The Black Flame No. 16

Partial and mostly uncorrected text (3/18/25) of The Black Flame No. 16.

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WELCOME This is the final magazine-format issue of The Black Flame. Our next issue, number 17, will be in book form. We are not taking subscriptions or pre-orders, as we have not yet determined the price. Anyone who paid for an issue beyond number 16 will be contacted at the time that the price for number 17 is established. Our current issue is focused on music and art via interviews, and we have substantial essays exploring poets who we consider to be de facto Satanists: William Blake and Giosue Carducci. We begin by reprinting some important announcements regarding the Church of Satan which were frst published on our oficial web site: Wee: a , as The Devil always has the last laugh. We have as well our usual arrayof intriguing articles and reviews to pique your interest. Until next time—Hail Satan! Peter H. Gilmore CONTENTS 2 Milestones by Magistra Blanche Barton and Magus Peter H. Gilmore 6 INTERVIEW: Jimmy Vargas, tease...torch &...noir by Magistra Peggy Nadramia 9 ‘Catholics, Goering and Charlton Heston” by Joshua Buckley 2 eter Mlakar: NSK’s Satanic Technoerat by Reverend Michael Moynihan and Charles Krafft 15 A frag y history of the Socialites by Archangel’s Suave Tiki ” Dirty Books: The Insolent Dr. Bowdler, His Compatriots, and Their Fear of Blushing by Warlock Kevin |. Slaughter 6 Renfields by Magister Michael Rose ” Mannequin of Madness: The Story of “The Dell” by Reverend Carl Abrahamsson 20 INTERVIEW: Reverend Steven Johnson Leyba by Reverend Carl Abrahamsson 23 Lessons in Online Stupidity by Agent Cyanide 24 ODDITORIUM by Magistra Peggy Nadramia and guest reviewers 32 A Satanist’s Introduction to William Blake by a sympathetic reprobate a ‘THE CYCLE—Fecundity Demands a Cruel Balance in Anthony Burgess’ The Wanting Seed by Warlock Jack Malebranche i ducci: 19th Century Poet, Stat ist by Warlock R. Merciless Inno a Satana (Hymn to Satan) by Giosue Carducci-translated by Warlock R. Merciless INTERVIEW: Gone Feral: Adam Parfrey's Ministry of Unsafe Information by Ulf Herder 39 a 46 49 Collecting Souls in a World of Cyberjunkies by Magister Robert A. Lang 50 _ INTERVIEW: Trevor Brown by Reverend Michael Moynihan 54 The Art of Ritual by Magister Robert A. Lang 55 Who Teaches The Teachers? by Reverend Herbert Paulis 37 Satan, The Libido, and the True Nature of the Beast by Agent UVRay 58 Aristotle: The Satar 59 Del Philosopher by Warlock Draconis Blackthorne ns of Godhood by Agent Cyanide My Satanic Ass! A Guide to the Science of Insulting by Blackjack 62 Chuckles for Tchort—The Satanic Humour of the Great Benny Hill by Colonel Akula 64 After The Absurd by Father Christopher Mealie Edit

ABOUT OUR COVER IMAGE

Magister Robert A. Lang Amon: The Kemetic Ram or The Gate of Baphomet Tarot Card ‘The earliest forms of ram deities in Egypt were fashioned after the first ram (Ovis longipes species. ‘These creatures were renown for their long wavy horns and heavy build. The most familiar deities personified in this manner were: the neters Khnum and Banebdjedet, worshiped at the Delta town of Mendes. ‘The second species introduced around the 12th Dynasty was the Ovis aries platyra aegyptiaca which had a lighter build and curved horns. ‘This species we see in the form of Amon or Amun whose name means the “hidden one” or “that which is hidden (occult).” From the New Kingdom onwards Khnum was largely synthesized and worshiped in the form of Amon. Banebdjedet was still worshipped at Mendes, however, this image in time was largely synthesized with that of the image of Amon as well. The Greek historian Herodotus, who visited Egypt around 450 BC, claimed to have witnessed the sacrifice ofgoats at Mendes. These goats were likely not goats at all bur more likely the Ovis longipes rams with horns that could have easily been mistaken for thatof a goat. From these accounts the goat of Mendes sprang forth, the ram/goat fertility symbol we use to this day in the form of our Baphomet (a derivation from the term “abu fihamat * meaning father of wisdom) symbol. Aside from wishing to get away from the overused Eliphas Levi imagery of Baphomet, I chose the image of Amon for this card as it was the dominant fertility symbol of ancient Egyptian times. The dominance of the deity can be deduced by the fact that the beard of Amon is long and thin near the chin and wider near the ti Yes, a trapezoid! Beards of lesser deities were depicted with a tuft or a small beard as was Khnum and Banebdjedet. Also the word Kemet means “black land” which is the word the Egyptians used to describe Egypt itself. The term “black land” refers to the fertile Nile silt which was annually spread across the land by inundation. Since the history of the Baphomet is thoroughly covered in High Priest Gilmore's essay “The History of the Use of the Sigil of Baphomer in the Church of Satan” at www.churchofsatan. com and by Reverend Paulis within the last issue of The Black Flame magazine, | will conclude this brief history of it’s most in- triguing beginnings.

