#nick bougas

[fitsofgloom]

Church of Satan founder Anton Lavey with Jayne Mansfield's novelty water bottle. Mansfield and Lavey were pilloried for mutually baiting the tabloid press, but they did seem to be real friends beyond all the ballyhoo. Lavey was bequeathed Mansfield's taxidermied chihuahuas (!) that perished along with her in her fatal crash, and she claimed that he helped mystically heal her young son after he was mauled by a lion (!!).

[leviathan-supersystem]

why dont you like the church of satan? im not a satan simp i promise i'm just genuinely curious because idk anything about them

i'm glad you asked! during my debate with the CoS simps on twitter i dug up a bunch of evidence of the Church of Satan's right-wing leanings, which was wasted on those losers because obviously they're not going to concede anything ever, but i'm glad to have a more receptive audience here.

so, to start with, the most well-known pieces of evidence relating to this are A: Anton Lavey said at one point that the CoS gives people "Ayn Rand with trappings" and B: there's a segment in the satanic bible called "the book of satan" which is outright copied from the proto-fascist philosophical tract "Might is Right", written by Ragnar Redbeard.

now, apparently CoS simps have taken it upon themselves to go around bothering anyone who brings this up, arguing that Anton Lavey only said that thing about Ayn Rand once so it probably doesn't mean anything (i am skeptical that he did only say this once but i haven't been able to find smoking gun evidence of him saying it other times) and the parts which copy from Ragnar Redbeard directly are only a few pages out of the satanic bible so, again, it probably doesn't mean anything. (ignoring that the influence of "Might it Right" is woven throughout the entirety of Anton's work, hardly limited to the direct quotes.)

so, to prepare my readers for if they get hassled by some CoS loser for stating the obviously correct fact that the CoS is right-wing, here's some more evidence to that effect, under a cut because i am merciful and this is going to get very long and very ugly.

here's Boyd Rice, then a major figure in the Church of Satan, saying that the principle of satanism is "let the master be the master and the slave be the slave, and never the two shall meet." this was in the documentary "Speak of the Devil", created by Nick Bougas, also a prominent figure in the CoS at the time. Nick Bougas is more well known by his nom de plume "A Wyatt Mann", aka the guy who drew those old nazi comics that became memes ("le happy merchant" etc).

here's some quotes from the official website of the CoS:

Satanists see the social structure of humanity as being stratified, thus each person reaches a level commensurate with the development (or lack thereof) of their natural talents. The principle of the survival of the strong is advocated on all levels of society, from allowing an individual to stand or fall, to even letting those nations that cannot handle themselves take the consequences of this inability. Any assistance on all levels will be on a “quid pro quo” basis. There would be a concommitant reduction in the world’s population as the weak are allowed to experience the consequences of social Darwinism. Thus has nature always acted to cleanse and strengthen her children. This is harsh, but that is the way of the world. We embrace reality and do not try to transform it into some utopia that is contrary to the very fabric of existence. Practical application of this doctrine would see the complete cessation of the welfare system, an end to no-strings attached foreign aid and new programs to award and encourage gifted individuals in all fields to pursue personal excellence. A meritocracy will replace the practice of such injustices as affirmative action and other programs designed to punish the able and reward the undeserving.

Satanists also seek to enhance the laws of nature by concentrating on fostering the practice of eugenics.

but if you REALLY want to get into the ugly shit that the CoS has been promoting, here's some excerpts from the magazine "The Black Flame", which the CoS published throughout the late 80's and through the 90's:

^that last one's from an interview with Lavey himself

and to bring things back around, here's another interview with Boyd Rice:

on the whole, while the CoS may present itself as an opponent of right-wing christianity, it's ultimately just controlled opposition, pushing largely the same right-wing agenda that the christian right was. it's funny that people never seemed to ask why christian conservatives like Bob Larson were always spending time interviewing, or being interviewed by, the Church of Satan if they were supposedly such mortal enemies.

