditional morality and even from reason itself. ‘Turn off your mind and float downstream’, as Timothy Leary said and John Lennon later quoted. Leary and other key figures in the 60s saw in Crowley a genius explorer of altered states of consciousness accessed through drugs, music, poetry and sex - just as they were trying to do. His Rite of Eleusis was a blueprint for the acid tests of the 1960s, and the raves of today - which also aim to bypass rational thought and get the audience into trances.

60s adolescents had also fallen rapidly in love with the occult, via books like Louis Pauwels and Jacques Bergier’s The Morning of the Magicians, and through superhero comics like The X-Men, which popularized the idea of the evolution of a new mutation of super humans with paranormal powers. Baby-boomer flower children liked to imagine they were this new mutation, evolving through the magic potion of LSD.

Crowley particularly appealed to musicians like Jimmy Page or David Bowie because he promised them power. Musicians are like magicians - insecure, impoverished, desperately searching for the magic formula which will bring them sex, money and power. Many pop-stars shared Crowley’s taste for alter-egos as a way of exploring different aspects of their psyche, and also for using costume, light, sound, symbols and transgressive actions to 'get the people going'.

Lachman says: ‘Magic and the music industry make use of much of the same materials - imagery, special effects (light shows), illusion, trance - and both reach down below the conscious mind to the deeper, older, more visceral levels of ourselves. Both also cater to that adolescent appetite to be someone ‘special’, to stand out, to be noticed, to belong to the elite and to have an effect on the people around you.’

Above all, Crowley appealed to the pop-star’s desire to become a star, a god, an Illuminatus, one of the superhuman elite - while weak humanity bows down and worships them. You see this Crowley-ite idea in Bowie (see the lyrics for Oh You Pretty Things for example), and also in Jay-Z and Kanye West. Check out the slavish humans worshipping the god:

Lachman says: ‘The idea they’re selling is ‘we’re the special ones, and we’re going to be in charge of this new world order. And when you join the elite, you’re beyond good and evil, you get a lot of power, a lot of sex and fun.’ That’s the philosophy Kanye West and Jay-Z are selling - it’s Berlusconi with a drum beat.

Alas, Crowley’s ‘Do What You Wilt’ philosophy has become one of the ruling philosophies of our time - our culture is now one of ‘occult consumerism’, as Lachman puts it, in which adverts use symbols and incantations to urge us to ‘Just Do It’ - to follow every impulse, to feed every alter-ego, to yield to every temptation, and above all, to spend. Lachman writes: ‘Crowley was a kind of pre-echo of our own moral and spiritual vacuum. For better or worse, we do find ourselves in an antinomian world, beyond good and evil, in which practically anything goes.’

Be afraid of that trapdoor!

I have a very simple model of the human mind, similar to the one described by Coleridge in Kubla Khan. I've spared no expense with the graphics here:

At the top you have conscious processes, like a weak and flickering flame. Then you have less conscious or unconscious processes, like a mine of coal beneath that flame. Connecting the two is the Imagination, which runs like a mineshaft between the conscious and unconscious levels. Within the mine of the unconscious are treasures - insight, healing, wisdom, knowledge and power. However there are some monsters down there too.

You remember the cartoon show The Trap Door, from the 1980s? Well, the unconscious is a bit like that. As William James suggested, it may be a door not just to our archaic impulses, but also to the spirit world, to both good and bad spirits. So you need to be careful what you let through the trapdoor.

The arts, sex, drugs, magic and religion are all ways of ‘turning off the mind’, going beyond rational consciousness, opening the trapdoor and following the Imagination down into the dark, to try and find the treasure. But I think, in that perilous descent, it’s absolutely crucial what motive you have, and your moral ability to handle what you encounter without losing your shit.

