#xemu records

[posthumanwanderings]

was cool to get SOME XBOX OG games streamed this year but at a cost of janky emulator issues especially on the multigame stream and the vanishing characters on Jet Set Radio Future. still had a blast though and as time goes on seems like CXBX and XEMU are improving slowly. anyways about JSRF, I love the game and all especially for the aesthetics but I forgot how much platforming was involved in it and prob the most infuriating boss fight ever (which because I fumbled so much didn’t get archived on stream so I have to go back to just record separately..) so I’m gonna trim off big chunks of me falling a lot and timestamp sections to make the plays more viewable. def gonna be recording scenery footage for *future* NoPlays + videomixes. and for the people that complained about me sometimes swapping out the BGM for my XBOX dancemix playlist (which I did mostly to avoid the randomized copyright songs that play on JSRF) you can watch endless other Jet Set longplays instead 🤡

[skyboxeye]

Capturing the ambience of Crimson Skies: High Road to Revenge

This cult Xbox title launches pilots into dogfights above a handful of locales, each with its own auditory footprint.

Running the game

At the time of writing, the two dominant Xbox emulators offer significantly different experiences. Cxbx-Reloaded is performant but exhibits some (minor) graphical issues. Much more significantly, it sometimes crashes which can prevent the completion of story missions.

If your system can handle it, you can use Xemu. Or, continue using Cxbx while skipping missions (see below) to avoid any problematic portions in the game.

Installing DLC and title update

Xbox Live is no longer operation for original Xboxes, but fans have archived this content, and made it easy to install. Before installing it, you'll want to apply some rendering-improvement modifications - see below.

Widescreen

Extract the game's content and apply this hex edit, courtesy of Esppiral and retroszur, to the game's XBE. Once again, please note it is for the XBE with DLC:

Find:

00 00 80 3F 8B CE E8 31 09 03 00 F3 0F 10 06 F3 0F 10 4E 0C F3 0F 11 44 24 40 F3 0F 10 46 04 F3 0F 11 44 24 44 F3 0F 10 46 08 F3 0F 11 4C 24 50

Replace:

00 00 40 3F 8B CE E8 31 09 03 00 F3 0F 10 06 F3 0F 10 4E 0C F3 0F 11 44 24 40 F3 0F 10 46 04 F3 0F 11 44 24 44 F3 0F 10 46 08 F3 0F 11 4C 24 50

Unlocked framerate

To unlock the framerate, find:

01 00 00 00 5B 83 C4 08 C3 D8 0D 58 36 29 00 89 46 10 89 4E 14 E8 D6 30 0C 00 5F 89 46 18 5E 33 C0 5B 83 C4 08 C3 CC CC 83 EC 08 56 8D 44 24 04

And replace:

00 00 00 00 5B 83 C4 08 C3 D8 0D 58 36 29 00 89 46 10 89 4E 14 E8 D6 30 0C 00 5F 89 46 18 5E 33 C0 5B 83 C4 08 C3 CC CC 83 EC 08 56 8D 44 24 04

You'll want to apply this timing fix along with it. Find:

00 00 7A 44 00 00 20 41 30 B7 01 00 C0 93 01 00 90 93 01 00 70 52 01 00 90 AD 01 00 00 2C 13 00 80 76 0E 00 80 52 01 00 60 28 0C 00 60 28 0C 00 90 52 01 00

And replace:

00 00 FA 43 00 00 20 41 30 B7 01 00 C0 93 01 00 90 93 01 00 70 52 01 00 90 AD 01 00 00 2C 13 00 80 76 0E 00 80 52 01 00 60 28 0C 00 60 28 0C 00 90 52 01 00

Capturing footage

To record footage from The Pandora, which serves as the Hunters' hangar, we can remove the HUD elements present at plane selection. The easiest way to achieve this is capture one of the HUD-less frames during the short transition between mission selection and fighter selection, and render it as an overlay on top of our recorded hangar footage.

I don't know of any Xbox emulators which support texture mods. If such an option existed, we could replace the textures which make up the HUD. We could also try to manipulate the extracted texture files, and run the modified game. But I didn't try either of these.

