An epic performance from Sammy Davis, Jr from the 1969 movie Sweet Charity looks very much like a precursor to Burning Man. He is a preacher, singing about his new church which is sweeping the nation. It contains so many elements that make it look familiar to Burners – art cars, furry sleeveless vests, indulgent principles, a satire on Judeo/Christian religion, acid culture, weed, Pied Piper…is that the Merry Prankster’s FURTHR bus lurking in the shadows? Hit the floor and crawl to Daddy!
At the time he made this, Sammy Davis Jr was in his prime. He was a member of the “Rat Pack” with Shirley Maclaine, Marilyn Monroe, Dean Martin and Frank Sinatra. They were also known as the “Clan” (presumably with a C not a K) or “The Summit”.
In addition, Sammy Davis, Jr just happened to be a celebrity superstar promoter of the Church of Satan – doing for Anton LaVey what Tom Cruise and John Travolta do today for the Church of Scientology. Blonde bombshell actress Jayne Mansfield, the Paris Hilton or Kim Kardashian of her day, was another star Satanist.
Jayne Mansfield takes the “sacrament” from Anton LaVey
Michael Aquino, Sammy Davis Jr, Anton Lavey. Image: VICE
Sammy made a pilot in SF for this 1973 TV series. It was the plot of “It’s a Wonderful Life” in reverse. Image: VICE
As we explored in Shadow History Part 3 – Satan’s Birthday Party, there is almost no philosophical separation between scientism, satanism, and the values of Burning Man. In Part 4 – Occult Rituals of the Cult we show how Burning Man’s own origins are from San Francisco’s occult scene, a nude beach about a block from the Church of Satan HQ, next to the Presidio Psyop Base (Part 2). Right after Burning Man moved to the desert, the Psyop HQ moved down to Moffett Field, home of Google, Yahoo, Lockheed Martin, NASA Ames, the Singularity University, and many other spooky proponents of transhumanism. The World Wide Web then sprang up around it and became the core of Silicon Valley, as we explored in Part 1 – The Shadow History of Silicon Valley.
Larry Harvey called Burning Man “a compelling physical analog for cyberspace”, in a 1997 Macworld “Digital Be-in” talk.
Dancing and Metamorphosis
Another video surfaced this week, which I posted on our Facebook Page. Apparently Walt Disney and Salvador Dali teamed up in 1945 to create a trippy surrealist desert adventure called “Destino”, based on a Mexican folk song.
Once again, we see similarities to Burning Man. Desert, mountains in the distance, cracked playa, bicycles, art cars…we have a lot of themes converging here. Humans merging with gods to create hybrid species; dancing through the wheel of time; dancing and metamorphosis, leading to love. It is dripping with occult symbolism, pyramids, all seeing eyes and so on.
Although Disney and Dalí did collaborate, most of this video was created much later. Still, it looks like Disney and Dalí imagined Burning Man in World War 2…yet another link into the vast occult empire which is Disney Corporation.
Once upon a time the Micky Mouse creator, Walt Disney, worked with the world’s most famous surrealist, Salvador Dali.
Dali was approached by Disney himself in 1945 to propose a collaborative film. Entitled “Destino”, the picture would be based upon a Mexican folk song of the same name, with the music played to accompany a sequence of Dali-designed animation. Destino is a fabled romance between Chronos, the personification of time, and a young mortal woman. The scenes blend a series of surreal paintings of Dali with dancing and metamorphosis.
Walt Disney’s Destino was produced by Dali and John Hench (the Disney artist who did the storyboards) for 8 months between 1945 and 1946. Hench was described as a “ghostly figure” who knew better than Dali the secrets of the Disney film. For some time, the project remained a secret.
But the film was eventually shelved due to WWII-era financial problems at Disney’s company. Dalí described the film as “a magical display of the problem of life in the labyrinth of time” and Disney said it was “a simple story about a young girl in search of true love.”
However, some 54 years later, the development of Fantasia’s long-awaited sequel, Fantasia 2000, inspired Disney’s nephew, Roy, to finally revive the project. A team of French animators were brought on board to produce the six-minute film on the basis of Dali’s notes and storyboards. In 2003, his musical vision was released at long last
What were the “secrets of the film” which Hench knew, but Dalí didn’t? Surely Dalí was the big name in this collaboration?
