The Bee: Part 1 – Beedazzled by Andrew Gough

History is rife with lost knowledge and traditions whose meaning has blurred with the passage of time. I believe the ‘Bee’ is one such tradition, and that its symbolism was important to civilizations of all ages. Inexplicably, the Bee is dying and nobody is quite sure why. Legend asserts that when the Bee dies out, man will shortly follow. We will review the implications of the Bee’s apparent demise in due course, however in this – our first installment, we will examine the genesis of the Bee’s symbolism in the mist of prehistory.

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Hiroshima

72 years today since the nuclear attack on Hiroshima. Lest we forget. This animated short is incredible.

Erotic Relief From Pompeii - National Archaeological Museum, Naples

The Symbolist Brotherhood That Believed Art Had Divine Powers by Thackara

In 1892, on the corner of the grand, tree-rimmed avenue of Boulevard Haussmann in Paris, a peculiar new art salon opened to considerable fanfare at the Galerie Durand-Ruel.

Paintings of damsels, sirens, and monstrous femmes fatales, as well as religious visionaries, mythical figures, and fantastical temples hung salon-style from the walls. Wafts of burning incense and the sound of the prelude to Wagner’s Parsifal, which was played on an organ throughout the opening night, filled the space.

The event’s master of ceremonies, the eccentric poet and novelist Joséphin Péladan, greeted the city’s cultural elite (including the French author Émile Zola) in a long robe and pointed beard and, one imagines, with a gravely serious air. A year earlier, in 1891, Péladan had initiated an offshoot of the Rosicrucian order—a religious brotherhood (symbolized by a rose on a cross) that combined elements of Christianity, Jewish mysticism, and occult practices with the belief that its practitioners were the recipients of ancient wisdom.

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Aleister & Adolf by Douglas Rushkoff (PDF)

Media theorist and documentarian Douglas Rushkoff weaves a mind-bending tale of iconography and mysticism against the backdrop of a battle-torn Europe. In a story spanning generations, and featuring some of the most notable and notorious idealists of the 20th century, legendary occultist Aleister Crowley develops a powerful and dangerous new weapon to defend the world against Adolf Hitler's own war machine spawning an unconventional new form of warfare that is fought not with steel, but with symbols and ideas. Unfortunately, these intangible arsenals are much more insidious and perhaps much more dangerous than their creators could have ever conceived.

"Rushkoff is a cultural treasure and an eccentric author of big, strange ideas, never less than fascinating and always entertaining." -Warren Ellis, author of Gun Machine, Red, Trees, and Transmetropolitan

"Douglas has been one of my personal heroes, and I've been a most attentive reader of anything he cares to put between covers, knowing that his combination of a cold eye and a warm heart is guaranteed to astonish and embolden my own thinking about what's possible in the world--about what's possible to enact in the space between one human being and another. He occupies the ground of our most immediate perplexities, and his reports of what he finds are breaking news." -Jonathan Lethem, author of The Best American Comics and The Fortress of Solitude

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Lest We Forget

As World War I ended, Abel Gance premiered his epic J’Accuse in Paris. The actors themselves were soldiers fighting in the trenches and by the war's end all of them were dead.  Gance later explained. “I asked the local HQ if I could borrow two thousand. These men had come straight from the front …. They had seen it all, and now they played the dead knowing they would die themselves. In a few weeks or months."

All of the men who appear in the film would die at the front.

In this remarkable film, it's as if the dead themselves rise up one last time to accuse the living: "How could you let this happen?"

Lest we forget!

The Rebel Virgins and Desert Mothers Who Have Been Written Out of Christianity's Early History by Alex Mar

When Jerome, the Catholic priest and scholar, arrived in Rome in the middle of the fourth century, he discovered a circle of noblewomen living in elaborate homes on the Aventine Hill who were nothing like their neighbors.