i Jim: the sheep, which was considered impure in ancient Egyptian culture, the ram was venerated for its fertility aspects. The Gate of Baph t: To gain the undefiled wisdom. Symbolism of the card pots symbolizing mastery over the world and acceptance of one’s true nature and the realities of the world. One trap- ezoidal lame pot pillar on the viewer's left points downward and symbolizes the carnal path. ‘The other on the viewer's right points upward symbolizing the spiritual path, For ritual purposes I placed the flame pots to be defined by the users point of view. The ram sits upon the trapezoidal throne which is the Abraxis, neither left nor right, good ot evil, but both; the third side, the rim of the coin, the pragmatist, the balance factor. ‘Ihe seal of the Ninth Gate emblazoned on the front of the trapezoid will be detailed in the booklet, which will be available with the deck. Upon the pillars are the images of Typhon who, as well as Leviathan, represents the essence of the Dragon of the Abyss; that chaotic force in nature which spawns destruction and creation. ‘The Pythagorean star denotes the perfect balance of all the elements in the universe: two points upward in defiance and three points downwards in denial of the Holy trinity with the center point also representing the Excalibur, binding it to the earth The duality of the sexes is represented by the female breasts (the earth mother) and a cobra phallus for the male elements. The cobra carries a double-edged meaning for this card, as it was also worn by the Pharaohs ofantiquity and symbolized the power to strike out at will; in this case to uphold natural law “Lex Talionis” as well as the 11 Rules of the Earth. ‘The silver bat winged moon (a variation of the Temple of the Vampire winged skull of UR symbol which is wonderfully described by Nemo at www. vampirctemple.com) represents sovereignty and mastery of the powers ofdarkness, the Nine Gates, and influence over the real world. The two cobras to either side ofthe moon, depict the understanding that man is a creature of conceptual consciousness, one cobra representing the conscious (the material world), the second cobra representing the subconscious (the magical world), and the moon is “the true self.” ‘The entire background wall of this chamber is a rendition of the ancient Egyptian spell on how to become a snake (another Satanic symbol). ‘The upper left-hand corner partially shows the slithering body of Apophis with the legs of a human. The mastery of this card (that which is hidden/the hidden one) is only possible by possessing the ability to pass through the gates before it. ‘This is the hallmark ofthe true Satanist. The concepts of the other gates will be made more broadly known in the near furure, Hail Satan!

MILESTONES

Indulgence was the “watchword” chosen by Anton LaVey when he founded the Church of Sa- tan in 1966, I think a case may certainly be made that this concept has in the interim made a lasting impact on human society. As we look through the landscape of what is currently offered, we see that Dr. LaVey’s vision has had broad cultural effect, as the amount of freedom for personal pleasure has abundantly increased on all levels of social strata. Dr. LaVey also noted that a prime danger was that the old concept of finding a “scapegoat” co blame for one’s actions is becoming part of the weft and weaveof our society. The escape clause that some “Devil made me do it” is behind the current victim- culture of “political correctness’ that has seen full fruition in the extant laws of many nations. ninals who commit reprehensible acts are often deemed blameless, while nebulous currents in society itself are given the mantle of responsibil- ity for demented, irresponsible behavior. We see our judiciary tacitly accepting the idea that people are automatons, who must of necessity be pro- grammed from without by societal influences. This absolves criminals from blame when they do what is consensus “evil.” and seeks to put the responsibil- ity anywhere but upon the heads of the perpetra- tors. Hence, we witness the widely-practiced twisted theory of injustice which mandates that “blameless” criminals must be offered mercy and forgiveness. Satanists now call for a hale to this grotesque- ry. We do this through the advocacy of our current watchword: Justice. Our means for its implemen- tation is “Lex Talionis"—that punishment must fit in kind and degree the crime. Such a dictum has been cherished in ancient cultures and is overdue for a full-scale rebirth. The doom which should be over every person is: “Let it be upon your own head.” Only you can take credit for your successes, and only you must be at fault for your failures. It is high time to put an end to the perpetual whin- ing, finger pointing, and begging for special dis- pensations. And the current of general opinion is now flowing towards our desired direction. ‘The recent terrorist attacks on the United States evoked a worldwide fervor that just retribution be meted out for these criminal acts. Mercy is being discarded in favor of a true Satanic passion for jus- tice. We have reached a historical “fulerum point” cly-embraced values may now be leveraged in our desired direction. ‘The time is now for Satanists, and others who cherish individual liberty, co expose the madness of reli- gious fanaticism, wherever it may arise, and show the world-at-large that freedoms are threatened by those willing to die for their immaterial deities. We may see a continued societal transformation, if the understanding of the nature of the current situa- tion is kept in sharp focus, ‘The former days of for- giveness will be ended as aroused nations visit their ‘wrath upon those who are enemies to the freedoms offered by sccular civilization. ‘To conclude this address, I seress chat our or- ganization and philosophy are both “organic,” ever evolving, for they are predicated on the continued deepening of our understanding of the beast called ‘Man, Such knowledge may be utilized to broaden the horizons of freedom and responsibility—but this practice demands virtuosity. Anton LaVey es- tablished an insightful foundation which stands us in good stead as we further explore the implications of his ideas while we elaborate the applications of Satanism in our current cultural milieu, setting Sie ania peace sence the “fundamental tone,” and we now compose ex- quisite symphonies from the resultant overtones, provoking “sympathetic vibrations” in those of like We sll nove become hideboun, asthe sainal progesion a ssion sl nature. cabal, Satanists continue 0 discover this wicked philosophy through our website, our publications, and our dedicated representatives. The new Age of c—this age of indulgence, ego, and self-explo- ration—is well underway, with the Church of Sa- tan as the vanguard. Dramatic social, artistic, po- litical, aesthetic and magical changes throughout the past decades have been triggered by those who have embraced the Devil’s dictums as recorded by Anton LaVey in that unassuming litte black book published in 1969. Whether they broadcast their alkgienet oc thelr Jee wel cage the infernal plan hid axiomatic to our philosophy. Satanism’s essence is to flow with Nate oe forward! So, my Epicurean comrades, we are in exciting times. Indulge, innovate, and celebrate the unique life that is your precious treasure, as well as the lives of those dear to you, who entich your days by their very existence. The world is ours, so go forth and fill your experience with satisfaction. As you flow with the eternal now, may it be in exquisite pleasure. Hail Satant

‘Walpurgisnacht of XXXVI A.S.