The HUD is briefly hidden when your plane is shown exiting the Pandora to enter a free-roam area. I tried getting this state to persist using Cheat Engine, but failed.

Extracting sounds

My favorite tool for extracting Xbox files is wx360 v1.6.

Crimson Skies has a ton of audio directories. We're most interested in Pandora_Internal, inside the UI folder, and the dedicated ZIP archives for each locale (AX, CH, LC, and SH). There are some other streams in the general archive as well.

To convert the Xbox audio files we can use vgmstream (I recommend the command line tool) or VLC. I found the results were slightly different - personally in these situations I tend to trust vgmstream.

After comparing in-game recordings to simple asset loops, I believe that the game somehow specifies loop start/end points for its ambient streams. I'm not sure where this information is stored however - perhaps the SDB files inside the data archive?

For mission areas, it seems like the game crossfades relevant ambient assets by about 5 seconds to create a continuous loop.

Skipping missions

You can use CrimsonData.txt files from completed saved games, or use cheats to speedrun the game. However, I couldn't get the former to work - presumably there is some kind of checksum system at work to prevent cheating or DLC piracy. There are tools to re-sign saved content but the one I tried doesn't support Crimson Skies.

Putting it all together

Render your properly looped assets on top of your footage and any overlay to eliminate HUD elements.

[cevin-soling]

Cevin Soling: Redefining the Role of the Artist in Social Change

Cevin Soling is not just a filmmaker, musician, or writer—he is a visionary artist who has redefined what it means to use art as a vehicle for social change. In a world where the power of art is often dismissed as mere entertainment, Soling has demonstrated time and again that creative works can be a force for transformation, questioning societal norms, and inspiring meaningful conversations about pressing global issues. Through his films, music, and advocacy, Soling has proven that the role of the artist is not only to entertain, but to challenge, educate, and inspire.

The Intersection of Art and Activism

One of the key elements of Cevin Soling’s work is his seamless integration of art and activism. His films, such as The War on Kids and Ikland, are not just creative expressions but powerful calls to action. By tackling critical issues like the flaws in the education system and the impact of globalization on indigenous cultures, Soling uses his craft to raise awareness, spark dialogue, and incite change.

Cevin Soling understands that art has the ability to engage people in ways that facts and statistics alone cannot. His films provoke thought, encourage critical reflection, and challenge the status quo. Soling’s activism is rooted in his belief that artists have a responsibility to use their platform to address the injustices they see in the world, whether it be social, political, or cultural.

Challenging Mainstream Narratives

Cevin Soling’s filmmaking is driven by a commitment to challenging mainstream narratives. Unlike the often sanitized and formulaic storytelling found in Hollywood and commercial media, Soling’s films tackle controversial topics head-on, exploring issues that are rarely discussed in traditional media. His documentaries are unapologetically honest, providing audiences with a raw and unfiltered look at the world.

In The War on Kids, Soling critiques the American education system, questioning its focus on conformity, standardized testing, and discipline over creativity and individuality. By focusing on real-world issues that affect children and their futures, Soling offers a compelling alternative to the narratives that glorify the status quo of educational institutions. His approach encourages viewers to rethink the purpose of education and its impact on society at large.

Philosophical Underpinnings of Soling’s Work

What sets Cevin Soling apart from many other filmmakers is his intellectual depth. His work is deeply philosophical, often exploring themes of freedom, conformity, and the societal structures that shape our lives. Soling’s background as a philosopher and his understanding of human nature inform his approach to storytelling, making his work not only engaging but also thought-provoking.

For Soling, art is a tool for exploring the ethical and philosophical implications of modern life. His documentaries challenge viewers to consider the moral questions surrounding the systems we live within—whether it’s education, politics, or culture—and to think critically about their role in perpetuating or challenging these systems.

The Power of Music and Filmmaking to Inspire Change

Cevin Soling’s multifaceted approach to art—spanning music, film, and written word—demonstrates his belief in the power of creative expression to inspire change. Through his work at Xemu Records, Soling has produced music that addresses themes of freedom, individuality, and social consciousness, while his films continue to provide a platform for underrepresented voices and marginalized communities.