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Pharmako/Poeia: Plant Powers, Poisons, and Herbcraft by Dale Pendell (PDF)

This is the first volume of North Atlantic Books updated paperback edition of Dale Pendell s "Pharmako" trilogy, an encyclopedic study of the history and uses of psychoactive plants and related synthetics first published between 1995 and 2005. The books form an interrelated suite of works that provide the reader with a unique, reliable, and often personal immersion in this medically, culturally, and spiritually fascinating subject. All three books are beautifully designed and illustrated, and are written with unparalleled authority, erudition, playfulness, and range.

"Pharmako/Poeia: Plant Powers, Poisons, and Herbcraft "includes a new introduction by the author and as in previous editions focuses on familiar psychoactive plant-derived substances and related synthetics, ranging from the licit (tobacco, alcohol) to the illicit (cannabis, opium) and the exotic (absinthe, salvia divinorum, nitrous oxide). Each substance is explored in detail, not only with information on its history, pharmacology, preparation, and cultural and esoteric correspondences, but also the subtleties of each plant s effect on consciousness in a way that only poets can do. The whole concoction is sprinkled with abundant quotations from famous writers, creating a literary brew as intoxicating as its subject.

The "Pharmako" series is continued in "Pharmako/Dynamis" (focusing on stimulants and empathogens) and "Pharmako/Gnosis "(which addresses psychedelics and shamanic plants)."

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Nankin 1937 by Nicolas Meylaender & Zhou Zongkai (CBR)

Nanking 1937, the first ever cartoon book on the Nanking Massacre, saw its copyright introduction meeting held in the Belgrade Book Fair. The book was written by a famous French playwright Nick Meland and drawn by Professor Zhou Zongkai of Sichuan Fine Arts Institute (SFAI) along with his son Zhou Weizong.

Nanking 1937, planned by the French FEI Publishing House to be presented in a style of woodcut, tells the true story of Xia Shuqin, a survivor from the Nanking Massacre, revealing the anti-human crimes committed by Japanese troops from the angle of a survivor.

On 13th December, 1937, Xia's grandparents, parents, 2 elder sisters and 1 younger sister were killed by Japanese troops, leaving behind only Xia and a 4-year-old sister. At that time, Chairman of the Nanking International Safety Zone, Rabe, kept Xia's story in his diary. An American missionary videoed the miserable conditions of her home located at No. 5, Xinlukou in Zhonghuamen, Nanking.

Zhou Zongkai got in contact with Nanking 1937 in 2010, when the Chinese reprisentative in charge of FEI Publishing House, Xu Gefei, came to SFAI for a visit and had a talk with Zhou in his studio in Huxi Commune (Huxi Gongshe), known as the largest domestic Village of Artists in China.

Xu told Zhou about her intention of adding more Chinese material to the publishing industry, and due to the lack of knowledge of Chinese history around 1937 among European society, it would be informative to put forward her idea.

After viewing the pictures drawn by Zhou for the book of The Diaoyu Fortress, Xu decided to have Nanking 1937 drawn by Zhou.

Nanking 1937 was written by Nick Meland, a famous French playwright. When asked why a foreigner was chosen to write a Chinese story, Xu stated that a foreigner could tell the story in a more objective manner, enabling readers to gain a more balanced impression.

In August 2010, Zhou received the manuscripts of Nanking 1937.

For an entire month, Zhou and his 25-year-old son Zhou Weizong, a young cartoonist, worked on the drawings in his studio for over 10 hours every day.

In 2011, the French Edition of Nanking 1937 was put into the markets in France, Belgium, Luxemburg and Switzerland. On the memorial day of the 7th July Incident of 1937 in 2014, the book’s Chinese Edition was published by the Sichuan Children's Publishing House.

In 2012, the book's French Edition was awarded the Best Painting prize in the Amiens Animation Festival.

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Metaphysics of War by Julius Evola (ePUB & AZW3)

This is the thoroughly revised edition of a collection of essays that Julius Evola originally wrote for Italian periodicals during the 1930s and '40s, having to do with the transcendental aspects of combat. It represents the development of Evola's thinking on war during the period of the Second World War and its aftermath.