[videoreligion]

Speak of the Devil: The Canon of Anton LaVey (1995)

[fallschirmjager]

The 8-8-88 Rally. L2R- Zeena LaVey, Adam Parfrey, Boyd Rice, Felina Byron, Evil Wilhelm and Nick Bougas

[queersatanic]

New here, and I was wondering what's your opinion on The Church Of Satan?

The Church of Satan these days doesn't do a whole lot, and they even lost their stranglehold on the niche of "reporters ask Satanists to comment on ridiculous thing" to The Satanic Temple in the past couple of years, although they're still around for that.

But I'm positive they don't care what we think.

To them, we're not even Satanists because there is no damnation outside the Unholy Poughkeepsie Satanic Church, or whatever their version of that is. Which is totally fine. They get to have that opinion, it just becomes increasingly untenable or becomes increasingly reliant on a less useful definition as time goes on.

Undeniably, Anton LaVey is incredibly important as a historical figure to Satanism. He is the root that all modern Satanism grows out of, directly or indirectly, and the aesthetics he pulled together continue to be what defines Satanism to this day. We remain largely defined by our "opposite day" approach to Christianity, inverted cross and all.

You can't be a Satanist and ignore it; even if you don't want to go along with it, you have to be aware of the influence.

But we'd argue that it makes sense to talk specifically of "LaVeyan Satanism" when you are because the guy actually wrote quite a bit after The Satanic Bible, and that's some weird shit, man. Which most people don't know about or even pretend to go along with.

And you'd think that being Satanists, we'd be entirely willing to discard a guy that was as much of a reactionary douchebag and ultimately boring crank as LaVey, but the problem with The Church of Satan as an actual organization is that it needs people to like LaVey, to want to buy the books from which they still collect royalties, and to want to buy lifetime membership cards. They're perversely incentivized to elevate him as though he were someone of philosophical or artistic note, as well.

You'd like to see a bit more public self-crit going on, but those bills aren't going to pay themselves.

But, this isn't a secret, and I think folks understand that they're supporting the Church of Satan's continued existence whenever they buy their stuff.

More problematic is that they've continued to profess that "Satanism has nothing to do with politics" which is itself a political statement, and LaVey's friendliness with literal fucking Nazis like Nick Bougas is a political act. In the same way, continuing to say "you can be a Maoist or a fascist Satanist" is political because they don't say, "You can be a gerontophile Satanist or a pedophile Satanist." Some extremes are not actually morally equivalent, and understandably, you can't be welcome to both pedophiles and their potential victims. But they still seem think you can be welcome to fascists and those they want to eradicate, hence its continued attractiveness to only certain people.

Now, I've heard tell the Church of Satan has gotten better at kicking transphobes to the curb, which if true, would be good. They just would need to extend that to more things, and I think their overwhelming whiteness prevents them from seeing all of the inherently political stances they continue to make in the name of being apolitical (e.g. "we're a law and order" philosophy").

Salvaging Might Is Right from the dustbin of history by cribbing so much from it and elevating it afterward was incredibly harmful in its impact, and a ton of Satanists have gravitated toward fascism over the years because the superstructure of LaVey's individualism is still that protofascist, antisemitic, misogynistic, white supremacist, anti-egalitarian screed by a New Zealand doggerel writer.

But their heydays are in the past, and once Grand Nagus Peter Gilmore retires/expires, I don't think it's obvious where they go next.

In contrast, any given Church of Satan member or LaVeyan Satanist in particular you meet could be a really good dude, but it will probably be a dude and almost certainly a white one. So if you're part of any sort of marginalized community, you're not wrong to count that as a strike against them, just like if someone lets you know early, "I'm a libertarian." Then you let your guard down as its proved they're not that kind of LaVeyan Satanist.