‘Magistra Blanche Barton 1n the last page of The Satanic Rituals, Dr LaVey highlighted the common year 2002 as being significant to the evolution of Satanism. Ic is now the end of the second Working Year in this new Age of Fire which he establis 1966. “Meaningful and portentous messages are cast forth each eighteen years,” our Magus wrote, “and are acted upon for che eighteen years which follow, at the end of which a new statement ap- pears.” So it is particularly appropriate that, on this night, I announce the final stage of our transi- tion in leadership. One year ago, Peter Gilmore became our High Priest. Tonight, his wife, Peggy Nadramia, is hereby appointed to take her rightful place at his side as High Priestess of thehe Cin of Nine. High Priestess Nadramia, as you read in my Walpurgisnacht greeting last year, is an ac- complished and astute woman who doesn suffer fools well. She elegantly blends a gracious heart ‘with an iron fist, and has been applying both in her many years of online and in-person interac- tion with members and media. Together, High Priest Gilmore and High Priestess Nadramia have generated potent magical energy berween them as husband and wife, and will now be able to apply that same balance, cooperation and vitality to the Church of Satan. We have already seen the positive results of the eastward shife in our administration over this past year. Memberships and inquiries are being processed more quickly, our grotto system has been weeded out and strengthened, new Grotto Masters have been approved worldwide, our a contact has beondend, and we are review- ns in order to welcome care- fly alec individeals nwo the core of our dak So it has always been. To guide your life by the Nine Satanic State- ments, fo strive to fulfill your own ego, your own indulgence and to forever seek undefiled wisdom, is a potent brew. Those who are not Satanists can- not sce how such a hedonistic philosophy could be practical, with everyone seeking only his own pleasure, his own selfish ends. But we in this sin- ister alliance know the truth, don't we? That is precisely why this is such a self selecting Those who don't understand Satanism are either repulsed by it, or misapply it to their own detri- ment or destruction. ‘Those who truly do under- stand it, and who are attracted to it for all the right reasons, apply the principles responsibly and gain all they desire. It is a sword which destroys those who misuse it and insures victory to those with the courage and depth to wield its power. This is the religion that constantly reveals itself anew to each of us. Because of the complexity of the Left-Hand Path, even after 28 yearsas a devout Sacanise, Lam incrigued by che permutations I cre- ate and discover, hypnotized by the siren-song of my own relentless demons. For us, this is the only way to guide our lives—through those twi whispers from our own condemned, selfish souls Though the last 4 1/2 years without Dr. LaVey have been difficult, and the pain after his death was wrenching, I would not alter one moment of the past 18 years of my life. What I learned from him and experienced with him in our yeats to- gether was well worth the tormenting aftermath, Tam more determined than ever that the secrets he entrusted to me, the madness and passion we explored shall not be wasted. When we make significant life-decisions, we try to place ourselves ten years in the future and ask ourselves, “What if I dont do this? Will I re- grec it? No matter what happens as a consequence, could Five with myself if I miss this opportunity?” And, ticle about Anton LaVey so many years ago, when ie right, you hear a litte “ping” in your head. It doesn't require the destruction of others; it doesn't lead to social anarchy and the decay of civiliza- tion, this idea of indulgence and ego supreme. On the contrary, the changes we feel destined to make are often advantageous to others of our kind, as well. The pieces mesh together perfectly, as in an incricate watch. Ultimately, Satanists have the long-range good sense to understand we all must contribute to civilization and protect our Earthly shana Alexander wrote in her excellent ar- resources in the best ways we see fit. Its often the Satanic forces within a society who sce most clear- ly the distasteful sacrifices that must be made to preserve our comforts. On a more personal level, wwe recognize that to be offensively self-absorbed means to alienate all friends, family and possible business allies— ‘Magic comes into play to balance our ego needs. But that’s one of many secrets Those Without will never understand. And ies just as well we keep them to ourselves. They need their menacing monsters and Puckish imps adventurers—and we do it so well, whether in jackboots and leather or a jingling fool's cap. As the Ninth Satanic Statement plies, what would they do without us? So each of us has his or her assigned roles, shifting kaleidoscopically, as we progress through our lives. I met Anton LaVey on May Day 1984, the day after the previous High Priestess, Diane, walked out of the Black House for good. 1984 was the first Working Year of the Age of Satan. Dr. LaVey and I had our son, Xerxes, in 1993, at the apex ofthe second Working. Now, the second the side of Dr. LaVey. ‘This past year has been one of great pleasure for me, and I wanted to share a metaphor I have used to explain my conception of my position and duties as your High Priest. Since I am a musician, having studied both conducting and composi tion, [often tend to cast my imagery based on this significant part of my creative practice. I see the Church of Satan as resembling a vast symphony orchestra of diabolical virtuosos, each with skills in playing their unique “instruments”—their talents. security was very tight, and this contributed to it being a great success. We will continue with far- ther such experiments, choosing participants with care so that our yield will be of the highest order. We have been hard at work in acknowledging the many Active Membership Applications that have been pending, and many of you will have by now received your certificates welcoming you to the first degree as Satanists in the Church of Satan. We still have many more to process, and it is our goal to forge ahead and thus open the gates esteemed ensemble, and the “score” of which I lead us in performance is the philosophy of Satan- ism created by Anton LaVey and embodied in his many works. As is the regular practice of conduc- tors, I have studied both the historical context as well as made an in-depth analysis of Dr. LaVey’s “score,” so that my interpretation is authorita- tive. Having worked for many years directly with “che composer” has also provided me with neces- sary insights into his unique methods and means. ‘This Sinfonia Diabolica, which we perform with plete, We Working pita Wy ieee bar ng es ee De and High Priestess, looking to future expansion and connection, utilizing new technologies to ac tualize ancient goals, The source of the energy we raise and focus remains the same; our dark Fre- quency remains as constant as polar north. Do riot be confused or distracted by those who would dilute our sengh. The game remains the same but the di the maxi is one Sar tale tees call ne rs to come forth from the texture of the ensemble and “sing solo” with great ardor. It is a score that also allows for cadenzas—passages wherein solo- ists soar in brilliant improvisation based on the materials of the score itself. And also it is a score which allows for continued expansion—ever more colorful elaborations ofits orchestration as and making it all the easier to dispose of the Geecad deadwood (efficiently allowing them to think they are rejecting us). Choose carefully, listen well to those demons within and never falter. Ir’ all part of the Devils game. On this night of wickedness and remembrance, may you continue to conjure forth as much satisfaction and indulgence in your role as I do in mine. Hail Satan!

Walpurgisnacht, XXXVII A.S.