These essays constitute what is certainly the most radical attempt ever made to justify war. This justification takes place essentially on two levels: one profane, the other sacred. At the profane (meaning simply “non-sacred”) level, Evola argues that war is one of the primary means by which heroism expresses itself, and he regards heroism as the noblest expression of the human spirit. Evola reminds us that war is a time in which both combatants and non-combatants realize that they may lose their lives and everything and everyone they value at any moment. This creates a unique moral opportunity for individuals to learn to detach themselves from material possessions, relationships, and concern for their own safety. War puts everything into perspective, and Evola states that it is in such times that “a greater number of persons are led towards an awakening, towards liberation” (p. 135).

According to Evola, the ancient Vedas held that there are two paths to enlightenment: contemplation and action. In traditional Indian terms, the former is the path of the brahmin and the latter of the kshatriya (the warrior caste). Both are forms of yoga, which literally means any practice that has as its aim connecting the individual to his true self, and to the source of all being (which are, in fact, the same thing). The yoga of action is referred to as karma yoga (where karma simply means “action”), and the primary text which teaches it is the Bhagavad-Gita. Evola returns again and again to the Bhagavad-Gita throughout The Metaphysics of War, and it really is the primary text to which Evola’s philosophy of “war as spiritual path” is indebted. The work forms part (a very small part, actually) of the epic poem Mahabharata, the story of which culminates in an apocalyptic war called Kurukshetra. On the eve of battle, the consummate warrior Arjuna (the Siegfried of the piece) surveys the two camps from afar and realizes that on his enemy’s side are many men who are his friends and relations. When Arjuna reflects on the fact that he will have to kill these men the following day, he falters. Fortunately, his charioteer–who is actually the god Krishna–is there to teach him the error of his ways. Krishna tells Arjuna that these men are already dead, for their deaths have been ordained by the gods. In killing them, Arjuna is simply doing his duty and playing his role as a warrior. He must set aside his personal feelings and concentrate on his duty; he must literally become a vehicle for the execution of the divine plan.

One might well ask, what’s in it for Arjuna? The answer is that this following of duty becomes a path by which he may triumph over his fears, his passions, his weaknesses–all those things that tie him to what is ephemeral. Following his duty becomes a way for Arjuna to rise above his lesser self and to connect with the divine. This is not mere piety or “love of God.” It is a way to tap into a superhuman source of power and wisdom. The result is that Arjuna becomes more than merely human.

In fact, Krishna puts Arjuna in a situation in which he must fight two wars. One, the “lesser” war is external–it is the one fought on the battlefield with swords and spears. The other, “greater” war is internal and is fought against the internal enemy: “passion, the animal thirst for life” (p. 52). Evola places a great deal of emphasis on this distinction. What Krishna really teaches Arjuna is that in order to fight the lesser war, he must fight the greater one. Really, unless one is able to conquer one’s weaknesses, nothing else may be accomplished. This opens up the possibility that there may be “warriors” who never fight in any conventional, “external” wars. These would be warriors of the spirit. Evola believes that one can be a true warrior without ever lifting a sword or a gun, by conquering the enemy within oneself. And he mentions initiatic cults, like Mithraism, which conceived of their members on the model of soldiers.

In combat one is lifted out of one’s ordinary self and, more specifically, out of one’s concern with the mundane cares of life. One enters into a state where one ceases even to care about personal survival. It is at this point that one has ceased to identify with the “animal” elements in the human personality and has tapped into that part of us that seems to be a divine spark. This is not, however, an intellectual state or “realization.” Instead, it is a new state of being, which pervades the entire person. The ancient Germans called it wut and odhr. And from these two words derive two of the names of the chief Germanic god: Wuotan and Odin. Odin is not, however, conceived simply as the god of war; he is also the god of wisdom and spiritual transformation.

Evola never was particularly interested in biological conceptions of race, because he believed that human nature as such was irreducible to biology. He opposed reductionism, in short, and believed in a spiritual (i.e., non-material) component to our identity. What Evola was most concerned to combat was a racialism that reduced heroism or mastery to simple membership in a race defined by certain biological characteristics. For Evola, heroism is really achieved in a step beyond the biological, and in mastery over it.

