Love is the law.

The Crowley quotes that revolutionized occult thinking for Jimmy Page and countless other seekers of truth:

“Do what thou wilt shall be the whole of the law.”

“Love is the law.  Love under will.” 

“Every man and every woman is a star.”

Love is patient…

The thirteen lines below are the only lines from the Christian bible that I have any use for.  It’s always amusing (and frightening) that most of the Christians I have met don’t seem to know it or heed it.  Funny. 

Ah well, it’s just poetry…


The Excellence of Love

If I speak with the tongues of men and of angels, but do not have love, I have become a noisy gong or a clanging cymbal.

If I have the gift of prophecy, and know all mysteries and all knowledge; and if I have all faith, so as to remove mountains, but do not have love, I am nothing.

And if I give all my possessions to feed the poor, and if I surrender my body to be burned, but do not have love, it profits me nothing.

Love is patient, love is kind and is not jealous; love does not brag and is not arrogant

Love does not act unbecomingly; it does not seek its own, is not provoked, does not take into account a wrong suffered

Love does not rejoice in unrighteousness, but rejoices with the truth;

Love bears all things, believes all things, hopes all things, endures all things.

Love never fails; but if there are gifts of prophecy, they will be done away; if there are tongues, they will cease; if there is knowledge, it will be done away.

For we know in part and we prophesy in part;

But when the perfect comes, the partial will be done away.

When I was a child, I used to speak like a child, think like a child, reason like a child; when I became a man, I did away with childish things.

For now we see in a mirror dimly, but then face to face; now I know in part, but then I will know fully just as I also have been fully known.

But now faith, hope, love, abide these three; but the greatest of these is love.


New American Standard Bible Copyright © 

<< 1 Corinthians 13 >>

In Praise of Rapturous Truth: Roger Ebert’s letter to Werner Herzog

Last night I finally got to meet longtime hero Werner Herzog when he kindly stopped by the New Beverly Cinema for a showing of 2007’s Encounters At The End Of The World.  WH spoke before the film and then graciously treated everyone to an unhurried Q&A session which I will elaborate on in a future posting. 

Just for today, since I am still giddy over finally meeting the man, I thought I would post Roger Ebert’s letter to Werner Herzog, originally posted on WH’s website: www.wernerherzog.com, in November 2007. 

WH dedicated Encounters At The End Of The World to his dear friend Roger and this letter succinctly captures so much of what I (and assumedly other fans) appreciate about Werner Herzog and his lifelong dedication to miraculous storytelling on film.  I hope I am not in violation of copyright by promoting this letter and passing it on.  It is a letter I wish that all Hollywood directors would read.

A letter to Werner Herzog:
In praise of rapturous truth

November 17, 2007

Dear Werner,

You have done me the astonishing honor of dedicating your new film, “Encounters at the End of the World,” to me. Since I have admired your work beyond measure for the almost 40 years since we first met, I do not need to explain how much this kindness means to me. When I saw the film at the Toronto Film Festival and wrote to thank you, I said I wondered if it would be a conflict of interest for me to review the film, even though of course you have made a film I could not possibly dislike. I said I thought perhaps the solution was to simply write you a letter.

But I will review the film, my friend, when it arrives in theaters on its way to airing on the Discovery Channel. I will review it, and I will challenge anyone to describe my praise as inaccurate.

I will review it because I love great films and must share my enthusiasm.

This is not that review. It is the letter. It is a letter to a man whose life and career have embodied a vision of the cinema that challenges moviegoers to ask themselves questions not only about films but about lives. About their lives, and the lives of the people in your films, and your own life.

Without ever making a movie for solely commercial reasons, without ever having a dependable source of financing, without the attention of the studios and the oligarchies that decide what may be filmed and shown, you have directed at least 55 films or television productions, and we will not count the operas. You have worked all the time, because you have depended on your imagination instead of budgets, stars or publicity campaigns. You have had the visions and made the films and trusted people to find them, and they have. It is safe to say you are as admired and venerated as any filmmaker alive—among those who have heard of you, of course. Those who do not know your work, and the work of your comrades in the independent film world, are missing experiences that might shake and inspire them.

