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Aleister Crowley - Wikiquote

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Serendipity Serendipity has a light, airy feel, located in the same space as the legendary Second Story. The stage is at one end, the bar at right angles to it, with a dance area the length of the club. As advertised, Serendipity is a martini bar — with a peculiar twist of also featuring PBR on tap.

Blockhouse The Blockhouse is a somewhat hidden gem nestled in the same cluster that includes Serendipity and The Back Door. It does not have the capacity to generally handle big name acts, though regional one and smaller national acts do pass through. Another underground venue, it is located in the basement of a house on South Walnut Street. Cover charges are modest, and this is the only place where you can get food, really good food, late into the evening.

The red beans and rice are highly recommended. The dance floor is open and inviting, and for those taking a break, there is also easy access to the sidewalk patio which is taken full advantage of in the summer. Players Pub draws a steady, but not packed, crowd, and its schedule is consistent — dance music every Friday night starting at DJs usually bring a light show and maybe fog machines, and the dance crowd seems to be easier than average to accommodate making new friends.

A disco ball provides the shimmering light. The Back Door is also one of the more consistent hosts for dance music, featuring it every Friday and Saturday night. There is a cover, but it is modest. Recess What to say about Recess? A spate of bad publicity over questionable marketing slogans was climaxed by a public rebuke by Bloomington mayor John Hamilton. Its proximity close to campus and the fraternities and sororities on Third Street naturally make it a big favorite of the college crowd.

How often do you offer entertainment that can be considered electronic or Electronic Dance Music? Weekly, Fridays at Three to six times a month, sometimes more, sometimes less depending on who is looking for gigs and how recently others have played. For the current semester, about three times a month, counting both local and national acts. How do you feel this entertainment is received by your customers?

Are they enthusiastic, do they dance a lot? How is your attendance? What can you say about your customers interaction with these types of acts? I can tell you that, regardless of the genre, dance music is and has always been at the center of queer culture and specifically queer night life — we dance to celebrate, we dance to mourn, we dance to protest, we dance to rage, we dance to escape.

This is a new audience for us. They do dance a lot. There are a lot of positive reaction from the public and customers for this style of music.

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Most who come for EDM nights are very enthusiastic and spend as much time dancing as their bodies will let them. Generally our attendance is outstanding, even on nights that would normally be slower or even nights when there is a lot of competition from other clubs doing similar events.

Attendance is performer dependent. Promotion is critical to attendance. The underlying principle as to what the Bluebird is morphs over time. Some things are the same but the music genres change. I want the Bluebird to be the place that everyone wants to experience. Interaction with the audience is great with our EDM acts.

We would still like to take it up another level, but there can be a lot of production involved, since some national acts literally fly in with only a suitcase for their setup, and we have to arrange the rest, like the light show.

There is a huge difference in the styles of EDM even within the genre. We welcome good people and good music. And the EDM community is a welcome one. EDM can be polarizing, kind of like country music. No, everyone works for the door. We offer all performers more or less the same rates.

When this happens we do see pull of different crowds where some of our performers are solo and not only have to push through with a longer endurance, but also have to try to pull from all crowds by their lonesome. No, EDM does not offer a cost advantage to us. The biggest difference is that EDM or live electronic acts are usually only one or two performers.

But what has changed is this — it used to be that rock acts, of several performers, traveled a circuit of about three hundred miles radius. And they play four or five nights in a row.

For EDM, the national acts travel nationally, and may fly in from two thousand miles or more, and only for one night.

So the expenses can be greater. Continue to grow our weekly gig. I see it being a regular in our rotation of entertainment. As the scene grows more and more great DJs keep popping up.

Eighteen months ago, I was having a trouble filling my calendar and now I have trouble making room for everybody David James: EDM and Electronic will be around for years to come!

It is relatively new compared to other types of music. Certainly through the spring semester. No favorites quite yet. Attendance is a consequence of more than contact via social media. The best is when a friend tells another friend.

As with any new technology, these early units were quite expensive, and so their use was restricted to only film producers and big name rock acts who could carry the cash to buy them.

This trend was made by the confluence of four tendencies, two technological, one sociocultural, and one that can only be thought of as a completely fortuitous accident. The first technological breakthrough was the advent of the microprocessor. It is no coincidence that the affordability of electronic synthesizers occurred at the same time as the introduction of the personal computer.