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A Traditionalist Confronts Fascism by Julius Evola (.ePUB & AZW3)

This volume, a companion to Evola’s Fascism Viewed from the Right and Notes on the Third Reich, contains many of his occasional essays on the topic of fascism as understood from a traditionalist perspective which were written between 1930 and 1971, thus comprising both his contemporary and post-war assessments of the fascist phenomenon. Here we find Evola’s views not only on Italian Fascism and German Nazism, but also his discussions of other movements such as the Spanish Falange and the Japanese Imperial ideal, as well as his commentary on such diverse subjects as Nazi esotericism, the idea of a new spiritual Order to lead Europe, and the reasons for his rejection of Nazi biological racism. Also included are interviews Evola personally conducted with Corneliu Codreanu, the leader of the Iron Guard, and Count Coudenhove-Kalergi, the founder of the Pan-European Movement (the forerunner of the European Union), and the full text of ‘Orientations’, the famous essay Evola wrote in 1950 concerning the proper approach of the European Right in the post-war era which he further developed in Men Among the Ruins. These essays show Evola to have been an unsparing critic of fascism, always urging traditionalists to aspire for something higher than the merely political.

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Aleister Crowley: The Beast in Berlin: Art, Sex, and Magick in the Weimar Republic by Tobias Churton (ePub & mobi)

A biographical history of Aleister Crowley’s activities in Berlin from 1930 to 1932 as Hitler was rising to power

• Examines Crowley’s focus on his art, his work as a spy for British Intelligence, his colorful love life and sex magick exploits, and his contacts with magical orders

• Explores Crowley’s relationships with Berlin’s artists, filmmakers, writers, and performers such as Christopher Isherwood, Jean Ross, and Aldous Huxley

• Recounts the fates of Crowley’s friends and colleagues under the Nazis as well as what happened to Crowley’s lost art exhibition

Gnostic poet, painter, writer, and magician Aleister Crowley arrived in Berlin on April 18, 1930. As prophet of his syncretic religion “Thelema,” he wanted to be among the leaders of art and thought, and Berlin, the liberated future-gazing metropolis, wanted him. There he would live, until his hurried departure on June 22, 1932, as Hitler was rapidly rising to power and the black curtain of intolerance came down upon the city.

Known to his friends affectionately as “The Beast,” Crowley saw the closing lights of Berlin’s artistic renaissance of the Weimar period when Berlin played host to many of the world’s most outstanding artists, writers, filmmakers, performers, composers, architects, philosophers, and scientists, including Albert Einstein, Bertolt Brecht, Ethel Mannin, Otto Dix, Aldous Huxley, Jean Ross, Christopher Isherwood, and many other luminaries of a glittering world soon to be trampled into the mud by the global bloodbath of World War II.

Drawing on previously unpublished letters and diary material by Crowley, Tobias Churton examines Crowley’s years in Berlin and his intense focus on his art, his work as a spy for British Intelligence, his colorful love life and sex magick exploits, and his contacts with German Theosophy, Freemasonry, and magical orders. He recounts the fates of Crowley’s colleagues under the Nazis as well as what happened to Crowley’s lost art exhibition--six crates of paintings left behind in Germany as the Gestapo was closing in. Revealing the real Crowley long hidden from the historical record, Churton presents “the Beast” anew in all his ambiguous and, for some, terrifying glory, at a blazing, seminal moment in the history of the world.