Whether in his music or his films, Soling’s work always seeks to challenge the norms and assumptions that govern society. His music is not just for entertainment; it serves as an anthem for those who refuse to accept the status quo, just as his films urge viewers to examine the systems that shape their lives and their communities.

A Legacy of Socially Conscious Art

Cevin Soling has shown that the role of the artist is not merely to entertain, but to provoke thought, challenge systems of power, and inspire social change. His work in both music and film is a testament to the transformative power of art. Through his documentaries and music, Soling has proven that artists have the ability—and the responsibility—to influence culture, challenge norms, and make a difference in the world.

Soling’s legacy as a filmmaker, musician, and advocate has paved the way for a new generation of artists who view their craft as an opportunity to inspire change and speak truth to power. By using his platform to tackle societal issues, he has redefined what it means to be an artist in the modern world. Soling’s work continues to inspire others to think critically, act with purpose, and use their own creative talents to shape a more just and equitable world.

Conclusion: The Future of Art and Advocacy

Cevin Soling has demonstrated that art can be a powerful tool for social change. Through his films, music, and writing, Soling has redefined the role of the artist, showing that creativity is not just for entertainment but also for social transformation. His unwavering commitment to activism and philosophical inquiry has cemented his place as a leading voice in the world of art and advocacy. As Soling’s work continues to inspire future generations of artists, it serves as a reminder that art can—and should—be a force for positive change in the world.

[queersatanic]

Funny, Cevin Soling's record company didn't even make it onto this graphic.

The Satanic Temple iceberg

When it comes to The Satanic Temple, there's always more, and it's always worse.

[kathleenseiber]

Return to the Moon will have to wait

Lofty ambitions for future space exploration have been brought back down to Earth.

The pandemic, technical difficulties, and a lack of cash means planned return missions to the Moon will be delayed.

NASA has revealed “significant challenges” leading to a delay in the development of the spacesuits needed for the journey. Australian companies are vying for the chance to play a role in the Moon to Mars missions. Adelaide’s Human Aerospace, for example, has been working on next-generation spacesuits.

According to the audit report from NASA’s Office of Inspector General, NASA has been working on Exploration Extravehicular Mobility Units (xEMU) for 14 years. The spacesuits are being designed for use on the International Space Station as well as the Artemis mission.

The Artemis mission aims to return astronauts – including the first woman and the first person of colour – to the Moon by 2024. It’s the first part of a larger mission to establish a lunar gateway in orbit as a base from which to send people to Mars.

According to the latest report, the suits will not be ready for flight until at least 2025.

“This schedule includes approximately a 20-month delay in delivery for the planned design, verification and testing suit, two qualification suits, an ISS demo suit and two lunar flight suits,” the OIG reported.

“These delays – attributable to funding shortfalls, COVID-19 impacts, and technical challenges – have left no schedule margin for delivery of the two flight-ready xEMUs.

“Given the integration requirements, the suits would not be ready for flight until April 2025 at the earliest. Moreover, by the time two flight-ready xEMUs are available, NASA will have spent over a billion dollars on the development and assembly of its next-generation spacesuits.”

That delay – and other delays outlined in the report – means a 2024 lunar landing is no longer feasible.

NASA has known for some time that the 45-year-old suits in use on the ISS needed updating. The new design will accommodate a broader range of sizes, and a more mobile lower torso for walking, which it says will eliminate the “bunny hopping” famously seen during the Apollo missions.

Along with improved mobility, they will have a more advanced life support system to remove carbon dioxide, odours and humidity, and to maintain body temperature.

They will have a new pressure subsystem to keep astronauts alive in the vacuum of space and protect them from micrometeoroids and space debris, as well as liquid cooling and ventilation garments.

The informatics subsystem will have high-definition video, data recording, and other technical advantages over the current suits. The new suits will also need to interface with the new vehicles that will be used.

The US Congress has only approved three-quarters of the $209 million budget for the suits. Meanwhile, facility closures and work restrictions due to the pandemic added to delays.

On top of those delays, various component failures and a lack of contingency plans mean the lunar landing will not happen on time.