[blakelywintersfield]

What do you think of Joyofsatan.org? They claim to follow the Sumerian God Enki-Satan, they’re pro-choice, they follow gay Pagan Gods and they’re the largest Satanist group in the world

Yeah, the organization sounds nice on a surface level, but they hold many antisemitic beliefs and have connections to the National Socialist Movement; regardless of what they preach on a surface level, many of their members are full-blown neo-Nazis.

Though even before any of this information came out, the fact that their founder used LaVeyan Satanism as a base for this religious organization is a massive red flag, considering LaVey was highly antisemitic -- he was good friends with Nick Bougas, aka A. Wyatt Mann, who drew the widely known and disgustingly racist caricature of Jewish people, "The Happy Merchant". These aggressively antisemitic beliefs permeate through all forms of LaVey Satanism, including offshoots founded by others, and unfortunately, JoS is no exception.

[kontextmaschine]

Hey what's the Bacon Number between Art Spiegelman and Nick "A. Wyatt Mann" Bougas? They gotta have some sort of 80s underground comix culture link.

[flintenweib]

bruh I didnt know til now that Nick Bougas who directed the Death Scene movies starring Anton LaVey is also known under his alias A. Wyatt Mann, that walking abortion who is responsible for antisemitic caricatures like The Happy Merchant

[warmheartworm]

Just kinda of blew my own mind learning that all existing footage of Goddess Bunny was shot by Nick Bougas aka A Wyatt Mann i.e. the guy who drew The Happy Merchant :/

[kovasybols]

82) The Happy Merchant (Wesoły kupiec), Jew Face, Merchant Face, Le Happy Merchant - “Happy Merchant” to antysemicki mem przedstawiający rysunek Żyda o mocno stereotypowych rysach twarzy, który chciwie zaciera ręce. Mem jest zdecydowanie najpopularniejszym memem antysemickim wśród zwolenników białej supremacji, którzy stworzyli niemal niekończącą się serię obrazów i wariantów przedstawiających „Szczęśliwego Kupca”. Mem powstał z grafiki wykonanej piórem i atramentem przez rasistowskiego rysownika, który używał pseudonimu „A. Wyatt Mann”, ujawniony przez reportera Buzzfeed, Josepha Bernsteina w 2015 roku jako faktycznie artysta Nick Bougas (zarzuty autorstwa Bougasa na długo poprzedzały artykuł Bernsteina). Mann stał się znany ze swoich groteskowo rasistowskich i antysemickich karykatur w latach 80. i 90., z których wiele po raz pierwszy pojawiło się w biuletynach publikowanych przez długoletniego zwolennika białej supremacji Toma Metzgera. Oryginalna kreskówka zawierała obraz Happy Merchant i podobnie bigoteryjny rysunek Afroamerykanina, a także wizerunki szczura i karalucha. Karykatura zawierała rasistowskie twierdzenie, które zastąpiło obrazki pewnymi słowami: “A world without [Jews] and [blacks] would be like a world without [rats] and [cockroaches]” („Świat bez [Żydów] i [Czarnych] byłby jak świat bez [szczurów] i [karaluchów]”). Według australijskiego non-profit Online Hate Prevention Institute ta kreskówka pojawiła się na stronie internetowej Metzgera co najmniej w 2004 roku (pierwsze pojawienie się w druku było prawdopodobnie wcześniejsze). W pewnym momencie — sugeruje Bernstein już w 2001 roku — ktoś wyciągnął z kreskówki wszystko oprócz Żyda i wrzucił go do Internetu, gdzie stał się on szczególnie popularny na forach takich jak 4chan, którego użytkownicy zaczęli go modyfikować i rozpowszechniać. Ostatecznie zyskał miano „Szczęśliwego Kupca”. Nazywano go również „Le Happy Merchant”, „Merchant Face” i „Jew Face”. Szczęśliwy kupiec stał się niemal wszechobecny we współczesnej internetowej ikonografii białej supremacji i antysemickiej. Badanie przeprowadzone przez naukowców z 2018 r., którzy badali memy wyświetlane w różnych społecznościach internetowych, wykazało, że Happy Merchant był jednym z najpopularniejszych memów zarówno w 4chan, jak i Gab, dwóch głównych platformach internetowych do wyrażania alt right.