I have not seen all your films, and do not have a perfect memory, but I believe you have never made a film depending on sex, violence or chase scenes. Oh, there is violence in “Lessons of Darkness,” about the Kuwait oil fields aflame, or “Grizzly Man,” or “Rescue Dawn.” But not “entertaining violence.” There is sort of a chase scene in “Even Dwarfs Started Small.” But there aren’t any romances.

You have avoided this content, I suspect, because it lends itself so seductively to formulas, and you want every film to be absolutely original.

You have also avoided all “obligatory scenes,” including artificial happy endings. And special effects (everyone knows about the real boat in “Fitzcarraldo,” but even the swarms of rats in “Nosferatu” are real rats, and your strong man in “Invincible” actually lifted the weights). And you don’t use musical scores that tell us how to feel about the content. Instead, you prefer free-standing music that evokes a mood: You use classical music, opera, oratorios, requiems, aboriginal music, the sounds of the sea, bird cries, and of course Popol Vuh.

All of these decisions proceed from your belief that the audience must be able to believe what it sees. Not its “truth,” but its actuality, its ecstatic truth.

You often say this modern world is starving for images. That the media pound the same paltry ideas into our heads time and again, and that we need to see around the edges or over the top. When you open “Encounters at the End of the World” by following a marine biologist under the ice floes of the South Pole, and listening to the alien sounds of the creatures who thrive there, you show me a place on my planet I did not know about, and I am richer. You are the most curious of men. You are like the storytellers of old, returning from far lands with spellbinding tales.

I remember at the Telluride Film Festival, ten or 12 years ago, when you told me you had a video of your latest documentary. We found a TV set in a hotel room and I saw “Bells from the Deep,” a film in which you wandered through Russia observing strange beliefs.

There were the people who lived near a deep lake, and believed that on its bottom there was a city populated by angels. To see it, they had to wait until winter when the water was crystal clear, and then creep spread-eagled onto the ice. If the ice was too thick, they could not see well enough. Too thin, and they might drown. We heard the ice creaking beneath them as they peered for their vision.

Then we met a monk who looked like Rasputin. You found that there were hundreds of “Rasputins,” some claiming to be Jesus Christ, walking through Russia with their prophecies and warnings. These people, and their intense focus, and the music evoking another world (as your sound tracks always do) held me in their spell, and we talked for some time about the film, and then you said, “But you know, Roger, it is all made up.” I did not understand. “It is not real. I invented it.”

I didn’t know whether to believe you about your own film. But I know you speak of “ecstatic truth,” of a truth beyond the merely factual, a truth that records not the real world but the world as we dream it.

Your documentary “Little Dieter Needs to Fly” begins with a real man, Dieter Dengler, who really was a prisoner of the Viet Cong, and who really did escape through the jungle and was the only American who freed himself from a Viet Cong prison camp. As the film opens, we see him entering his house, and compulsively opening and closing windows and doors, to be sure he is not locked in. “That was my idea,” you told me. “Dieter does not really do that. But it is how he feels.”

The line between truth and fiction is a mirage in your work.

Some of the documentaries contain fiction, and some of the fiction films contain fact. Yes, you really did haul a boat up a mountainside in “Fitzcarraldo,” even though any other director would have used a model, or special effects. You organized the ropes and pulleys and workers in the middle of the Amazonian rain forest, and hauled the boat up into the jungle. And later, when the boat seemed to be caught in a rapids that threatened its destruction, it really was. This in a fiction film. The audience will know if the shots are real, you said, and that will affect how they see the film.

I understand this. What must be true, must be true. What must not be true, can be made more true by invention. Your films, frame by frame, contain a kind of rapturous truth that transcends the factually mundane. And yet when you find something real, you show it.

You based “Grizzly Man” on the videos that Timothy Treadwell took in Alaska during his summers with wild bears. In Antarctica, in “Encounters at the End of the World,” you talk with real people who have chosen to make their lives there in a research station. Some are “linguists on a continent with no language,” you note, others are “PhDs working as cooks.” When a marine biologist cuts a hole in the ice and dives beneath it, he does not use a rope to find his way back to the small escape circle in the limitless shelf above him, because it would restrict his research. When he comes up, he simply hopes he can find the hole. This is all true, but it is also ecstatic truth.