Magus Peter H. Gilmore Or this triumphant anniversary of the found- ing of the Church of Satan, we administra- tors take time to celebrate the vitality of our ex- traordinary members, who make up a world-wide body thar is enjoying self-satisfaction and moving our culture in directions to our values. 1 take great personal pride this night in wel- coming Peggy Nadramia as High Priestess of the Church of Satan. Our previous High Priestess Blanche Barton details this completion of our transition begun a year ago today in her moving message on this Walpurgisnacht of XXXVI. As noted in this message, Magistra Templi Rex Bar- ton is exchanging positions with previous Magis- ra Templi Rex fadramia, so she sumes the chair of the Council of Nine and will continue to contribute her wisdom. towards the evolution of the Church ofSatan, as well as pursu- ing her own projects that continue to expound her insights gained during her many years working at and evolving possbiliti ent ate Mss wie oc wel eral in classical music performance might not be aware that it has long been the practice of conductors to adjust the scores they are performing to take advantage of the continuing development of the instruments in the orchestra, facilitating greater expression of the intentions of the composer. And so it is my task to evolve the implementation of Sess LaVe pile prerpiocs ¥ yatiently await. In celebration of this Walpurgisnacht, Rever- end Matt Paradise has released his first book, The Book of Satanic Quotations. Click on the image below to visit his site and order this excellent col- lection of Infernal ammunition. ‘My deepest thanks go to the treasured individuals who have added their strengths towards our sharcd vision over this last year—you continue to earn my ove and respect, as you honor me as well as the work of Dr. LaVey, with your inestimable contributions. So, in the name of High Priestess Nadr- amia, Magistra Templi Rex Barton, and myself, I send forth our darkest blessings to all of our members and true Saranists the world over. May you celebrate this night of nights with abundant pleasure and extraordinary satisfaction. We beara legacy, crystallized and identified by our founder Anton Szandor LaVey, that has come forth from the shadows to claim its due—it is a glorious time to be a Satanist. Hail Anton Szan- dor LaVey! Hail Satan!

17 October, XXXVI A.S.

Magus Peter H. Gilmore yesterday, the infamous Black House—Dr. LaVey's residence for many years and the birth- place of the Church of Satan, was demolished.

For the past several years, the Black House at 6114 California Street sat empty and brooding, jal “shunned house.” Like the San “concert of inspired music” arising from the very heart of the Infern “The Church of Satan has always been a labo- ratory for experimentation in evolving an organi- zation of radical individualism, and that process continues. Towards that end, our specific Special Interest Groups are soon to be announced via E- Bulletin to our members (we are completing our ‘organization of the methods for their function- ing), and will thus launch a new phase in creative exchange. While it has been our past practice to have small-scale gatherings of productive mem- bers, this last Halloween marked our first large- scale coming together of outstanding individuals. Reverend Ventrue, abetted by his talented cohorts Witch Hecate and Reverends Sprague and Ken- nedy, made it possible for a celebratory fellowship of hand-picked invitees to assemble in the Dal- las area. It was truly an energizing time, galvaniz~ ing new projects as well as providing indulgence in many shared passions—promoting a veritable chain-reaction of reinforced ideas and goals. ‘The Bactoce lair of Dr. LaVey’s mentor, Cecil Nixon, iewasnot meant to survive the death of the unique owner who had given it preternacural life. Tk was the real-world equivalent of fictional “haunted houses” belonging to charming outsid- ers, like the Addams Family domicile of both car- toons and video. With Dr. LaVey as its genius loci, it became a nexus point for those who shared his Satanic sensibilities. lewas truly an “unholy of un- holies” for the select group of sinister individuals who were fortunate enough to be invited to cross its threshold and pass through the stygian pall of the entry hallway. Those of us who enjoyed many hours in its tenebrous embrace will never forget its charm—and its mysteries. With its passing, it gains greater power as it moves into the realm of legend. Now it continues to exists the archetype for laits belonging to many of the members ofthe Church of Satan. And in the years to come it shall continue to serve as an inspi- ration for those infernal souls who have the will to construct their own dark sanctuaries.

Jimmy Vargas: Tease, Torch & Noir

AN INTERVIEW BY Peggy Nadramia

What musicians had the greatest influence on your work?

As for our music influences and what we relax to, it’s tantamount to the same thing. It is wise to categorize my musical philosophy as “tease &... noir,” hence the title of the first cd you received from us. That is our gospel of thought, faith, fetish, vision, and soundtrack. The tease side of us is heavily influenced by the 1930's and 1940's burlesque music peelin’ out of the strip torch &. joints and pleasure houses of Americana “sin alley” of that period—the sinuous jazz, blues, and Tin Pan Alley hymns that were transposed to the burlesque stage away from their milquetoast pop leanings. 1 dug a lot of the serpentine tango and Latin music that was hugely popular in the underground cabarets around the war time—sweet copulatin’ rhythms. As for names, Gershwin for those Jewish blue note symphonies that he was so adept at writing—highly sensual and melancholic strains in all his work. Lyrically, for their great sense of double entendre and triple rhymes, Lorenz Hart and Johnny Mercer, both American writers of the Broadway and Hollywood golden period. As for Europeans? Got to be Erik Satie for his misty melancholic piano pieces, Gorecki, and Rachmaninov—beautiful necromantic writers[.]

As for torch, ditto the above plus of course Iealian opera and the bel canto singers a la Sinatra, Al Bowlly (English, 1930's), and Benny More (Cuban 1930's singer)

Noir—German atonal masters like Schoenberg; Wagner, Gershwin again for his dark urbanity. His teacher Darius Milhaud (one of the famous “Les Six’ of French cabaret composers of the early 20th century). Modern composers don't ecessarily grab me. People get confused with the making of great records with great songs, Marilyn Manson and Trent Reznor being some—they are brilliant producers, however.

For the offbeat I always dug Harold Partch (American composer)—all theoretical, of course, however, inspiring from an arranging point of view.

What do you listen to when you want to relax and feel good?

Other music that I do dig is bop, jazz, Dizzy Gillespie and Parker, and John Coltrane during his free period in the early sixties where his jazz held rage and political attitude. They are the “high priests” on my turntable at five in the afternoon.

Your music is imbued with a hopeless longing for a love the singer knows will never return in is lifetime. I imagine him walking empty city streets, remembering her figure here on a corner, there in a doorway; he seeks her yet he knows he will not find her. As a listener I empathize completely because your music also inspires me with a longing for a past time that I never experienced; I think many Satanists feel this way and it’s one of the things that characterize our “outsider” nature, We watch noir films, read old detective novels, collect artifacts and dream about an idealized past that may never have existed, ‘What aspects of this past life do you miss the most, aside from Elizabeth? How has the present culture alienated you, if at all?