“As soon as I opened this book I knew I was in for an exceptional treat, and I was right. This is Churton at his best. His book focuses, with some broader contextualization, on Crowley’s intermittent sojourns in Berlin between 1930 and 1932, which climaxed in a sensational exhibition of his paintings in October 1931. We follow Crowley as he strolls through the city, dressed in a knickerbocker suit, proclaiming his gospel of Thelema, exploring Berlin’s extensive demi-monde, playing chess, painting, writing, fornicating, spying for British intelligence, and mingling with a remarkable constellation of artists, writers, philosophers, and occultists. One of his friends at the time was Christopher Isherwood, who fictionalized his own Berlin experience in the novel that later became the musical Cabaret. Churton, in his vivid, witty style, superbly captures the atmosphere of the city during that feverish, decadent, but immensely vibrant and creative era, which ended abruptly with the catastrophe of 1933. Move over, Isherwood. From now on we should be talking about ‘Crowley’s Berlin.’” (Christopher McIntosh, Ph.D., author and Honorary University Fellow and Western Esotericism lecturer)

“Yet again, Tobias Churton shows a unique ability to combine an approachable writing style with scholarly research and the result is an authoritative book on Crowley, the artist, a person who deserves to be re-assessed rather than be relegated to the dustbin of history.” (Sanda Miller, Ph.D., research fellow, History of Art, Southampton Solent University)

“A remarkable account of Baphomet in Berlin, full of fascinating new information on Crowley’s decadence and discipline as a Berlin Boy as Germany spiraled down into its apocalyptic picnic. Tobias Churton has uncovered much that is new and marvelously expands on and clarifies that which was already known. A wonderful evocation of the darkness becoming visible--a truly Manichæan history.” (David Tibet, founder of Current 93)

“Aleister Crowley: The Beast in Berlin is magic! Churton opens box after box of secrets in a dazzling display of research, erudition, and insight. Aleister Crowley is revealed in all his jaw-dropping splendor, plus warts. A genius forced to suffer fools, able to transcend misfortune, an adventurer in the worlds of art and war. His wisdom is both light and deep; the book is thrilling.” (Vanilla Beer, artist)

“It’s hard not to empathize with Crowley as portrayed in the book—a man possessed of more radical intelligence than most before or after, who probably came off a bit autistic in his time, dealing with constant trouble, power games and consistently overestimating both people’s intelligence and integrity. Though he stands so far above both the Theosophical movement and its heirs in the New Age and Neopagan Revival, much of Crowley’s life was overshadowed by his troubles with money, students, the press and local governments—all of which consistently seem to thwart him in his latter years. Despite all that, he left a body of work, and philosophy, of unparalleled clarity and value. But in Aleister Crowley: The Beast in Berlin—Art, Sex and Magick in the Weimer Republic, we get a better look at Crowley not as a symbol, but as a man of his time. Highly recommended.” (Ultraculture, Jason Jouv, August, 2014)

“The Beast in Berlin is an inspiring and engaging narrative of Aleister Crowley in the turbulent and cathartic years of Berlin in the early 1930s. Meticulously researched and filled with just enough biographical fact, informed speculation, dirty gossip and esoteric philosophy to keep you riveted from first word to last, Crowleyan scholar Tobias Churton has spun an entertaining and eye-opening tale documenting the reckless life of outsider artists living on the edge in a city on the brink of Apocalypse. Along the way we see the Beast play chess with Fernando Pessoa, correspond with Aldous Huxley, night crawl with Christopher Isherwood, spy, paint, incant, exorcise and interact artistically and sexually with a wide range of colorful, bizarre and nondescript characters—the absolute dregs of Berlin society. Perhaps the most readable and interesting book to catch the true spirit of Frater Perdurabo.” (John Zorn, Musician, July 2014)

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https://yadi.sk/d/Cc8MPl0PtN2PS

Season of the Witch: How the Occult Saved Rock and Roll by Peter Bebergal (ePUB)

This epic cultural and historical odyssey unearths the full influence of occult traditions on rock and roll -- from the Beatles to Black Sabbath -- and shows how the marriage between mysticism and music changed our world.

From the hoodoo-inspired sounds of Elvis Presley to the Eastern odysseys of George Harrison, from the dark dalliances of Led Zeppelin to the Masonic imagery of today’s hip-hop scene, the occult has long breathed life into rock and hip-hop—and, indeed, esoteric and supernatural traditions are a key ingredient behind the emergence and development of rock and roll.