Originally posted to Cosmos Magazine as Return to the Moon will have to wait

Return to the Moon will have to wait published first on https://triviaqaweb.weebly.com/

[psychgazer]

Drop City (Sydney), the Matthew J. Tow’s  band (also ‘Colorsound’ and our favourites ‘The Lovetones’) released on December 22, 2017 the album ‘Drop City - Dream Sequence (B-Sides and Rarities)’, a compilation album of b-sides and rarities recorded between 1994 and 2000. Exclusively on Bandcamp.

LOVE (Single)

The prolific musical creativity of Matthew J. Tow, adds the important collaborations made. In 2003 Matthew joined The Brian Jonestown Massacre as a touring rhythm guitarist and collaborated with Anton Newcombe, writing 2 songs for the ‘And This Is Our Music ’ album (Starcleaner’ & ‘A New Low Is Getting High‘) :

In 2013 Matthew, staying true to his personal style of elegant psychedelia, released his first solo album ‘The Way Of Things’ (Xemu Records) produced by Collin Hegna (Federale, BJM) and Ryan Carlson van Kriedt (The Asteroid No 4, Dead Skeletons); in August  2016 released ‘Shadows’ Reign’. Soundcloud

[dead-meadow]

Hey everyone, we are reissuing our album Feathers on vinyl and CD.. Both packages will include a "demo/unreleased" bonus CD of tunes from the 2004 time we were working on the album originally. This will be coming out on Xemu Records December 2019. A deluxe LP version also including a booklet about the making will be coming out the same time on Tekeli-Li Records.

To celebrate we will be hosting a release party at the legendary haunted lodge in Lake Arrowhead, CA  The Tudor House/Bracken Fern Manor. $10 at the door. There will be special guests and DJ and of course we will be playing.

Support band will be the Triptides from LA.

For those wanting to party the night away at the lodge rooms can be reserved for $100. There is also other nearby hotels, AirBnb's and ....of course camping which is always cheap!

Contact us through our site for advance tickets and further information on rooms at the lodge  https://www.deadmeadow.com/contact

[capitalchaostelevision]

Dead Meadow @ The Blue Lamp…courtesy of Zoran Theodorovic

05/01/1

Sacramento, California

Dead Meadow released their new album, The Nothing They Need, on March 2nd, via Xemu Records. Previously, they shared the album’s first single, “Keep Your Head” and also they shared another album stand out, “Nobody Home,” both of which perfectly exemplify the band’s unique marriage of Sabbath riffs, dreamy layers of guitar-fuzz bliss, and singer Jason Simon’s melodic croon. On a surprise May Day stop to Sacramento, the band hit its groove at the Blue Lamp with a full set of goodness. Pictures below.

On a surprise May Day stop to Sacramento, the band hit its groove at the Blue Lamp with a full set of goodness. @Deadmeadowltd @capitalchaos Dead Meadow @ The Blue Lamp…courtesy of Zoran Theodorovic 05/01/1 Sacramento, California Dead Meadow released their new album, The Nothing They Need, on March 2nd, via Xemu Records.

[pluckyeah]

Steve and I at the XEMU Records showcase. #deadmeadow #matthollywoodandthebadfeelings #sxsw2017 (at Valhalla)

[xemu]

It’s official - Xemu Records Tiki Party is happening. Valhalla, Austin TX, March 18th starting at 12pm. There will definitely be a beach on Red River that Saturday.

[cevin-soling]

From Music to Movies: Cevin Soling’s Unique Blend of Creativity and Activism

Cevin Soling is a multifaceted artist whose career spans across music, filmmaking, and activism. As the founder of Spectacle Films and Xemu Records, Soling has proven himself to be not only a visionary in the arts but also a passionate advocate for social change. His creative journey, which began in the music industry, has evolved into a distinguished career in filmmaking, with each project driven by his unwavering commitment to using art as a tool for social critique. This blog explores how Soling’s background in music and his focus on activism have come together to shape his unique approach to filmmaking.

The Genesis of a Creative Vision: From Music to Film

Before Cevin Soling became known for his thought-provoking documentaries, he was deeply embedded in the music world. As a musician, composer, and producer, Soling founded Xemu Records, an independent label dedicated to producing and releasing music that challenges mainstream norms. His time in the music industry played a formative role in shaping his creative vision.