I'm not necessarily a Satanist—an outsider definitely. To be honest with you I don't know whether that makes me a Satanist. I always saw Anton LaVey as not being strictly a Satanist—his lack of patience with stupid willful people in some way shares the same bed as Jesus when he was beatin’ up schmucks in the temple. I always dug LaVey's separatism. As for the love interest observation you've made in your question, it isntt just Elizabeth Shore that one misses, its also the avatar that rebirthed her. We have released the enhanced CD “Shadow Bride Sunday Mourning,” both the videos, voice-over and the hidden chapters not released in the book My Shadow Bride last year. It documents the Vargas and “Scarlatta” " relationship—the woman who “birthed” Elizabeth back and Jimmy's affair with her. There are two other stories in the series that all link upand have nothing to do with Elizabeth, but it unveils a final testament to how this whole goddamn thing—and I do mean goddamned—hopefully we can get to release them within a year or so.

But getting back to the question, yes, I feel a total separatism. One always is searching for that other half and one has to brace oneself that one is never going to be graced by them in this lifetime. Well, it is better to walk alone in the midnight, my own shadow can keep me warm. Anyway, the songs that I am writing are female-driven, snapshots of her, and you can still make love to them via the playing of those songs. They are all loser taxi dance songs anyway.

How do audiences react to your performances? Do you find audience members dressing in period clothes as you do and also carrying a torch for a time when men were men and women were dames?

You know, we haven't played to an audience for some time. Either its the choice of putting out records and videos and writing books or doing tours. Well, the concrete work at the moment is more important. In film and records, phantasms live forever— one never dies.

Swing, kittens! From my viewpoint, the youngsters who enjoy this fad have swing confused with everything from rockabilly to square dancing. I think it’s great that people want to get dressed up to go out, sit in a real chair and be served a real drink. But how do you feel about seeing the outer trappings of your past lifestyle reflected back by trendy young club-goers?

As for the swing revolution, it has spiraled into squaresville territory—the swing market had no idea what the hell Jimmy Vargas was about... they just wanted to dance. That market was not attracted to the aesthetic of the forties, the politics of the era, nor understood the major sexual, social, and spiritual changes that gestated our of World War II. Ironically, the architects of that swing revolution in San Francosco (sic) such as Mick Moss (editor of Swingtime, the bible that did start it all and gave the growing community their own media outlet)—his offsiders like filmmaker Rand Alexander, cartoonist Fritz Starker, and photographer Mark Jordan (who shot reams of classic “teaserama” snaps of Dita—the new Betty Page who could be a Satanic icon according to the Lexicon of Dr. La’ ) were highly intelligent, articulate individuals. Many an hour we would spend talking about the spirit and the psychology of the 40's Americana culture and our deep transmagorical connection to it. These guys didn't start up a cultural revolution so they could have somewhere to dance—they were making a major point about a pop culture that had got way from a sense of roots (i.e. grunge) and in the swing sensibility there was a sense of connecting eith a community, old-fashioned courtship, and real creativity using the benchpoint of 40s Americana culture. It was no attempt to recreate he forties, but simply take the aesthetic, the spirit, and the intellect of that time and place it in he here and now. It was an aesthetic movement. They were redefining masculinity, which had been greatly besieged by feminism and the homosexual revolution in the 70's and 80's, by understanding that past masculinity. They were a lot more aware of what was the feminine. They were also aware that the forties was an extremely political and sexually dislocated time, and the nineties in some way mirrored the same spirit of upheaval through the Reagan years. The leaders of the initial swing movement were also totally au fait with the gospel of noir—they knew exactly from where I was coming. They in their own search of the tease, torch, and noir aesthetic recognized certain identical rites of passage as my own. I had at least for a short time found a brotherhood.

But getting back to your earlier question about how I feel about clubgoers treating it as a fad, well, I don’t own a copyright on it either, nor am I a swing kinda guy as authorized by Madison Avenue. I'm more into... yes, you guessed it, tease, torch, and noir, burlesque and hard bop kind of soundtracks. Ironically, out of the swing scene has now gestated the neo-burlesque _movement—a lot of it looks very ad hoc. Some of the gals and comedians have nailed the soul of it. It will be interesting to see how this turns out. At least the showgirl look is a lot more my kind of fetish—the swing chicks were all a little bit Doris Day for me. Mind you, some of my classic triptease soundtracks like “Tallulah’s Boudoir” from “Tease, Torch and Noir” was totally misunderstood by the burgeoning burlesque scene in San Francisco and I suppose I don't really care. I don't want to belong to any movement: that’s the liberating part of being a former ghost. You find nothing really matters. except the songs you leave behind. Gee, you ask simple question, guys, and I get right off the point, but I'm simply premeditating other questions that you might wanna ask as a result of my answers.

The Los Angeles you portray in your music is one that comes out after dark. I see streetlights streaking by outside car windows, smoky nightclub scenes, darkened doorways that lead into mysterious dens of pleasure, pain, and release. Are you a night person? What attracts you about the nocturnal?

Yes, undoubtedly I'm a night person. At night you can hear your dead loves a lot more easily, and you can be blessedly alone.

You describe “Shadow Bride” as a soundtrack. Has there been any attempt to market your novella as a film treatment? Any interest shown?

Yes, the albums are soundtracks, and as stated previously in “Shadow Bride” there is a downloadable book of the same name. Also, I had stated this earlier, we are putting finishing touches to the videos to those two albums with a voiceover that tells about the Jimmy Vargas story, his connection with The Dahlia, and more importantly his relationship with his muse... Lily Scarlatta. In actual fact, the book that is connected to that enhanced CD is called “Shadow Bride... Scarlatta Salon,” Is more about the bizarre relationship between myself and Lily rather than focusing on the Black Dahlia. We had a life and death beyond beloved Elizabeth have we been fighting off aspersions over our own Black Dahlia story, from both Ellroy and John Gilmore fans...sorry! Elizabeth was a pleasure th. For too long hauntress of the night. She had many, many men—in both physical and literary ways. Nobody owns her—as also Elizabeth no longer owns me. As for anyone else wanting to make a movie of The Vargas/Dahlia/Scarlata connection—well no, no offers as of yet. That's why our 15 minute music “peep-a-loopa” production. Should be ready by end of 2001 (sic).