With vivid storytelling and laser-sharp analysis, writer and critic Peter Bebergal illuminates this web of influences to produce the definitive work on how the occult shaped -- and saved -- popular music.

As Bebergal explains, occult and mystical ideals gave rock and roll its heart and purpose, making rock into more than just backbeat music, but into a cultural revolution of political, spiritual, sexual, and social liberation.

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https://yadi.sk/i/OBIObrd9tMNnS

Lords of Chaos: The Bloody Rise of the Satanic Metal Underground by Michael Moynihan and Didrik Søderlind (ePUB)

“An unusual combination of true crime journalism, rock and roll reporting and underground obsessiveness, Lords of Chaos turns into one of the more fascinating reads in a long time.”—Denver Post

Chronicling the rise of the Black Metal subculture and the terrifying violence by its fans, "Lords of Chaos" takes readers on a tour of this antisocial, occult-influenced ideology that encourages violence and murder.

The 2003 edition of LORDS OF CHAOS is revised and expanded, adding fifty new pages, detailing outbreaks of Black Metal crime in Finland, Germany and the United States; and includes the secret history of occult Rock, a new section on Varg Vikernes’ promulgation of bizarre Aryan UFO theories, and material on the career of Hendrik Mobus, an international neo-Nazi fugitive. This award-winning exposé features hundreds of rare photos and exclusive interrogations with priests, police officers, Satanists, and leaders of demonic bands who believe the greater evil spawns the greatest glory.

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https://yadi.sk/i/A6vL6pj5tMNjh

The Black Sun: The Alchemy and Art of Darkness by Dr. Stanton Marlan (PDF)

The black sun, an ages-old image of the darkness in individual lives and in life itself, has not been treated hospitably in the modern world. Modern psychology has seen darkness primarily as a negative force, something to move through and beyond, but it actually has an intrinsic importance to the human psyche. In this book, Jungian analyst Stanton Marlan reexamines the paradoxical image of the black sun and the meaning of darkness in Western culture.

In the image of the black sun, Marlan finds the hint of a darkness that shines. He draws upon his clinical experiences—and on a wide range of literature and art, including Goethe’s Faust, Dante’s Inferno, the black art of Rothko and Reinhardt—to explore the influence of light and shadow on the fundamental structures of modern thought as well as the contemporary practice of analysis. He shows that the black sun accompanies not only the most negative of psychic experiences but also the most sublime, resonating with the mystical experience of negative theology, the Kabbalah, the Buddhist notions of the void, and the black light of the Sufi Mystics.

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Ladies & Gentlemen of A.D. 2088

Back in 1988, as part of an ad campaign to be printed in Time magazine, Volkswagen approached a number of notable thinkers and asked them to write a letter to the future—some words of advice to those living in 2088, to be precise. Many agreed, including novelist Kurt Vonnegut; his letter can be read below.

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In Defense of Prejudice: Why Incendiary Speech Must Be Protected by Jonathan Rauch

In the past year, groups and factions that agree on nothing else have agreed that the public expression of any and all prejudices must be forbidden.  This is dangerous.

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Progressive Poo

Back in 2005, MTV had this silly show called Trippin' which was hosted by the ultra annoying Cameron Diaz.  If the channel and the host have not already got your alarm bells ringing then the premise of the show should: A-list stars traveled to Tanzania, Honduras and Nepal and heaped praise on the quality of life in these countries.  Heaped praise on people struggling in dire poverty.

Drew Barrymore was particularly impressed by the environmental correctness of village life. "I aspire to be like them," she declared after spending a few days in a remote village.  But it got funnier, "I took a poo in the woods hunched over like an animal." This was a source of great novelty for her and as I watched her I couldn't help thinking of Huxley's Brave New World where the pampered and stupid visit the degraded and unruly rebel cities and enjoy gawking at the natives, sometimes wore their funny costumes, and sometimes even lived like them for a few days.