[firespirited]

cuck: person willing to have sex or let "their" women have sex with non whites (from a racialised porn category) dindu: the n word basically. from dindu nuffin octaroon: white person who isn't racist therefore is probably not really white

bix nood and never relax: references to the anti black cartoons of Nick Bougas aka a wyatt mann

references to Harambe the gorilla: no need to explain.

there’s also cultural marxism, helicopter death, and other stuff etc to refer to politics that don’t agree with nazis.

Dog whistles are deliberate subversion of normal words and symbols to make them nazi. Pepe the frog didn’t start out nazi, he got co-opted to the point where you could spot twitter nazis by the frog emojis. and yeah context matters, use your brains: someone choosing to use ((())) is not the same as someone else using (((name))). Runes on their own can be pagan, runes with specific numbers and letters: be wary.

more reading on spotting american anti black tropes: https://www.ferris.edu/HTMLS/news/jimcrow/

When are you people going to learn what a dogwhistle is

[documentaryoncinema]

Inside  Hollywood

'Besos de Hollywood' ('Kisses'), VOSE.

'Hollywood´s children', Gene Feldman, Suzette Winter, 1982, VO.

‘Their unique journey inside Hollywood’, Anthony Terracciano, 2013, VO.

'Death in Hollywood', Nick Bougas, 1990, VO.

Hollywood, Tinseltown, tierra de las estrellas. Una ciudad en la que un actor puede llegar a las mayores alturas y descender con la misma rapidez.

Algunas veces las estrellas han dejado un legado de tristeza, dolor y decepción por suicidio, abuso de drogas y alcohol, enfermedad, e incluso asesinato.

'Los 20 asesinatos mas terribles de Hollywood', VE.

'Hollywood y la mafia', VE.

‘Smash his camera’, Leon Gast, HBO, 2010, VO.

Presenta la vida y trabajo de Ron Galella examinando la naturaleza y efecto de los paparazzi.

En el Sundance Film Festival 2010 ganó el Premio Mejor Director en la categoría Documental.

Ron Galella website.

'He is a viper, a parasite, a stalker, a vermin. He is also, I have decided, a National Treasure.'

- Roger Ebert, Chicago Sun-Times.

'El nacimiento de Hollywood', VE.

'El glamour del Hollywood clásico', VE.

'Los diez de Hollywood' ('The Hollywood ten'), John Berry, 1950, VOSE.

Ofrece una mirada cercana sobre los diez guionistas y directores incluidos de la Lista Negra que se negaron a testificar durante los interrogatorios de la HUAC anticomunista. John Berry, director del documental, también apareció en la citada Lista al terminar su realización. Wikipedia.

‘Hollywood's quicksand fetish’, Vice, 2015, VO, SE en YouTube.

‘Hollywood without make-up’, Rudy Behlmer, Loring d'Usseau, Ken Murray, 1963, VO, SE en YouTube.

Se compone de imágenes de archivo de numerosas estrellas de Hollywood, y al tratarse de películas caseras presenta a las estrellas como son sin interpretar un papel delante la cámara. Wikipedia.

‘Heidi Fleiss: Hollywood Madam’, Nick Broomfield, BBC, 1995, VO.

Trata sobre Heidi Lynne Fleiss, hija de un famoso doctor de Los Angeles, atractiva, inteligente, eventualmente call-girl de lujo y más conocida como La madame de Hollywood por el negocio millonario de prostitución que regentó en la ciudad, al que no pocos famosos acudieron.

A mediados de la década de los noventa, ganando más de 300.000 dólares al mes, fue acusada por evasión de impuestos y proxenetismo hasta que en 1993 acabó en la cárcel. Wikipedia.