Anton LaVey appears as a key character in your roman a clef and your portrayal of him is fairly sympathetic. What led you to your interest in LaVey? Did you ever meet him while you were living in San Francisco?

Met the Doctor in “46 in Hollywood...yes, regardless of other biographical allusions to him always being on the road with the circus. He knew Elizabeth Short. He knew why and who killed her—regardless of his media volte face about her demise, he was greatly dismayed by the ferocity and the true evil of her murder.

LaVey would have found your obsession with 40's California noir and your identification with the Jimmy Vargas persona completely fascinating and definitely in line with his own Satanic aesthetic. How do you feel about your work being labeled “Satanic”?

You know something... I'm a believer of Jesus... yeah... hold it.. don't flip the page, kids. Jesus believed in the road less traveled, he was separatist in many cases, just as I am, and inevitably exactly what the great Doctor LaVey became. Don't get he facts of Jesus confused with the propaganda of the church. They are two totally separate entities. If he came back today, they'd probably label Jesus as a Satanist and probably try to conduct an exorcism of him in St, Peter's Square! He was the true outlaw... akin to a great jazz musician who never signed to a multi-corporate record label, but finds after he has passed on, his side band has assigned his back gospel catalogue to squaresville Sony records and finds his records are racked alongside Sarah Church's in the easy listening spiritual section.

I believe in an afterlife. I have seen the veil between the Earth and the stars. We ain't here by accident. We have fated connections for being here that are repeated life after life. That's where I do differ from the great Doctor, however, and I do stress however, many things that he'd stated made hardcore sense to me. We both dug noir, he adored burlesque and the female pulchritude that was a feature of it. He was a fetishist of the first order—me ditto. His basic logical old-fashioned common sense was to me that he was against the restraining Victorianism and prudery of political correctness.

As I am, he was a self-made man who didn't look to anyone to carry his water. His biography with Blanche was to me an affirmation of a lot of things I felt myself but could not find the community to express such revelations. I think he was a unique, inspiring individual, and that individuality found itself best served, best expressed from the creche of what we call Satanism. His departure is a national tragedy. You can't replace men such as Dr. LaVey. I grieve at his earthly departure. As for my work being Satanic, that’s for your readers to decide. As for your other sub-question—yes, I met Dr. LaVey thrice in San Francisco, as in my book “Shadow Bride” one of the local promoters was trying to get him to do a show in North Beach with us in View of us to play support to him. It never came about. Bur too late, I had realized we had been playing support to him all the time. By the way, he had changed his name in the book to Zoltan in due respect to him, and his estate. We knew the people who really mattered would know who the head of the “Church of Baal” was, and that’s all that mattered.

What are you working on right now? What is in store for a Vargas fan like myself?

We have released the DVD noir narrative and music video collection My Shadow Bride. Forthcoming is the sequel to the My Shadow Bride story called Temple of Life to be released in March 2005, and we have just finished shooting the final trilogy to the whole Shadow Bride series, a short dialogue movie and music video collection called Scarlet Widow, at the ready around July 2005. Our website, www.jimmyvargas.com, has made its debut.

Thank you! Yours in the tease, torch, and noir. Jimmy Vargas

The photographs illustrating this interview are courtesy of and copyright © by Jimmy Vargas.

My Shadow Bride... Black Shadow Avatar

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Catholics, Goering, and Charlton Heston

A Friendly Chat With The Only Pop Singer Who (Might) Still Matter by Joshua Buckley

cenius is seldom appreciated. Itshould come as no surprise, then, that David EWilliams—perhaps the greatest singer-songwriter currently plying his trade on these here shores—has spent virtually his entire carcer laborin, Spinning out catchy, musically accomplished Pop anthems with a vocal style reminiscent of Neil Diamond on Quaaludes, Williams deserves the appellation of genius more than almost any of his “underground culture”-racket inferiors. Emerging from the shatcered ruins of Western Civilization like some wandering, postmodern Minnesinger, Williams tweaks his tunes wit perverse Romantic sensibility somewhere between the sublime and the absurd. Unlike the wan, opium-addled Decadents of ages past, however, Williams weaves his tales of horror and catastrophe out of the never-ending succession of personal and socieral disasters lurking just behind the window-dressing of bourgeoisie reality. ‘The priest who sodomizes the altar boy. The office- pool typist who slaughters his co-workers. ‘The congenial hospice worker with a taste for geriatric poontang. Uncomfortably intimate glimpses of the abyss. Zap it all with Williams’ gallows’ humor and inordinately clever sense of irony, and you've got Pop music that deserves to survive. If I were King, and you were all my boot- licking vassals, David E. Williams would be at the Top of the Pops. He'd have his own special on VH-1, Throngs of pre-pubescent girls would mob him in airport terminals. As it is, we live in a world of shit. The least you can do is buy his records. Why all this gloom and morbidity? Couldn't you find more edifying things to write songs about, like feeding the homeless and ending racism? ‘What do you mean? I have plenty of songs about ending the homeless and feeding racism. = reviewer commented that your music tends “sexualize history.” You seem to hi Soin for juxtaposing the tragedies wrought by garden variety sexual predators with the more inspired conquests of history's real murderers. Surely, though, you must admit that “garden variety predators” are afforded limitless opportunities by history's ever-unfolding pageant of soft fleshy underbellies craving violation. In the past, individuals of a certain temperament have been able to positively express violent energies in noble causes like the spread of Western ion, Well, we just don't have that sort eae anymore, But all that energy has to go somewhere. Unfortunately, heroism is perverted by the humanist ethos into crime, and then what happens? Some little boy is raped by the parish priest. Nice job, everyone! |, you seem to have a unique appreciation— or at least a different approach—to these sorts of subjects. Well, I could argue that I have somewhat less of an appreciation than the typical goch/industrall pocalypse culture dilettante. Ive never, like, been feted We cae cite Wikio ca al wi sx, “The Ballad of Edmund Kemper” ln ft, 1 teally don't have much true crime or horror on my. bookshelf ac all.) Regrettably, the murders in my lyrics sprang from troubled thoughts in a troubled mind during troubled times. Thankfully—at least from my viewpoine—things arent so troubled any more and one of my latest songs is about a game warden. Your lyrics are also filled with Catholic imagery. I'm guessing thiswas a big part of the atmosphere you grew up in. Yes, that’ correct. [attended Catholic school for six years, but left because of an i boys held me down while a seventh boy squeezed my nuts, “Show me exactly where he touched you,” Sister Leonore demanded afterward. It was all very embarrassing. I was alsoan altar bay for quite some time, though I can't recall (at least consciously) having my nuts squeezed during that endeavor. ‘The war between Christianity and liberal humanism can only be viewed asa catfight between simpering sister ideologies. Liberal humanism is merely Christianity in its most degenerate form. ‘Who can fathom what awaits us in the next stage of human de-evolution? Irs hard to imagine anything worse than this contemporary culture where laziness and poor personal hygiene are held aloft as che highest attributes. Catholicism, on the other hand, represents (Christianity in its least degenerate form. Growing as itdid ourof Rome, it has always allowed for continual manifestations of good old-fashioned European culture—you know, breathtaking cathedrals, homosexual geniuses and wars of Colonial conquest. Hello, Columbus! If only we could get this Polish pope to stop apologizing to everyone!