Hot on the heels of Barrymore and her enlightening poo in the woods, we were also reminded by American singer, songwriter, Sheryl Crow, that when it came to that nasty toilet business her fans should only use one sheet of toilet paper (apparently the environment will thank us for it).  I can hear it now, Sheryl Crow fans everywhere lifting up their single sheet of toilet paper and singing in one voice, "All we are saying, is give one piece a chance."

This politically correct nonsense is not only sappy (like Richard Gere's plastic Buddhism) but I find it offensive to the millions struggling and dying in the third world (heck, I find it offensive to common sense).  Let's be realistic for a moment shall we?  More of America's Civil War soldiers died from diseases related to exposure to human feces than were killed in battle.  More of the Crusaders lost their lives to typhoid fever and campylobacteriosis than were ever murdered by Saladin's troops.  The rate of death from exposure to human feces was so high with the Romans that entire legions were wiped out.  And we know that the horrific WWI condition known as 'trench foot' was made potentially deadly by the presence of bacterium found in human feces.

I am happy that Drew Barrymore found her sphincter release in the woods delightful but would love the opportunity to remind her and Sheryl that in many parts of West Africa infant mortality from contamination rests at one in three.  Let me repeat that so it sinks in: one in three.  Male life expectancy in Cote d'Ivoire is forty-two and in Sierra Leone it reaches a delightful thirty-seven.

But enough with statistics and common sense.  There is irony here.  The self-loathing found among 'progressives' these days is so all-consuming that they cannot realize how they fuck up on two fronts.  They are transforming the need for hygiene (a basic block of any growing civilization) and transforming it into an issue of Western consumerism.  But even worse, they heap praise on the unpicked lifestyle of unfortunate millions who would dearly love the opportunity to move up from the squalor they find themselves in.  People who would love for their children to break the cycle of poverty they find themselves in so their daughters never have to prostitute or risk being trafficked like cattle.  People whose hearts are broken at the sight of their children, malnourished and riddled with preventable disease, who would dearly love to see their little ones enjoy the opportunities we can enjoy and which we take for granted.  Worse, which we self-loath about.

Parents who have to watch their children become blind because of vitamin A deficiency.  Including the 250 million children who are suffering from deficiency today and the 8 million kids who died as a result of the deficiency in the last 12 years. 

http://www.slate.com/articles/health_and_science/project_syndicate0/2013/02/gm_food_golden_rice_will_save_millions_of_people_from_vitamin_a_deficiency.html

http://www.reuters.com/article/2012/08/15/us-genetically-modified-rice-idUSBRE87E0RO20120815

Every single one of those deaths would today be preventable with the introduction of genetically modified vitamin A enriched rice, but try telling that to the PC crowd.  The racism of the new PC demands some suffering, as long as it is dark skinned and far away in Africa (or some other 'friendly village').  Then the PC crowd can have the excuse they need to get down to some serious self-loathing.

Perhaps Drew and her crew can go do a poo in Cambodia where some children have their tongues cut out and are forced to beg:

http://www.bettercarenetwork.org/violence/search/closeup.asp?infoID=28064

Perhaps Drew could let her own tongue be cut out so she can really experience the joys of living in a third-world village.  Perhaps she could then also shut the fuck up. 

Enough of my rant, I apologize if I have upset the PC crowd and I promise that I will try as hard as possible to attend the next Occupy something fiasco.

http://www.decodedscience.com/possible-illnesses-caused-by-human-waste-at-occupy-wall-street/4123

Aleister Crowley and the Temptation of Politics by Marco Pasi

Aleister Crowley (1875-1947) is one of the most famous and significant authors in the history of western esotericism. Crowley has been long ignored by scholars of religion whilst the stories of magical and sexual practice which circulate about him continue to attract popular interest. "Aleister Crowley and the Temptation of Politics" looks at the man behind the myth - by setting him firmly within the politics of his time - and the development of his ideas through his extensive and extraordinarily varied writings. Crowley was a rationalist, sympathetic to the values of the Enlightenment, but also a romantic and a reactionary. His search for an alternative way to express his religious feelings led him to elaborate his own vision of social and political change. Crowley's complex politics led to his involvement with many key individuals, organisations and groups of his day - the secret service of various countries, the German Nazi party, Russian political activists, journalists and politicians of various persuasions, as well as other writers - both in Europe and America. "Aleister Crowley and the Temptation of Politics" presents a life of ideas, an examination of a man shaped by and shaping the politics of his times.

