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Starring the articles of the awesome Truth-Seeking Pokemon Journalist; Sodayo!!!! more specifically, one about his battles against the mighty Kyogre and Groudon !!!!(which give me an opportunity to finally use these old pages!!)
Count on me to share the release of the Monthly Occulture Mag every ..well..month!! with a focus on Sodayo’s articles… only natural as his partner in research!
On August 6, 1981, I visited Burroughs in New York. He lived in a basement affectionately nicknamed “The Bunker.” He showed me a book by paranormal investigator Konstantin Raudive that documented hundreds of “recordings” of supposed voices of the dead. His method was unusual but simple: attaching a crystal receiver to a tape recorder where a microphone would normally be plugged in. Raudive found that within a wall of white noise and hissing, one could hear various intelligible phrases and messages that he believed came from dimensions associated with death.
El 6 de agosto de 1981, visité a Burroughs en Nueva York. Vivía en un sótano un cariñosamente apodado como “El Búnker”. Me enseñó un libro del investigador paranormal Konstantin Raudive que documentaba cientos de “grabaciones” de supuestas voces de los muertos. Su método era inusual pero sencillo: conectar un receptor de cristal a una grabadora en el lugar donde se conectaría un micrófono. Raudive encontró que dentro de un muro de ruido blanco y siseo se podían escuchar varias frases y mensajes inteligibles que él creía provenían de dimensiones asociadas con la muerte.
We placed an old tape recorder on the kitchen table and pressed record. After half an hour, we played back the “results,” carefully noting every single sonic detail, like good, objective laboratory researchers. Final report from The Bunker? Nothing! We only got the expected noise and sounds! Sometimes events seem unrepeatable. In terms of this text, the significant point is that Burroughs genuinely believed in the possibility of communicating with the soul after physical death.
Colocamos una vieja grabadora en la mesa de la cocina y presionamos grabar. Tras media hora, reproducimos los “resultados” tomando nota cuidadosamente del más mínimo detalle sonoro como buenos investigadores objetivos de laboratorio objetivos. ¿Informe final desde el Búnker? ¡Nada! ¡solo obtuvimos el ruido y sonidos esperados!. A veces los eventos parecen irrepetibles. En términos de este texto, lo significativo es que Burroughs realmente creía en la posibilidad de la comunicación con el alma tras la muerte física.
During 1985, Psychic TV was recording a song about the late Rolling Stones founder, Brian Jones, called "Godstar." Still fascinated by Raudive's book and Burroughs' exploration of his technique as a magical tool, I impulsively told my co-producer to leave track twenty-three of the twenty-four-track analog tape blank. After recording all the elements of the song in the traditional multitrack way, I instructed him to play back the master tape with all tracks muted except for twenty-three. This track was to be recorded, but without any microphones or receivers connected. When we played back track twenty-three, we heard a metallic tapping sound at certain points! We played the song back; it was definitely there, appearing during our Raudive/Burroughs experiment—but it seemed random and wasn't a "voice." Suddenly, I had an idea: play the song with the vocals from the lyrics and some basic musical elements added to the mix. The drumbeats landed with incredible precision under a sequence of words in the exact same phrase and position as the following: "I wish I was with you now, I wish I could somehow tell you…" (I would later change the lyrics to "I wish I could somehow save you.")
Durante 1985, Psychic TV estaba grabando una canción sobre el fundador fallecido de los Rolling Stones, Brian Jones, llamada "Godstar". Aún fascinado por el libro de Raudive y la exploración de Burroughs de su técnica como herramienta mágica, le dije por impulso a mi coproductor que dejara vacía la pista veintitrés de la cinta analógica de veinticuatro. Después de grabar todos los elementos de la canción de la forma tradicional multipista, le indicé que volviera a reproducir la cinta maestra con todas las pistas silenciadas excepto la veintitrés. Esta pista iba a estar grabada, pero sin ningún tipo de micrófono ni receptor conectado. Cuando reproducimos la veintitrés, ¡oímos un golpeteo metálico en algunos momentos! Volvimos a reproducir la canción; definitivamente estaba ahí, aparecido durante nuestro experimento Raudive/Burroughs—pero parecía aleatorio y no era una "voz". De repente, tuve una idea: reproducir la canción con las voces de la letra y algunos elementos básicos de la música añadidos en la mezcla. Los golpes llegaban con mucha precisión bajo una secuencia de palabras en la misma frase y posición exactas que lo siguiente: "Ojalá estuviera contigo ahora, ojalá pudiera decírtelo de alguna manera…" (Más tarde cambiaría la letra a "Ojalá pudiera salvarte de alguna manera.")
I took this as a sign of approval for the song and its message: that Brian Jones was murdered and treated callously by the media. For me and many other fans, he was a scapegoat in an essentially magical and sacred way. Sacrificed for the ignorance and greed of the consumerist and materialistic machine. It should be noted that at the time, the consensus opinion and the official coroner's verdict was "accidental death," with many media outlets suggesting that he had drowned during an asthma attack or that he was so drugged that, despite being an athletic swimmer, he drowned right in front of his girlfriend and their guests. Our "magical" message tended to imply that there was more to the story, and eventually, during the 1990s, a builder Jones had hired, Frank Thorogood, confessed on his deathbed to murdering him by holding him underwater. Believe what you want, but it seems to me that we can contact other dimensions with simple recording methods.
Tomé esto como una señal de aprobación de la canción y su mensaje: que Brian Jones fue asesinado y recibió un trato insensible por parte de los medios. Para mí y para muchos otros fans fue un chivo expiatorio de manera esencialmente mágica y sagrada. Sacrificado por la ignorancia y la codicia de la máquina consumista y materialista. Hay que señalar que en ese momento la opinión consensuada y el veredicto oficial del forense era “muerte por accidente”, con muchos medios insinuando que se había ahogado durante un ataque de asma o que estaba tan drogado que, a pesar de ser un nadador atlético, se ahogó justo frente a su novia actual y a sus invitados. Nuestro mensaje “mágico” tendía a implicar que había más en la historia y, eventualmente, durante la década de 1990, un constructor que Jones había contratado, Frank Thorogood, confesó en su lecho de muerte haberlo asesinado manteniéndolo bajo el agua. Lo que elijas creer tú, pero a mi me parece que podemos contactar con otras dimensiones con simples métodos de grabación.
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“Drugs have a long history of use in magic in various cultures, and usually in the context of either ecstatic communal rituals or in personal vision quests. However compared to people in simple pastoral tribal situations most people in developed countries now live in a perpetual state of mental hyperactivity with overactive imaginations anyway, so throwing drugs in on top of this usually just leads to confusion and a further loss of focus.
Plus as the real Shamans say, if you really do succeed in opening a door with a drug it will thereafter open at will and most such substances give all they will ever give on the first attempt.”
—Peter J. Carroll, The Octavo: A Sorcerer-Scientist's Grimoire
Jessica Lange as the personification of Death in All That Jazz (1979). She represents a kind, soft portrayal of Death. One that lures you in with her sweetness and her charm. A sweet kind of seduction to the other side.
It’s been so long! So i made a monster from my country, a pretty gargoyle! I didn’t know it before but gargoyles are actually on cathedrals to repel evil so thank you to them! 🖤