The work of painter Salvador Dali was to prepare a six-minute sequence combining animation with live dancers and special effects for a movie in the same format of “Fantasia.” The characters are fighting against time, the giant sundial that emerges from the great stone face of Jupiter and that determines the fate of all human novels. Dalí and Hench were creating a new animation technique, the cinematic equivalent of Dali’s “paranoid critique”…inspired by the work of Freud on the subconscious and the inclusion of hidden and double images.
The plot of the film was described by Dalí as “A magical display of the problem of life in the labyrinth of time.”
Walt Disney said it was “A simple story about a young girl in search of true love.”
Seems like all the usual stuff, mass media mind control, as above/so below, hidden images, black magick, the subconscious and the soul…
Dalí’s technique is more formally known as the Paranoid Critical Transformation Method, and is one of his biggest claims to fame.
Of all the Surrealists and their achievements, there is one that stands out above all the others. The Paranoiac Critical method was a sensibility, or way of perceiving reality that was developed by Salvador Dalí. It was defined by Dalí himself as “irrational knowledge” based on a “delirium of interpretation”. More simply put, it was a process by which the artist found new and unique ways to view the world around him. It is the ability of the artist or the viewer to perceive multiple images within the same configuration. The concept can be compared to Max Ernst’s frottage or Leonardo da Vinci’s scribbling and drawings. As a matter of fact, all of us have practiced the Paranoid Critical Method when gazing at stucco on a wall, or clouds in the sky, and seeing different shapes and visages therein. Dalí elevated this uniquely human characteristic into his own art form.
Dalí, though not a true paranoid, was able to simulate a paranoid state, without the use of drugs, and upon his return to ‘normal perspective’ he would paint what he saw and envisioned therein.
Dalí was able to create what he called “hand painted dream photographs” which were physical, painted representations of the hallucinations and images he would see while in his paranoid state. Although he certainly had his own load of mental problems to bear, it can be said that Dalí’s delusions and paranoid hallucinations did not totally dominate his mind, as he was able to convey them to canvas.
Being a painter of miraculous skill, he was capable of reproducing his myriad fantasies and hallucinations as visual illusions on canvas.
It is in this context that one of Dalí’s most famous statements takes on a whole new meaning and understanding.
“The only difference between myself and a madman, is that I am not mad!”
In Dalí’s own words, taken from his Conquest of the Irrational:
“My whole ambition in the pictorial domain is to materialize the images of my concrete irrationality with the most imperialist fury of precision…”
He then goes on to say:
“Paranoiac-critical activity organizes and objectivizes in an exclusivist manner the limitless and unknown possibilities of the systematic association of subjective and objective ‘significance’ in the irrational…”
“..it makes the world of delirium pass onto the plane of reality”
Dalí was hallucinating, but without drugs. This is certainly possible – the psychiatric justification for the development of LSD and other suggestogens was to “mimic psychosis”. The name “psycheto-mimetics” was discarded as not marketable by Humprhey Osmond and Marshall McLuhan – the Madison Avenue PR guru who also came up with Timothy Leary’s famous “Tune In. Turn On. Drop Out” tagline (though Leary also claimed he came up with it in the shower after meeting McLuhan)
It’s also quite possible that Dalí was tripping on something and just didn’t promote it in media interviews.
Here’s the video set to Pink Floyd’s classic “Time” from Dark Side of the Moon:
Transformation and the Projects
The word “Transformation” sure seems to come up a lot in looking at this Presidio/Esalen/Disney/Stanford/Burning Man cluster. This week I discovered that Dr Michael Aquino’s MindWar concept was heavily influenced by Esalen’s Transformation Project think tank.
Burning Man director Chip Conley, whose ambition is to leverage massive amounts of exclusive Burning Man content to make Fest300 the Expedia of festivals, is a trustee of the Esalen Institute. Burning Man holds their corporate retreats there, and it appears to be the model for their Fly Ranch philosophy center plans. Esalen is the occult research base of DARPA. Aquino says they had better stuff than even the CIA or DIA:
Whose project was this in 1996, before Helco?
Of course, there are other occult pop-culture influences on Burning Man, which we have covered over the years.
The Wicker Man (1973)
The Twilight Zone – The Burning Man
The Legend of Billy Jean starring Peter Coyote (Pat Benatar’s Invincible was the theme song)
Pink Floyd: Wish You Were Here
“The Burning Man”, by Storm Thorgeson (1976)