Music, like film, has the power to convey emotions, tell stories, and provoke thought. For Soling, it was the dynamic relationship between sound and narrative that sparked his interest in film. Music provided him with a platform to experiment with themes of resistance, freedom, and expression—values that would become central to his work as a filmmaker. The transition from music to film was a natural evolution, as Soling sought a more expansive medium through which he could explore and amplify his passion for activism.

Cevin Soling’s Filmmaking Journey: The Power of Documentary

Cevin Soling’s approach to filmmaking is defined by his ability to weave creativity and activism seamlessly. His documentaries are far from traditional; instead, they use narrative techniques typically reserved for fiction films to expose the harsh realities of societal issues. Soling’s signature style is marked by its willingness to tackle complex, often controversial subjects that challenge audiences to question prevailing societal structures.

One of Soling’s most impactful documentaries, The War on Kids, is a perfect example of how his background in music and activism informs his filmmaking. The film critically examines the American educational system, focusing on the ways in which it enforces conformity and restricts creativity. Soling’s investigative approach to this topic is underscored by a creative cinematic style that invites viewers to reflect deeply on the educational practices that shape their children’s lives.

By blending artistic sensibility with social consciousness, Soling’s films present a fusion of both artistic expression and political activism. His documentaries engage with serious issues in a way that encourages people to not only observe but also act, making his work a powerful tool for social change.

Creativity as a Form of Activism

Throughout his career, Cevin Soling has used his creative work to advocate for social justice, cultural preservation, and individual empowerment. Whether through his music or his films, Soling is driven by a strong desire to highlight the flaws in societal systems and to inspire change.

One of his films, Ikland, exemplifies this fusion of creativity and activism. The documentary focuses on the struggles of indigenous communities to preserve their land and culture in the face of globalization and environmental destruction. Soling’s ability to tell this story with artistic flair, while also capturing the essence of the cultural preservation movement, demonstrates his unique approach to filmmaking. He doesn’t just document the struggles of indigenous communities; he gives them a voice and elevates their narratives in a way that calls for action.

For Soling, activism is not about presenting a one-sided argument; it is about using art to inspire critical thinking and encourage people to reconsider their role in shaping the world. In Ikland and his other works, he invites viewers to become part of a broader conversation about human rights, environmental justice, and cultural survival.

Film as a Platform for Political and Social Engagement

The synergy between Soling’s music career and his filmmaking endeavors has resulted in a body of work that is uniquely suited for political and social engagement. In many ways, Soling sees filmmaking as an extension of his activism. His films are not just about documenting events—they are about using the medium to inspire social movements, spark debates, and challenge audiences to rethink their assumptions.

Cevin Soling’s films are characterized by their thought-provoking content, which is often deeply political and socially aware. For instance, The War on Kids explores the inherent inequalities in the education system, while Ikland critiques the destruction of indigenous cultures. These documentaries do more than merely inform; they offer a call to action, urging viewers to think critically about the systems that govern their lives and to challenge the injustices that exist within them.

Through his films, Soling has created a platform for dialogue about issues that affect not just individuals but entire communities and nations. His ability to merge creativity with activism has given him a distinctive voice in the world of independent film, one that is unafraid to tackle difficult topics and to provoke viewers into reevaluating their perspectives.

The Ongoing Legacy of Cevin Soling’s Work

As both a filmmaker and musician, Cevin Soling’s impact on the arts and activism is undeniable. His ability to merge the worlds of music, film, and social justice has set him apart as a creative force in both industries. From his work in the music world to his acclaimed documentaries, Soling has proven time and again that art is not just a means of self-expression but also a powerful tool for social change.

Through his films, Soling has built a lasting legacy of using creativity to challenge societal norms, educate audiences, and provoke action. His documentaries continue to serve as important resources for those looking to understand the complexities of the world and to engage in meaningful social change. Whether through the lens of education reform, environmental preservation, or cultural survival, Soling’s work serves as a reminder that art can be a catalyst for transformation.

Conclusion: An Artist Who Uses His Platform for Good

Cevin Soling’s journey from music to film demonstrates the power of creativity when it is coupled with a commitment to activism. His films, much like his music, challenge conventions, provoke thought, and inspire action. By using art as a means to address societal issues, Soling has created a body of work that is both deeply personal and socially significant. His ability to blend music, film, and activism has made him a leading figure in independent filmmaking, showing that creativity can be a powerful force for change.