En 2004 Heidi vendió los derechos de su historia a Paramount por cinco millones de dólares y en el mismo año se realizó:

'Call Me: The rise and fall of Heidi Fleiss’, McDougall, 2004, VO.

'Las grandes catástrofes de Hollywood', Shelley Lyons, 2000, VE.

‘Hollywood and the stars’, NBC, United Artists Television, 1963, VO - VO, SE en YouTube.

‘The odyssey of Rita Hayworth’.

‘In search of Kim Novak’.

‘The one & only bing’.

‘The man called Bogard’.

‘The immortal Jolson’.

‘Funny men’.

’The swashbucklers’.

‘The western’.

‘Hollywood goes to War’.

‘Those fabulous musicals’.

’Anatomy of a movie’.

‘How to succeed as a gangster’.

'The Oscars: Moments of greatness'.

'The fabulous era'.

'The wild and wonderful thirties'

‘Monsters we´ve known and loved’. ★ Vídeo activo.

‘Imaginary witness. Hollywood and the Holocaust’ ('Hollywood y el Holocausto'), Daniel Anker, 2004, VO.

Examina el tratamiento del Holocausto en las películas de Hollywood durante el período de los años sesenta, y el impacto de las películas sobre la percepción del público y viceversa.

‘Hollywood entre la paranoia y la ciencia ficción’ ('Science-fiction et paranoïa. La culture de la peur aux Etats-Unis’), Clara Kuperberg, Julia Kuperberg, 2011, VE.

Con guionistas y cineastas como George Lucas, Steven Spielberg, Vivian Sobchack o David Scarpa entre otros presenta la ciencia ficción del cine norteamericano, desde su desarrollo histórico y sus películas más famosas hasta sus vínculos con la realidad.

‘From Russia to Hollywood: The 100 year odyssey of Chekhov and Shdanoff’, Frederick Keeve, 2002, VO.

‘Como conseguir un papel en Hollywood’, Gonzalo Cabrera, 2007, VE.

‘Hollywood prohibido’ (’Thou shalt not: Sex, in and censorship in Pre-Code Hollywood’), Steven Smith, 2008, VOSE.

'El código de censura en Hollywood' (Código Hays)', Julia y Clara Kuperberg, 2015, VOSE.

’Mujeres liberadas’ (‘Complicated women’), Hugh M. Neely, 2003, VOSE, en "Documentales, 2".

‘Hollywood’s golden age’, VO, SE en YouTube.

‘America the beautiful’, Darryl Roberts, 2007, VO.

Analiza la obsesión de muchas estrellas de Hollywood por la belleza.

‘Así es Hollywood’ (’That's Hollywood’), 20th Century Fox Television, 1976-1982, VE.

01. Actrices de Oscar.

02. Estrellas invisibles.

03. Fantasmas y espíritus.

04. Las chicas de la Fox.

05. Los cachorros de la Fox.

06. Los sex symbols.

07. Cine y deporte.

08. Los actores secundarios.

09. Tyrone Power.

10. De Broadway a Hollywood.

11. Grandes persecuciones.

12. Las grandes bandas sonoras.

13. Las rubias platino.

14. Películas de Oscar.

15. El nacimientos de las estrellas.

16. El tortuoso sendero del amor.

17. Hijos de la ciencia ficción.

18. Las grandes superproducciones.

19. Los efectos especiales.

20. Melodramas de mujeres.

21. Gregory Peck.

22. Encuentros extraños.

23. Películas de adolescentes.

24. Monos de cine.

25. Marilyn Monroe.

26. Las películas de monstruos.

27. Los héroes del cómic.

28. Chico conoce chica.

29. Henry Fonda.

30. Películas navideñas.

31. Los grandes compositores.

32. El cine biográfico.

33. Los Zanuck.

34. Las pin ups.

35. Chicas malas.

36. Test de cámara y finales alternativos.

37. Escenas eliminadas.

‘El poder de las estrellas: La creación de United Artists’ ('El nacimiento de la United’) 'Star Power: The creation of United Artists’, Hugh Munro Neely, 1998, VE.