How would you characterize your typical © of any particularly unusual reactions to your music? listener? Are you awar Sweet young girls and sweet young, boys with fantasies of murder. Some find the work absolutely serious and others find it utterly ridiculous. Each is absolutely convinced of his or her interpretation. and utterly What about your own interpretations? What motivates you to actually sit down and write a piece of music? In terms of the lyries, there is no real “sitting down.” My better songs get written in the back of my head, as I'm going about my daily business. Ill be mulling over these thoughts and feclings while T'm on the bus or sitting at work or something Then,I'l run to, like, a pul them onto a piece of paper which I'll shove into a shire pocket. One notable exception is “Severed Hand Holding Daisies.” I distinctly remember writing the lyrics to this song as I lay naked and in tearsat the footof my keyboard. | knowit sounds kind of goofy... lic restroom and scrawl So that was inspired by some kind of personal experience Well, yes. [had an unrequited love for this gil Twas hangingout withat the time, Her big theory was that the conception of Christ was anything bur immaculate...you know, chat Joseph raped Mary. Ie’ notall that brilliant speculation...kind of obvious really. Anyway, she thought it was a great idea for a song, but never got around to writingit. So T did. In a song about her. Who's your favorite Nazi? You can always tell a lot about a person by his or her answer to this question. The egotist goes for Hitler. The wishy-washy intellectual goes for Spee. The vulgarian goes for Streicher. Who is my favorite Nazi? Reichsmarshall Hermann Goering! Fat and jolly and he got the last laugh at Nuremberg. Has there been much of a furor (Fihrer2) over all the references to the Third Reich in your lyrics? “The second CD was released in Germany, where they're a bit sensitive about such things. Now, now, Joshua, let's not go giving people the idea I'm some sort of Nazi propagandist. Like most of my characters, the Nazis in my songs come off about as heroic as Colonel Klink in Hogan's Heroes (or, maybe Dirk Bogarde inmii Night Porter). I mean, “Legends of the S.S. is about a pair of homosexual lovers who go on a Nazi-inspired murder spree until one of them dies of ALLD.S. And “Sarah's Booted Boy” is about an S.S. guard who falls in love with a female Jewish prisoner. “Oh, all the love that I have found/ in the manure and stony dregs./ I saw the ovens of Birkenau/ between your bony legs.” This sort of thing would not go over too well at the Propaganda Ministry! “Entartetel” Anyway, to answer your question, YES, people get very bent our of shape But not in Germany.

Tell me about your background as a musician. Vegan takin piano lessons in the fourth grade and continued for eight years. practicing two or three hours a day. As a pianist, I was certainly a lot more dexterous back then. In high school and college, I played keyboards ina band called Lemon Schubert. We composed all kinds of silly music—prog rock, pseudo jazz fusion, space Ar one point, I was rock, Portentously,one of our songswas called “Albert Spee.” I miss those Lemon Schubert guys. Except for ime, the other members were all related and they were all devoutly Russian Orthodox, even though Black Sabbath was their favorite band. I believe thae one of them is actually a priest now T must also confess to having worked in cover bands. You probably can't imagine me playing “Born to Be Wild,” but it happened. It happened quitea bit there fora while What does your family think about your music? Well, my brothers are born-again Christians, and although they've never come out and said anythis T think they disapprove greatly. Wher they heard T was working on a movie sounds they seemed very happy to hear that no lyrics were involved. “Oh good,” said one. My sister and her husband claim that they like it, but it's so different from anything in their CD collection that I really think they're just trying to be nice. (And I guess they're succeeding). My mom seems to enjoy my live performances, but claims ignorance of the lyrics. She says it sounds like I'm just singing “blah blah blah” in a very deep voice. It upsets her to read about the lyrics in newspaper or magazine articles When she hears a new record is coming out, she always asks: “Irs not more ‘dirty’ songs, ularly upset by “Severed Hand That's not right,” he says. my father, he’spar Holding Daisies.” What about the women in your life? Are they worried about ending up as fodder for your lyrics? They're more worried they wont. ‘What kinds of things do you enjoy reading? Your music seems far more derivative of certain Decadent and Expressionist literature, than it does of any particular music genre that comes to mind. Well, thank you, I guess Tl accept that as a compli Iwas an English major in college studying hard for 4 years—so the assumption is probably not entirely off the mark... (even though college was a long time ago!) I much prefer fiction and poetry to philosophy, that’ for sure! My major influences growing up were Kurt Vonnegut, Charles Bukowski, Eugene Tonesco and Sylvia Plath. Sylvias just the best, recommend her highly enough. Don'tbe scared off by the feminist propaganda of her other admirers. OF course, the most recent book I read was The Courage to be Free, by Charlton Heston. ind I cant Heston? You're not some kind of gun nut are you? Well, I do belong to the NRA. Charlton Heston is my president. My personal belief is that one is irresponsible if one does not own a gun. That doesn't make Also, Hest of Planet of the Apes are some of the most poetic passages in the history of misanthropy. I believe that Rod Serling wrote them, but only president 's monologues at the beginning Heston could recite them in a manner that will make them live forever. (Or at least until the apes take over—WHICH WILL HAPPEN IF WE DON'T ALL HAVE GUNS!) Ultimately, what is David E, Williams’ message for the late, great planet Earth? Catholics, Goering, and Charlton Heston.