Many artists and magicians make that descent for selfish motives - for money, sex and power. That’s very risky - it’s like the Nazis in Raiders of the Lost Ark trying to use the Ark for selfish reasons. You end up with a melted face.
mt-doom-2-frodo-2525951-400-300

mt-doom-2-frodo-2525951-400-300

I’d say Tolkien had the best idea about how to mine the Imagination without awakening too many Balrogs. You need to go in with a small ego, like a hobbit, with a fellowship of people around you to guide you when you feel lost. And you need to be prepared to give away whatever treasure you find, rather than trying to hang on to it for your own power.

That’s the way to create great art, and it’s the way to live a meaningful life. Crowley’s ‘Do What Thou Wilt’ doesn't end in happiness or power. It ends in emptiness, addiction, madness and self-destruction. It’s a lie - perhaps the oldest lie of all.

Why were Aleister Crowley and witchcraft so prominent in counterculture?

When KISS rose to prominence in the second half of the 1970s, a rumour came to the fore that Gene Simmons actually had the tongue of a cow. This insane conspiracy theory genuinely gained some real traction at the time. The reason that it wasn’t simply dismissed as madness by even the most irrational-minded meshuga-sufferers is because it represented the gathering storm of a concept: pop culture had a dark side.

We are still very much in the midst of this same jumped-up jamboree with the Illuminati and a cabal of secret celeb cults fervently cited with more vigour than ever before. As ever, no matter how slight, when it comes to conspiracies there is often no smoke without at least the smallest and most obfuscated flicker of a flame.

Obviously, that is not to say Simmons has anything other than a human tongue in his head, but that this bizarre theory has its origins in the fact that rock ‘n’ roll is often tied to occultism. And that, as a holistic assertion, has more than a grain of truth to it. In fact, the tale of rock ‘n’ roll from the get-go is the story of the conservative side of the proletariat pointing pickets at ‘the devil’s music’ and its dangerous propagators.

Thus, when rock ‘n’ roll finally got swinging in the 1960s, it needed a genuine devil to pop on the poster… and there he was, perched between Sri Yukteswar Giri and Mae West on The Beatles’ Sgt. Pepper’s cover: Aleister Crowley. The devil himself had bravely ventured beyond his previous greatest trick of convincing the world that he didn’t exist – a feat he surely failed dismally at – and now the bastard was openly placing his face on the biggest album cover of the day.

When Edward Alexander Crowley was born in 1875, modern music was just about being whipped into shape. From its very inception, there was a secret and hidden undercurrent. However, this was nothing to do with condemnable flirtations with darkness, quite the opposite, in fact—this hidden message was one that sang the strength of the human spirit.

When slaves were shipped over from Africa, their original Vodou tenets were forced out of them. However, their old chanted rhythmic incantations worked their way into western hymns and blues.

This notion of roots working their way into songs, beneath the surface, was furthered by the slaves layering coded messages into blues lyrics. In short, when you could speak, you had to learn to sing.

Off the Beaten Track: How West African Voodoo became the lifeblood of the blues

Read More

Thusly, there was always a mystic undertone to the music that came from the delta. Then the Great Depression hit and these two things collided in folklore and church halls. Suddenly, blues player’s open guitar cases were competing for the same kindness of strangers as a priest’s collection box. So, pastors decreed blues players as extollers of ‘devil’s music’, and they bought into this outlaw status and wove the lore of their ancestry into the mix.

The story of Robert Johnson meeting the devil at the crossroad is the crystalising moment for the collision of this Great Depression decree and African traditions. You see, in Vodou lore crossroads are where spirits could be met so the notion that Johnson sold his soul to the devil at one ties together what the vindictive priests were now saying with the ancient past.

The result was that from then on, any pop musician moving forward would have an outsider air about them. This doubled down when the radical ‘60s got moving. In some ways, Johnson 30 years earlier heralded the movement. This downtrodden straggler was the perfect picture of a ‘beat’ in more ways than one. Teetering on the brink of destitution, his outlook, like many of the beats to come, was that if he was going to fail, he would fail on his own terms, unlike his forbearers. This singular philosophy formed the central core of the counterculture movement of which he was a distant but key part.