Corría el año 1919 cuando cuatro famosos artistas de cine decidieron unirse para crear una organización que iba a establecer la posición de las estrellas del celuloide en lo más alto de la pirámide de Hollywood.

'Alienígenas y monstruos de Hollywood', Kevin Burns, 1997, VE.

'Los grandes villanos de Hollywood' ('Great Hollywood villains'), Michael Emerson, 2005, VE.

'Hollywood and the war machine', Al Jazeera, Empire, 2010, VO.  

Presenta una relación entre las producciones de Hollywood y su entorno en ambas Guerras Mundiales.

'La guerra de Hollywood' ('La guerre d´Hollywood 1939 - 1945'), Michel Viotte, 2013, VE.

'La guerra en Hollywood' ('Five came back'), Laurent Bouzereau, 2007, VE.

'1939, el mejor año de Hollywood', VOSE.

[lombardie-colorings]

Anton LaVey.

Screencap from “Speak of the Devil,” 1993, dir. Nick Bougas.

Colored by Lombardie Colorings.

[robbialy]

Regram from dr Vanessa Rawlings Sinclair @rawsin_ ••• Happy birthday Anton LaVey! Support Carl Abrahamsson's brand new documentary about the Doktor himself! Anton LaVey- Into the Devil's Den. With in-depth interviews w Blanche Barton, Peter Gilmore, Peggy Nadramia, Bob Johnson, Kenneth Anger, MitchHorowitz & more! Nothing like you've ever seen before. A truly intimate portrait by those who knew and worked with him. HS! https://www.indiegogo.com/projects/anton-lavey-into-the-devil-s-den-documentary#/ "In 1989, I met Anton LaVey for the first time. At this time in his life, LaVey was seeing only a select few people. For this film, I've met and interviewed some of them, to try and create a composite image of what he was really like, and what he meant to these people. It's a memory lane trip, filled with personal stories, dark humor, great music and never before seen material with the "Black Pope" himself. – Carl Abrahamsson, Stockholm, April 2019 Anton LaVey was many things to many people: musician, magician, writer, wild animal trainer, police photographer, film buff, founder of a magical group, and possibly of a new religion, and yes… He was a Satanist. With his creation of the infamous Church of Satan in 1966, and his bestselling book The Satanic Bible in 1969, Anton LaVey changed the ballgame in many ways. Here was a free-spirited San Francisco based group neither in favour of mind-expanding drugs, nor of peace & love for its own sake. Here was a group that was decidedly, outspokenly anti-Christian. Here was a group that brought dark pro-sexual psychodrama and the philosophy of Friedrich Nietzsche straight into American living rooms and TV couches. Anton LaVey became a celebrity scapegoat who basked in the attention, and made a successful career out of it. But who was Anton LaVey behind the public persona that so easily provoked primitive American Christians and other intolerants? Who was this enigmatic ��American Adversary”? Where the film Satanis by Ray Laurent (1969) shows the publicity-conscious and media-savvy LaVey, Nick Bougas’s 1993 documentary Speak of the Devil shows a considerably more private high priest of The Church of Satan indulging https://www.instagram.com/p/BwGqFYRB-pIGkJ5HrRESov7werkHCpbial1y7Y0/?utm_source=ig_tumblr_share&igshid=2s7skvml9gfy

[leviathan-supersystem]

do you have anything on anti-semitism in LaVey's church of Satan?

off the top of my head, Nick Bougas was a major figure in the CoS, and he was also the cartoonist who drew the famous neonazi “A Wyatt Mann” comics, which feature antisemitism as a rather consistent theme. and he was listed as “A. Wyatt Mann” in this photo of the Abraxas foundation [link], and since the Abraxas foundation was an offshoot of the CoS, this would indicate that the CoS was aware of and to at least some degree approved of his authorship of the comics.