Therunning at 4. Just as the microprocessor was to make computing available to the masses, so would it do so for making electronic synthesizer music available to musicians, driving down the prices tremendously. The MIDI interface allows practitioners to interconnect all kinds of electronic equipment, synths, drum machines, samplers, effects units, drum machines, even light shows — the list goes on and on.

The third significant influence is sociocultural. This created some breathing room for electronic experimentation that had not existed before. These were explicitly but ineffectively marketed to rock guitarists, to provide a rhythm section for them to practice with alone. It was not long before this was recognized as a complete commercial failure. And neither did the mechanical sounding electronic bass of the TB sound like a real electric bass guitar.

This was to have wholly unintended and unforeseen consequences. From a article in Wired magazine: Jones, who was beginning to DJ under the name Pierre, played with a row of knobs — Resonance, Decay, and Cut Off Freq — for adjusting the bassline; the controls were meant to be set, then left alone during recording or rehearsal.

But Pierre programmed a bassline, hit the Run button, then cranked each of the knobs to its upper limit as the bassline was playing back. The reacted with a piercing, almost obscene screech. We just knew it sounded weird and energetic and funky. We played it, and by the third time people were going crazy. In no time at all, electronic and dance music trailblazers in Chicago and Detroit were picking up these boxes at the pawn shops for pennies on the dollar, as they began the popularization of this wholly new type of music.

They found a music fanbase who reveled in the sheer artificiality of those sounds! Today, those same boxes sell on ebay for as much as ten times their original dollars. Roland ceased production of the TB many years ago. But its recognizable squeaky squawky sound lives on in many, many hardware emulations and sampled sounds.

Other firms such as Cyclone Analogic, Abstrakt Instruments, Analogue Solutions, and x0xb0x manufacture clones, and how well they replicate the sound of the original Roland TB is a subject of endless debate in facebook synthesizer group forums. As far as drum machines go, Roland at about the same time extended upon the TR by releasing the TR which was a big improvement with its multiple audio outputs for the different drums, and the TR, which was the first drum machine to implement MIDI.

These four machines were pivotal to the evolution of disco into the multiple electronic genres of dance music. And their sounds carry on through today. In fact, there are those music critics who contend that the manufacturer and model of music hardware used is essentially indicative of the genre of electronic music being produced.

The Early Bloomington Experimental and Electronic Scene Bloomington has a heritage of experimental music going back nearly forever.

Self-proclaimed fans of musical anarchist Captain Beefheart and Frank Zappa, they were alternately characterized as art dada, proto punk, or perhaps most accurately of all, acid punk.

Their music was so out of the mainstream rock at the time that no music club in town would book them, and they faced the ignominy of performing multiple times only at the auditorium of the Monroe County Public Library. Thus locally unappreciated if not downright scorned for their ahead-of-their-time sound their dual drummers presaged the multiple drum machines now prevalent in dance musicthey headed out to greener pastures in San Francisco, where they hooked up with kindred spirits Tuxedomoon and The Residents, both of whom are still actively making music today.

A copy of Dr. Pascal was in the room.

The word " Zola " caught my mother's eye and she made a verbal assault of hysterical fury upon her hostess. Both women shouted and screamed at each other simultaneously, amid floods of tears. Needless to say, my mother had never read a line of Zola — the name was simply a red rag to a cow.

Aleister Crowley

This inconsistency, by the way, seems universal. I have known a printer object to set up "We gave them hell and Tommy", while passing unquestioned all sorts of things to which exception could quite reasonably be taken by narrow-minden imbeciles. The censor habitually passes what I, who am no puritan, consider nauseating filth, while refusing to license Oedipus Rexwhich we are compelled to assimilate at school.

The salacious musical comedy goes its libidinous way rejoicing, while Ibsen and Bernard Shaw are on the black list. The fact is, of course, that the puritan has been turned by sexual repression into a sexual pervert and degenerate, so that he is insane on the subject. As long as sexual relations are complicated by religious, social and financial considerations, so long will they cause all kinds of cowardly, dishonourable and disgusting behaviour.

When war conditions imposed artificial restraint on the sister appetite of hunger, decent citizens began to develop all kinds of loathsome trickery. Men and women will never behave worthily as long as current morality interferes with the legitimate satisfaction of physiological needs. Nature always avenges herself on those who insult her. The individual is not to blame for the crime and insanity which are the explosions consequent on the clogging of the safety valve.