PDF format

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The Stele of Revealing

Front:
The deceased, the prophet of Mentu, lord of Thebes, Ankh-f-n-khonsu, true-of-voice, says: "O sublime one! I adore the greatness of your spirits, o formidable soul, who inspires terror of himself among the gods. Appearing on his great throne, he travels the path of the soul, of the spirit, and of the body, having received the light, being equipped, I have made my path towards the place in which Ra, Tum, Khephra, and Hathor are; I, the deceased priest of Mentu, lord of Thebes, Ankh-f-n-khonsu, son of a person of the same rank, Bes-n-Maut, and of the priestess of Amoun-Ra, the mistress of the house Ta-Nech."

Reverse:
The deceased, the prophet of Mentu, lord of Thebes, Ankh-f-n-khonsu, true-of-voice, says: "O my heart of my mother, O heart which I had while I was on earth, do not rise up against me in witness, do not oppose me as a judge, do not charge me in the presence of the great god, lord of the West, because I have joined the land to the great West when I was flourishing on earth!" The deceased, priest of Thebes, Ankh-f-n-khonsu, true-of-voice, says: "O, you who only has one arm, who shines in the moon, the deceased Ankh-f-n-khonsu has left the multitudes and rejoined those who are in the light, he has opened the dwelling-place of the stars (the Duaut); now then, the deceased Ankh-f-n-khonsu has gone forth by day in order to do everything that pleased him upon earth, among the living."

Aleister Crowley’s Paraphrase of the Hieroglyphs on the Stele of Revealing

Above, the gemmed azure is The naked splendour of Nuit; She bends in ecstasy to kiss The secret ardours of Hadit. The winged globe, the starry blue, Are mine, O Ankh-af-na-khonsu! I am the Lord of Thebes, and I The inspired forth-speaker of Mentu; For me unveils the veiled sky, The self-slain Ankh-af-na-khonsu Whose words are truth. I invoke, I greet Thy presence, O Ra-Hoor-Khuit! Unity uttermost showed! I adore the might of Thy breath, Supreme and terrible God, Who makest the gods and death To tremble before Thee: – I, I adore thee! Appear on the throne of Ra! Open the ways of the Khu! Lighten the ways of the Ka! The ways of the Khabs run through To stir me or still me! Aum! let it fill me! The light is mine; its rays consume Me: I have made a secret door Into the House of Ra and Tum, Of Khephra and of Ahathoor. I am thy Theban, O Mentu, The prophet Ankh-af-na-khonsu! By Bes-na-Maut my breast I beat; By wise Ta-Nech I weave my spell. Show thy star-splendour, O Nuit! Bid me within thine House to dwell, O winged snake of light, Hadit! Abide with me, Ra-Hoor-Khuit!

Saith of Mentu the truth-telling brother Who was master of Thebes from his birth: O heart of me, heart of my mother! O heart which I had upon earth! Stand not thou up against me a witness! Oppose me not, judge, in my quest! Accuse me not now of unfitness Before the Great God, the dread Lord of the West! For I fastened the one to the other With a spell for their mystical girth, The earth and the wonderful West, When I flourished, o earth, on thy breast! The dead man Ankh-f-n-khonsu Saith with his voice of truth and calm: O thou that hast a single arm! O thou that glitterest in the moon! I weave thee in the spinning charm; I lure thee with the billowy tune. The dead man Ankh-f-n-khonsu Hath parted from the darkling crowds, Hath joined the dwellers of the light, Opening Duaut, the star-abodes, Their keys receiving. The dead man Ankh-f-n-khonsu Hath made his passage into night, His pleasure on the earth to do Among the living.