Through his films, Cevin Soling continues to challenge audiences to question the status quo and take action on the issues that matter most. Whether through his exploration of the education system, the preservation of indigenous cultures, or other critical topics, Soling’s work remains an example of how art can shape the future for the better.

[queersatanic]

Spectacle Films Inc

For more information, see The.Satanic.Wiki

The other day, someone tagged us on Twitter in response to a tabloid headline.

Here is that tabloid, and the completion of that joke.

[Tweet]

Which still needs a little bit of explaining.

Why in the hell would someone tag us on Twitter about a person drinking urine?

What does "Cevin" have to do with The Satanic Temple?

And how does this relate back to The Satanic Temple at all?

Stick with us because it is all a lot weirder and more relevant than you can possibly imagine.

Urine: Good Health is the name of 1999 documentary produced by Cevin Soling.

Here’s a taste:

Urine Therapy is an unconventional and controversial practice that involves the use of one’s own urine for health benefits — a practice that has been employed throughout history by people around the world.

Naturally, you have questions.

Let's do the easy part. Urine: Good Health was the second film produced by Cevin Soling through his corporation Spectacle Films Inc.

OK, so how did Cevin Soling, later to be a co-founder and owner of The Satanic Temple, get into the movie business?

Well, Soling is the wealthy scion of Northeast real estate developers; he's son of Chester Soling, himself a landlord who naturally sued to evict his own tenants including one whose mother had just died. Although Chester's obituary preferred "philanthropist".

It's easy to get sidetracked here, so suffice to say, the anecdote in this 1970 article "A Million‐Dollar Hotel Where the Oldest Guest Is 12" paints a picture of a certain upbringing.

But Cevin Soling apparently entered the 1990s wanting more out of life than just being a comfortably wealthy and rent-collecting vampire for the rest of his life. He wanted those things and to be considered creative, talented, and, eventually, a serious thinker.

On the same day in June 1992, Cevin registered both Xemu Records and Spectacle Films as corporations in New York State, but he seems to have focused on projects under the Scientology-nodding record company at first.

Other than raising an eyebrow about an interest in profitable cults, Xemu doesn't really intersect with The Satanic Temple, or it might be more accurate to say: we have not come across any public record of that intersection. As you should be able to tell from the scroll bar, we have enough material to cover without it.

By the late '90s, Beatles super-fan Cevin Soling had discovered a curious interview question and answer involving John Lennon and Paul McCartney, and he was inspired to buy into another hobby:

[T]he way I got into film, for instance, I never went to film school, I just had an idea for a documentary after reading this article, this interview with Paul McCartney where he was talking about having dinner one night with John Lennon, and Lennon was saying something to the effect of, "I s'pect we get holes drilled in our heads. I read somewhere it expands consciousness." And McCartney responding, "Well, you get it done, and if it's great I'll think about it." I'm a huge Beatle fanatic, and read all the interviews... But this was something that had never been mentioned in any other interview, never came up. And so it was kind of surprising to see the story. And then I did a little bit of research and found the background of this doctor who came up with this theory about drilling holes in people's heads, and how it results in increased brain blood volume. And he believed that it resulted in greater brain metabolism and expanded state of consciousness. So it seemed like there might be some truth to that. So I was kind of curious and decided to study it, but to make it into a film. And I had no film experience, but it was like, Hey, why not make a movie.

"Hey, why not make a movie?" indeed.

So like anyone with lots of money, he paid people to do it for him, got his producer credit, and the result was 1998's A Hole In The Head directed by Eli Kabillio.

A Hole In The Head examines the development of "modern" trepanation as used by people in the United Kingdom, The United States, and The Netherlands for the purpose of attaining a higher level of consciousness. This procedure, used by the ancient Egyptians, Incas, and others, is believed by the voluntarily trepanned to allow for renewed brain pulsations that increase brain blood volume and thereby improve brain function. Interviews regarding the history and efficacy of the procedure are also held with some of the world's most respected neurosurgeons and anthropologists.

Apparently it's not a bad documentary, for what that's worth.