In the process of compiling your life’s work, you have never lost your sense of humor. Your narrations are central to the appeal of your documentaries, and your wonder at human nature is central to your fiction. In one scene you can foresee the end of life on earth, and in another show us country musicians picking their guitars and banjos on the roof of a hut at the South Pole. You did not go to Antarctica, you assure us at the outset, to film cute penguins. But you did film one cute penguin, a penguin that was disoriented, and was steadfastly walking in precisely the wrong direction—into an ice vastness the size of Texas. “And if you turn him around in the right direction,” you say, “he will turn himself around, and keep going in the wrong direction, until he starves and dies.” The sight of that penguin waddling optimistically toward his doom would be heartbreaking, except that he is so sure he is correct.

But I have started to wander off like the penguin, my friend.

I have started out to praise your work, and have ended by describing it. Maybe it is the same thing. You and your work are unique and invaluable, and you ennoble the cinema when so many debase it. You have the audacity to believe that if you make a film about anything that interests you, it will interest us as well. And you have proven it.

With admiration,
Roger

 
   

Still I Rise.

This is required reading for all eighth grade girls in the United States, isn’t it???

You may write me down in history

With your bitter, twisted lies

You may trod me in the very dirt
But still, like dust, I’ll rise.

Read the rest of this entry »

She sweeps with many colored brooms…

.
She sweeps with many-colored brooms,
And leaves the shreds behind;
Oh, housewife in the evening west,
Come back, and dust the pond!
.

You dropped a purple ravelling in,
You dropped an amber thread;


And now you’ve littered all the East
With duds of emerald!

And still she plies her spotted brooms,
And still the aprons fly,
Till brooms fade softly into stars

And then I come away.

(poem by Emily Dickinson; images: FreeDigitalPhotos.net)

Mondo Marilyn: Ella Fitzgerald and Marilyn Monroe

MONDO MARILYN PART THREE: ELLA FITZGERALD AND MARILYN MONROE

It is often said that the bigger the lie, the more people will believe it.  In Marilyn Monroe’s case, this seems to be the rule instead of the exception; the public is repeatedly asked to endure endless accounts of the schizoid Norma Jeane/Marilyn myth while her real and more substantial passions are often ignored. 

There isn’t any money to be made in suggesting that Marilyn was actually a multifaceted and talented career woman whose “madness” was probably a reaction to the shortcomings of the men who controlled her opportunities in that pre-women’s lib era in which she struggled to survive.  I find it curious that of all the books that have been published on Monroe, even the ones that profess to defend her, none of them have donated their sales to the Los Angeles Children’s Home in Hollywood, the orphanage synonymous with that infamous tale of the sad childhood of Norma Jeane. 

I wonder if it would surprise people to know that Marilyn considered herself a natural horticulturalist – she subscribed to gardening magazines and used her talent for horticulture as therapy, especially during the last period of her life, when she occupied her Brentwood home.  This Giant Marilyn Garden Art Wall from last month’s Singapore Garden Festival would have delighted her.

Walt Disney, the man who imagined, and then made real, an entire universe synonymous with the young at heart the world over was so enamoured of Marilyn’s effervesence that he insisted the character of Tinkerbell be fashioned after her.  Unlike the exaggerated Barbie doll, Tinkerbell’s proportions are entirely Monroe’s. According to Wikipedia, Disney’s animated version of Tinker Bell is one of the most important branding icons for the The Walt Disney Company, generally known as “a symbol of ‘the Magic of Disney'”.

Marilyn’s greatest and overlooked passion, that of equality and human rights, is finally being explored, thanks to the recollections and gratitude of Ella Fitzgerald. 

