POPULARITY
On the night before this episode of Weird Studies was released, a bunch of folks on the Internet performed a collective magickal working. Prompted by the paranormal investigator Greg Newkirk, they watched the final episode of the documentary series Hellier at the same time -- 10:48 PM EST -- in order to see what would happen. Listeners who are familiar with this series, of which Newkirk is both a protagonist and a producer, will recall that the last episode features an elaborate attempt at gate opening involving no less than Pan, the Ancient Greek god of nature. If we weren't so cautious (and humble) in our imaginings, we at Weird Studies might consider the possibility that this episode is a retrocausal effect of that operation. In it, we discuss the show that took the weirdosphere by storm last year, touching on topics such as subterranean humanoids, the existence of "Ascended Masters," Aleister Crowley's secret cipher, the Great God Pan, and the potential dangers of opening gates to other worlds ... or of leaving them closed. REFERENCES Karl Pfeiffer (director), Hellier (https://www.hellier.tv) Philip K. Dick, Valis (https://www.amazon.com/VALIS-Valis-Trilogy-Philip-Dick/dp/0547572417) Weird Studies episode 12 - The Dark Eye: On the Films of Rodney Ascher (https://www.weirdstudies.com/12) John Benson Brooks (https://en.wikipedia.org/wiki/John_Benson_Brooks), American musician Phil Ford, Dig: Sound and Music in Hip Culture (https://www.amazon.com/Dig-Sound-Music-Hip-Culture/dp/0199939918) Thelema (https://en.wikipedia.org/wiki/Thelema) Allen H. Greenfield, [The Complete Secret Cipher of the Ufonauts](https://www.amazon.com/Complete-SECRET-CIPHER-UfOnauts/dp/171864535X/ref=pdsbs14t0/133-7739091-0346850?encoding=UTF8&pdrdi=171864535X&pdrdr=353611af-e47e-4e30-8a57-660b52cf9fcc&pdrdw=4jKmT&pdrdwg=zk2TP&pfrdp=5cfcfe89-300f-47d2-b1ad-a4e27203a02a&pfrdr=6316BW6KREEPKCF1G4T8&psc=1&refRID=6316BW6KREEPKCF1G4T8)_ Secret cipher online tool (https://www.naeq.io/about/) Aleister Crowley, The Book of the Law (https://www.sacred-texts.com/oto/engccxx.htm) Gematria (https://en.wikipedia.org/wiki/Gematria) John Keel, [The Mothman Prophecies](https://en.wikipedia.org/wiki/TheMothmanProphecies) Eric Wargo, [Time Loops: Precognition, Retrocausation, and the Unconscious](https://www.amazon.com/Time-Loops-Precognition-Retrocausation-Unconscious/dp/1938398920/ref=cmcrarpdproducttop?ie=UTF8)_ Grant Morrison, [The Invisibles](https://en.wikipedia.org/wiki/TheInvisibles)_ Genesis P. Orridge (https://en.wikipedia.org/wiki/Genesis_P-Orridge), American artist Alex Reed, [Assimilate: A Critical History of Industrial Music](https://en.wikipedia.org/wiki/Assimilate:ACriticalHistoryofIndustrialMusic) Helena Blavatsky (https://en.wikipedia.org/wiki/Helena_Blavatsky), Russian theosophist Annie Besant (https://en.wikipedia.org/wiki/Annie_Besant), British theosophist Peter J. Carroll (https://en.wikipedia.org/wiki/Peter_J._Carroll), British occultist Kenneth Grant (https://en.wikipedia.org/wiki/Kenneth_Grant), British occultist C. G. Jung, The Red Book (https://www.brainpickings.org/2010/01/20/carl-jung-the-red-book/) Alan Chapman and Duncan Barford, "Chinese Whispers: The Origin of LAM" in The Blood of the Saints (https://archive.org/details/01TheBloodOfTheSaints) Richard Sharpe Shaver (https://en.wikipedia.org/wiki/Richard_Sharpe_Shaver), American writer and contactee James Hillman, [Pan and the Nightmare](https://books.google.ca/books/about/PanandtheNightmare.html?id=OokQAQAAIAAJ&rediresc=y) Occultist Paul Weston's blog post (http://www.paulwestonglastonbury.com/hellier-interview-featuring-allen-greenfield-paul-weston/) on Hellier John Keel, [The Mothman Prophecies](https://en.wikipedia.org/wiki/TheMothmanProphecies) Peter Kingsley, Catafalque (https://peterkingsley.org/product/catafalque/) Eric Voegeln, [The New Science of Politics: An Introduction](https://books.google.ca/books/about/TheNewScienceofPolitics.html?id=kNfBCKFB8WMC&rediresc=y)_ and [Science, Politics, and Gnosticism](https://www.amazon.com/Science-Politics-Gnosticism-Eric-Voegelin/dp/1932236481/ref=sr11?keywords=science+politics+and+gnosticism&qid=1583333002&s=books&sr=1-1) Auguste Comte (https://en.wikipedia.org/wiki/Auguste_Comte), French philosopher Colin Wilson, [The Occult: A History](https://en.wikipedia.org/wiki/TheOccult:AHistory)_
What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer Learn more about your ad choices. Visit megaphone.fm/adchoices
What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer Learn more about your ad choices. Visit megaphone.fm/adchoices
What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer Learn more about your ad choices. Visit megaphone.fm/adchoices
What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer Learn more about your ad choices. Visit megaphone.fm/adchoices
What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer
© 2020-2025 Ivy Podcast Discovery LLC