The fault lies with the engineer. At the present moment, society is blowing up in larger or smaller spots all over the world, because it has failed to develop a system by which all its members can be adequately nourished without conflict and the waste products eliminated without discomfort. The conscience of the world is so guilty that it always assumes that people who investigate heresies must be heretics; just as if a doctor who studies leprosy must be a leper.

Indeed, it is only recently that science has been allowed to study anything without reproach. To read a newspaper is to refrain from reading something worth while. The natural laziness of the mind tempts one to eschew authors who demand a continuous effort of intelligence. The first discipline of education must therefore be to refuse resolutely to feed the mind with canned chatter.

People tell me that they must read the papers so as to know what is going on. In the first place, they could hardly find a worse guide. Most of what is printed turns out to be false, sooner or later.

Even when there is no deliberate deception, the account must, from the nature of the case, be presented without adequate reflection and must seem to possess an importance which time shows to be absurdly exaggerated; or vice versa. The pious pretence that evil does not exist only makes it vague, enormous and menacing. Its overshadowing formlessness obsesses the mind. The way to beat an enemy is to define him clearly, to analyse and measure him. Once an idea is intelligently grasped, it ceases to threaten the mind with the terrors of the unknown.

Destiny is an absolutely definite and inexorable ruler. Physical ability and moral determination count for nothing. It is impossible to perform the simplest act when the gods say "No. One may be wholeheartedly eager to do something which is as easy as falling off a log; and yet it is impossible.

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Falsehood is invariably the child of fear in one form or another. I embrace hardship and privation with ecstatic delight; I want everything the world holds; I would go to prison or to the scaffold for the sake of the experience. I have never grown out of the infantile belief that the universe was made for me to suck.

I grow delirious to contemplate the delicious horrors that are certain to happen to me. This is the keynote of my life, the untrammeled delight in every possibility of existence, potential or actual.

Modern morality and manners suppress all natural instincts, keep people ignorant of the facts of nature and make them fighting drunk on bogey tales. The subject does not matter. Any idea which gives them an excuse of getting excited will serve. They look for a victim to chivy, and howl him down, and finally lynch him in a sheer storm of sexual frenzy which they honestly imagine to be moral indignation, patriotic passion or some equally avowable emotion.

It may be an innocent Negro, a Jew like Leo Franka harmless half-witted German; a Christ-like idealist of the type of Debsan enthusiastic reformer like Emma Goldman or even a doctor whose views displease the Medial Trust.

I admit that my visions can never mean to other men as much as they do to me. I do not regret this. All I ask is that my results should convince seekers after truth that there is beyond doubt something worth while seeking, attainable by methods more or less like mine.

As soon as you put men together, they somehow sink, corporatively, below the level of the worst of the individuals composing it. The customer is usually wrong; but statistics indicate that it doesn't pay to tell him so. Collect scholars on a club committee, or men of science on a jury; all their virtues vanish, and their vices pop out, reinforced by the self-confidence which the power of numbers is bound to bestow.

How right politicians are to look upon their constituents as cattle! Anyone who has any experience of dealing with any class as such knows the futility of appealing to intelligence, indeed to any other qualities than those of brutes. Youth's intensity, its craving, the soul-priapism, huge lust and fierce to her, clamour for her to realize with me that mightiest marriage-dream, that Sacrament of Satan that may be consummated only beneath Night's dome, in utmost silence, because its Elements are not symbols of things, but They themselves.

This is the Beast throned, crowned, exalted; the leaper, the erect, the butter-in. Her womb is my city, Babel. Come, thou Devil Our Lord! O my father the Devil! It hath made all things one, being perfect, even as doth the Darkness! This has been attributed to Crowley on the internet, but without citation.

No incidents of it in Crowley's works have as yet been located. Knowledge is power and knowledge shared is power lost. This was quoted as an "occult tradition" in Fundamentals of Experimental Psychology by Charles Lawrence Sheridan, p. Quotes about Crowley[ edit ] In one sense, Aleister Crowley is lower than whale shit. In another, he's as high as God 's hat. The true shaman knows that God's hat is made out of dried whale shit.

I think there is too much darkness in magic.