By definition, counterculture was a movement that stationed itself outside of the norm and called for change. And it was far more vital than we often care to remember. “We stand today on the edge of a New Frontier—the frontier of the 1960s,” John F. Kennedy began in his 1960 Presidential election acceptance speech, “The frontier of unknown opportunities and perils, the frontier of unfilled hopes and unfilled threats.” Aside from going a little heavy on the word ‘frontier’ the highs and lows he prognosticated came to fruition and defined a decade.

Amid the race riots, assassinations, wars, massacres and endless tumult, counterculture remained an illuminating force for positive change. “When one of those episodes occurred,” Paul McCartney recalled of the wildly unravelling ‘60s on the Adam Buxton podcast and the fear that came with the flashpoints, “You felt like that, but they didn’t occur every day of the week.”

The musical explosion represented an exultant flipside. “You’d be going along making new music, developing The Beatles, enjoying the development from being a little covers band through to writing simple songs, through to writing complex songs, so that was the main thing that was going on. It genuinely made you feel. The general climate was that this was good—this was a good time, the ‘60s, but there would be spikes,” he concluded.

This spirit of cultural good tidings was something to cling to, and if you were a part of it, it was something to throw yourself into at full force. With wars raging and prejudice aplenty, if you could lend a subversive voice then you had to take that seriously. This gave the side of the ‘good times’ a sense of serious rebellion.

Enter the savvy madman who proclaimed the doctrine: “Do What Thou Wilt”. Sadly, this mantra was often troublesome amid pop culture when rockers took liberation too far. However, it’s easy to see why Crowley and his occultist ways appealed, and boy oh boy did it appeal. The Rolling Stones were into it, as were The Doors, Frank Zappa, David Bowie, Led Zeppelin, Black Sabbath…

Beyond the attraction of being an outsider, there was also a far more benign factor behind it all: Aleister Crowley was undoubtedly interesting. With bourgeoisie taboos being busted like whack-a-moles by the children of the revolution, the free pass to enjoy satanism as a far out kick was there for all who dared to venture. How on earth do you expect a coked-up Bowie not to be enthralled by the concept of The Hermetic Order of the Golden Dawn? In an age where normal was boring, the counterculture quote of Hunter S. Thompson came to the fore: “When the going gets weird, the weird turn pro.”

When you coupled this with the fact that something genuinely seemed to be happening, there was a sense of change and revolution in the air, and some interests in the occult got rather serious. Thus, even in 1979, you had stories in the New York Post about Anita Pallenberg, the wife of Keith Richards, being linked to a witches coven in South Salem, New York where Richards owned a house.

You can read a lot into these stories (and many do) but you can also conclude that those who got rich by being wild have esoteric fancies. In truth, that may well be the extent of Crowley’s pervasiveness in pop culture. He was a magician and artist who sought out a higher means (a mere outsider artist if you strip away some of the nettlesome libertine extremes). And how many times have you heard rockers talk about the power of music and songs being more than songs?

In this context, you can see why Bowie might identify with Crowley’s work and weird alternative world. As Ronald Hutton said of Crowley, “To [Crowley] the greatest aim of the magician was to merge with a higher power connected to the wellsprings of the universe.” That quote could be said of Bowie and a slew of other musicians too.

Now, his influence has been somewhat overplayed to fit the conspiracies of the day and to add fuel to fire of the satanic panic. However, Crowley wasn’t even a satanist, and not to underplay the fact that a huge sway of major artists were enthralled with Crowley and his work, but its seemingly little more than a captivating outsider artist aligning with the zeitgeist to lure the interest of other cultural outlaws and nothing more.

Pop culture is the cult of individualism, and when you trim off the fat and troublesome additions, that was the crux of Crowley’s mantra.

He was the strangest photo-punk of them all and he enamored an army of musicians, liberated from being judicious by a wild movement, in the process.

https://etd.ohiolink.edu/apexprod/rws_etd/send_file/send?accession=osu1054580207&disposition=inline

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