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Peter Mlakar: NSK's Satanic Technocrat

by Michael Moynihan and Charles Krafft

ince 1980 the Slovenian musical juggernaut known as as been craftily exposing—while at the same time capitalizing upon—the weaknesses of pop culeure for totalitarianism, Usilizing stylistic trappings from a half-century earlier, Laibach (whose name comes from the occupied German designation for their hometown of Ljubljana) marched onto the world stage and demanded that people take notice. And they did. But what still often remains unrecognized or misunderstood is the fact that Laibach is just one in a greater machine, otherwise known hort for Neue Slowenische Kunst (New Slovenian Art), NSK is a collective endeavor with of tentacles: an fine art group known as Inwin, a “cosmo-kinetical” theater company called Noordung, the “New Kollectivism” graphic design section, and most intriguingly, a “Department of Pure and Practical Philosophy.” Furthermore, since 1990 NSK has declared themselves a sovereign, virtual state, words, “a transglobal They issue their own stamps, passports, and proclamations, and open temporary embassies wherever they go. The representative for the philosophical branch of NSK is Peter Mlakar, a philosopher and writer of extreme erotic literature. For years he has ibacl in their borderless. state-in-time.” spoken at the openings of Laibach concerts and other important NSK events; already a decade ago his early speeches were compiled into book form in REDEN AN DIE DEUTSCHE NATION (Speeches to the German Nation; Vienna: Verlag Turia & Kant, 1993). He has also published three philosophical works in the Slovenian language, SPISI_ 0 NADNARAVNEM (Essays on the Supe il Analecta, 1992), UVOD 0G: Introduction to God; Ljubljana: Za ba NSK, 1997, and published in Croatian, Zagreb 2000), and HRIBI IN DOLINE (Hills and Valleys; Zalozba NSK, 1999). As one mij expect, Mlakar’s style is declarative and bombastic, but his form of rhetoric also illuminates existential conundrums of the sort that most people prefer not to be confronted with. In response to Essays on the Supernatural, awell-known Slovenian Catholic philosopher remarked that such “ be opposed with counter-argument, but only with prayer and fasting,” ‘When notcomposingspeechesorphilosophical a work “cannot tracts, Peter Mlakar also pens perverse erotic tales under the nom de plume *P. Traven.” Two books of these stories—which bear titles like “Confession,” "rime and Punishment,” and “Living Bidet”— have appeared in his native language, earning him accolades as the “De Sade of Slovenian literature.” Slavoj Zizek, the popular Lacanian philosopher, even extolled these writings as “great literature for all time,” and urged that the stories “should be lectured in primary schools.” Peter Paracelsus is another of Mlakar's many names, When donning his Paracelsian cap he promotes “Satanic Techno” and in 1994 released an eponymous debut CD (on the Nika + Ropot label), done in collaboration with the Laibach subgroup 300,000 V:K. A new album is reported ¢ imminent, ‘The music is electronic and Luciferian, butalso embodies an entire philosophy of desire: “Ie is our wish that the pleasure we are now experiencing might not end, and we cannot imagine the pain that is unbearable lasting forever Satanic Techno is that state when the pain or pleasure are no longer submitted to a process of their own natural determination, but are a matter of the will of the scientific mind, which is able solely for its own enjoyment to manage the psychological structure and has an effect on it independently of the subject’ will, and which also abolishes a cast-iron law of nature.” In a manner not dissimilar from Laibach, Peter Paracelsus subverts a pop genre to his own ends, injecting it with an overt ideology, in contrast to the insidious bur covert commodity fetishizing of most music industry output. The following interview with Herr Mlakar was assisted by Charles Krafft, an American artist from Seattle with longstanding ties with the NSK camp. Krafft has made his mark with DISASTERWARE™, a line of finely-wrought delfiware pieces featuring poignant scenes from lara unending history of turmoil and distress. His work so impressed NSK thae they Secriaioged Kate we design all the porcelain flacware for their official state functions (these works, along with Kraff’s Porcelain War Museum Project and other creations, are documented in the new monograph Charles Kraffis VILLA DELIRIUM, San Francisco: Last Gasp, 2002) By way of concluding this introduction to our interview, a few lines of reminiscence from Krafft will shed further lighton our subjec L firs ran across the writings of Peter Mlakar in the extraordinary art book Neue Slowenische Kunst (Los Angeles: Amok, 1991). Those dated translations Of bis short exiays, aphorisms, edicts, and speeches reignited my waning interest in poetry, Years later, I still find myself copying and sending these bits out 10 persons who I feel can appreciate the subtlety of Mlakars metaphysics and “totalitarian” balderdash, Tam still waiting for translators t0 deliver his 100 ‘major books (publishedin German and Slovenian) on Eros and spirituality. To date, my efforts to faciliate this here have been met with academic ousrage. I got to know Peter Mlakar personally when I accompanied Laibach on their “Occupied Europe NATO Tour” to Sarajevo in 1995. For an American to fully understand Laibach and the NSK enterprise you must spend some time with them and this I naively did. The highway to Sarajevo was being held by Serbs so we drove along the bombed-our back roads, through devastated Mostar, down into the besieged city for two historical concerts in the National Theatre which happened 10 coincide with the announcement of the Dayton Peace Accords. It was the rocknvoll experience of a lifetime and Peter rose to the occasion with a series of oficial speeches delivered with his usual panache. One night, on the way back to our guest house overlooking the burned-out 1984 Winter Olympics facility, the taxi couldn't make it up the icy bill so we climbed out and started walking home. Halfivay there he stopped in the full moonlight to access the ruined city and declared, ‘T love the smell of blood and snow! Its so Tolitoy. If 1 could bortle this scent T would make a new perfume ‘for the 21st century and call it FORGIVENESS.”