#tsptr

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“Everyone there had at one time or another been into Satanism, or, like myself, had dabbled around the edges for sexual kicks” Sammy Davis Jr, 1980, referring to the victims of the Manson Family murders Sammy’s sublime ‘Yes, I Can” catchphrase was a pledge that genuinely meant something. It represented Davis’ refusal to recognize barriers, be they Jim Crow policies, societal norms, or even Satan worship. From clichéd descents into drug addiction to rebellious embraces of Republican politicians, Davis took everything to an obsessive extreme Sammy’s relationship with Satan began during a 1968 visit to the Factory, an LA nightclub he partially owned. He was invited to the party by a group of young actors sporting red fingernails, signifying their allegiance to the Church of Satan. Founded in 1966 by Anton LaVey, the San Francisco-based ministry combined LaVey’s interests in ancient paganism, a media-savvy flair for publicity, and a philosophy of indulgence When Sammy arrived at the party (whose theme he summarized as “dungeons and dragons and debauchery”), all attendees were wearing hoods or masks. The centerpiece of the “coven” was a naked woman chained spread-eagle on a red-velvet-covered alter. Davis was confident though that human sacrifice was not on the menu that evening. “That chick was happy,” he later wrote Not all the Satanists at that orgy would be so lucky. As Sammy was getting stoned and serviced, one of the ritual’s leaders tilted back his hood, revealing himself as Jay Sebring, the famed celebrity hairdresser. Sebring was Hollywood’s all-time greatest hetero hairstylist, a member of the Laurel Canyon elite responsible for Jim Morrison’s hairdo, he also helped get Bruce Lee on TV, and most interestingly was at one point engaged to actress Sharon Tate During the Manson Family’s infamous 1969 massacre, Sebring would be bound to Tate, shot, then stabbed seven times. The bio on the website for Sebring International (his still-active haircare company) fails to mention his Satanism, though until recently the company’s logo was an ankh, a symbol frequently used by occultists #tsptr #sammydavisjr #counterculture #churchofsatan #manson https://www.instagram.com/p/ClgwKLQs1HJHDZwekxoRP6UMhykwW3Q_JVtdRQ0/?igshid=NGJjMDIxMWI=

You like TSPTR? No? Be a lot cooler if you did 🤙🏼 #fw17 #tsptr #allrightallrightallright (at Lost & Found)

Owsley Stanley is widely noted in pop culture as being the premier LSD chemist of the hippie era and ‘financial backer and sound engineer’ of the Grateful Dead. It was Owsley who flooded the streets of San Francisco and Laurel Canyon with consistently premium quality yet inexpensive and readily available acid. Most accounts say he gave away more product than he sold in a purely altruistic desire to ‘turn on’ the world. His provocative background and family history suggest those intentions may not have been so altruistic Son of a US Navy officer and later government attorney, he was raised in Arlington, Virginia, home of the Pentagon, and attended a prestigious military academy in Maryland. His grandfather was a State Senator and his, in turn, a judge advocate in the Confederate Army. Owsley joined the USAF in 1956, working in radio intelligence and radar but upon leaving the Airforce moved to LA and began working at the NASA Jet Propulsion Lab (former home of Jack Parsons, genius rocket scientist and initiate of Aleister Crowleys OTO occult religion) In 1963 he moved to Berkeley, which coincidentally was ground zero of the budding anti war movement at the time. Owsley soon began cooking up Meth and LSD in a bathroom lab near the university campus. Soon Berkley was awash was speed and acid. State narcotics agents raided the lab in 1965, yet Owsley walked away from the raid uncharged and surprisingly was allowed to retain his equipment It's estimated he produced some 4 million tabs of nearly pure LSD during the mid 60s. Immediately after the raid Owsley and the Grateful Dead moved to the Watts area of LA to ostensibly conduct what was described as 'acid tests’. Owsley rented a house next door to a brothel, curiously paralleling the MO of the CIA MK Ultra project. Just a few months after they left Watts would explode in violence In 1967 Owsley unleashed STP on the San Fran Haight scene. A particular nasty hallucinogen, STP was developed at DOW Chemical, but had originally been tested as a possible biowarfare agent at a base near Frank Zappa’s former home, the Edgewood Arsenal #tsptr #gratefuldead #lsd #counterculture #owsleystanley https://www.instagram.com/p/CleBkRaMeFkuvxY3wcnAk5e18tGg5UmMlBW2T40/?igshid=NGJjMDIxMWI=

“I know you’ve come to kill me. Shoot, you are only going to kill a man.” These were Ernesto ‘Che’ Guevara’s last words to Bolivian Army Sgt. Jaime Terán, in October 1967. Guevara had been ambushed and captured by CIA led Bolivian army forces. Félix Rodríguez, a Cuban American CIA operative posing as a Bolivian military officer, would find Guevara covered in dirt inside a disused schoolhouse the next day. His hair was matted, his clothes were torn and filthy, and his arms and feet were bound. Fearing the exposure of a public trial, the CIA ordered that Guevara be executed Guevara’s body was first hid, then flown to nearby Vallegrande where his body was put on display for journalists and the media, he was then buried in an anonymous grave, then disinterred, then burnt after his fingers were cut off for later identification by the US government. Photographs were taken, showing a figure described by some as “Christ-like” lying on a concrete sink in the laundry room of the Nuestra Señora de Malta hospital. The above iconic shot was taken by Freddy Alborta. The photo was intended to de-martyr Guevara and demonstrate he was just man. Yet by virtue of this very purpose he was transcended to a higher symbolism. English art critic John Berger keenly observed that the photo resembled Andrea Mantegna's 1480 painting ‘Lamentation over the Dead Christ’. Berger noted the image of the corpse and surrounding people had startling similarities to paintings by both Rembrandt and Mantegna. All three images were ‘intended to make an example of the dead’. Medical in Rembrandt’s case, religious in Mantegna’s and political in Guevara’s. Berger argues that the authorities feared Guevara’s reputation in death as much as in life. The exhibition of his body showed their need to prove beyond doubt that the man was dead. The juxtaposition of the famous painting by Mantegna with the crude photograph of Che Guevara captured and killed, has an inherent power of expression as well as both religious and cultural symbolism. Something that no doubt helped to elevate both subjects into ultimate iconography. #tsptr #cheguevara #revolutionary #cuba #bolivia #mantegna #jesuschristo https://www.instagram.com/p/CUsa8kfstRFFzbWSWg7L-SARnVuRGU7IKzHjLQ0/?utm_medium=tumblr