Here Bonnie Greer, a playwright and Actors Studio alum talks about her play, MARILYN AND ELLA, which focuses on Marilyn’s support of the Civil Rights Movement

“I owe Marilyn Monroe a real debt,” Ella Fitzgerald would muse. “It was because of her that I played the Mocambo, a very popular nightclub in the ’50s. She personally called the owner of the Mocambo, and told him she wanted me booked immediately, and if he would do it, she would take a front table every night. She told him – and it was true, due to Marilyn’s superstar status – that the press would go wild. The owner said yes, and Marilyn was there, front table, every night. The press went overboard. After that, I never had to play a small jazz club again. She was an unusual woman – a little ahead of her times. And she didn’t know it.”

Jimmy Page and Aleister Crowley: deciphering the mage

I have been accused of being a ‘black magician.’  No more foolish statement was ever made about me. I despise the thing to such an extent that I can hardly believe in the existence of people so debased and idiotic as to practice it. ” – Aleister Crowley

Jimmy Page photo above, taken by Herb Greene, 1968.  Page’s interest in Crowley would be, like Crowley himself, grossly misrepresented and misunderstood.  Perhaps even maligned. 

In the early 1970s, Jimmy Page owned an occult bookshop and publishing house, “The Equinox Booksellers and Publishers” in Kensington High Street, London, eventually closing it as the increasing success of Led Zeppelin resulted in his having insufficient time to devote to it.  In “I’m With The Band,” Pamela Des Barres recalls one of the more interesting aspects of her relationship with Page: scouring Hollywood for rare occult literature to ship back to the Guitar God.

The infamous Boleskin House, (purchased by Page, formerly owned by Aleister Crowley) lies on the edge of Loch Ness in Scotland.  Sections of Page’s fantasy sequence in the film The Song Remains the Same were filmed at night on the mountainside directly behind Boleskine House.

Jimmy Page interview below, from Guitar World January 2008:

(Guitar World) Could we talk a little about the meaning behind your Sequence [in The Song Remains The Same movie]?

(Page) To me, the significance is very clear, isn’t it?

(GW) Well, I find it interesting that you were choosing to represent yourself as a hermit at a time when you were really quite a public figure.

(Page) Well, I was hermetic. I was involved in the hermetic arts, but I wasn’t a recluse. Or maybe I was… The image of the hermit that was used for the [inside cover] art-work on Led Zeppelin IV and in the movie actually has it’s origins in a painting of Christ called The Light of the World by the pre-Raphaelite artist William Holman Hunt. The imagery was later transferred to the Waite tarot deck [the most popular tarot deck in use in the English-speaking world]. My segment was supposed to be the aspirant going to the beacon of truth, which is represented by the hermit and his journey toward it. What I was trying to say through the transformation was that enlightenment can be achieved at any point in time; it just depends on when you want to access it. In other words you can always see the truth, but do you recognize it when you see it or do you have to reflect back on it later?

(GW) There was always a certain amount of speculation about your occult studies. It may have been subtle, but you weren’t really hiding it.

(Page) I was living it. That’s all there is to it. It was my life – that fusion of magick and music.

(GW) Your use of symbols was very advanced. The sigil [symbols of occult powers] on Led Zeppelin IV and the embroidery on your stage clothes from that time period are good examples on how you left your mark on popular culture. It’s something that major corporations are aggressively pursuing these days: using symbols as a form of branding.

(Page) You mean talismanic magick? Yes, I knew what I was doing. There’s no point in saying much about it, because the more you discuss it, the more eccentric you appear to be. But the fact is – as far as I was concerned – it was working, so I used it. But it’s really no different than people who wear ribbons around their wrists: it’s a talismanic approach to something. Well let me amend that: it’s not exactly the same thing, but it is in the same realm. I’ll leave this subject by saying the four musical elements of Led Zeppelin making a fifth is magick into itself. That’s the alchemical process.

Stairway To Heaven: a glorious manifestation of the great work

The Crowley quotes that revolutionized occult thinking for Page and countless other seekers of truth:

“Do what thou wilt shall be the whole of the law.”

“Love is the law.  Love under will.” 

“Every man and every woman is a star.”

Jimmy Page, misunderstood mage.

Sesame Street Fairy Alphabet

Educational and enchanting…

Not just for Witch babies!!!!