And it was successful enough at the time to run it back and do another in the same vein, Urine: Good Health about urine therapy, again produced by Soling and directed by Kabillio. You saw the result above.

A couple of years later, Soling gets into the director's chair himself for The War on the War on Drugs:

Comprised of over 60 independent short scenes shot in a wide variety of cinematic styles, THE WAR ON THE WAR ON DRUGS parodies drug war propaganda and those who insist we fight the drug war at any cost.

But Soling's big push, and the one he probably thought was really going to break him through to the mainstream as a big-time serious person was 2009's anti-public schools documentary The War on Kids.

It brought him to the highs of an appearance on the Colbert Report.

But it also brought Soling to the lows of demonstrating that his opposition to public schooling is in complete alignment with other "libertarian" unschooling advocates, like white nationalist and "scientific racist" Stefan Molyneux.

We will return to this subject at a later time (Soling certainly has), but this has already gotten fairly long, and this may all seem rather tenuous or at least tangential to The Satanic Temple.

In actuality, Urine: Good Health and Spectacle Films' "out-there" documentaries are a perfect lens to view The Satanic Temple because that seems to have been all it was ever meant to be.

To repeat:

The Satanic Temple was supposed to be another Spectacle Films documentary.

We've actually got quite a lot of evidence this is so.

The earliest press releases for The Satanic Temple predated the incorporation of its own legal entity by about a year, and the connection to Cevin Soling wasn't even kept particularly hush-hush at first.

In April 2013, Spectacle Films announces a talk to be given at Harvard:

The Cultural Studies Club of Harvard University’s Graduate School of Education will be hosting ‘A History of Satanic Worship’ to be presented April 11, 2013, by academics and practicing Satanists. Satanic Temple spokesperson, Lucien Greaves, will present ‘A History of Satanism from The Old Testament to The Satanic Temple’ accompanied and followed by long-time public Satanism advocate, Szandora Lavey, who will offer a personal perspective on the modern practice of Satanism. Cevin Soling, of Spectacle Films, a Harvard Graduate School of Education student, will speak about the use of religion in the service of social activism and as a potential device to protect civil liberties.

(Beyond this, Szandora LaVey — former wife of a grandson of Church of Satan founder Anton LaVey—doesn’t seem to factor in as a pivotal early figure in TST; if that’s wrong, drop us a line. As of 2021, she was still collaborating with TST as a burlesque performer, though as of 2019, Szandora said she considered herself “a solo figure in Satanism.”)

But the point is Cevin Soling, in his capacity as owner of Spectacle Films, was openly promoting The Satanic Temple at first.

Within a few months, Lucien Greaves had brought back in longtime friend and fellow protofascist-book fan Shane Bugbee, and in June 2013, they sent out another press release, again through Spectacle Films, for an Adopt-A-Highway fundraising campaign. This is the first video still on The Satanic Temple’s official YouTube channel. (The trailer to A Hole in The Head, is too, by the way—without noting its connection to TST’s owner and in order to promote another Soling-owned corporation, Cinephobia LLC’s The Satanic Temple TV.)

The IndieGoGo campaign fell flat, just $2,244 out of its goal seeking $15,000. This benefitted "Lucien Greaves" directly because remember, "The Satanic Temple" still doesn't officially exist yet.

This press release gives us the explanation of what Spectacle Films' ostensible involvement is, though.

Spectacle Films will be documenting The Satanic Temple’s efforts toward contribution to the Adopt-a-Highway program in an ongoing project aimed at chronicling the Satanic organization’s unique activities.

After some sort of falling out, Lucien Greaves' old bud Shane Bugbee posted on his own website and told then-Village Voice journalist Anna Merlan about the original plans for The Satanic Temple: a “mockumentary” in typical Spectacle Films style.

This is from the Catholic News Agency article, but they use Merlan's reporting and put it together with some other contemporary coverage going back even earlier, to the Florida actions aimed at then-Gov. Rick Scott.

That same month [January 2013], the Miami Herald's Naked Politics blog reported that Lucien Greaves was listed as casting director of a feature film called "The Satanic Temple." A casting call on the Actors Access website sought actors "to be the followers of a charismatic yet down to earth Satanic cult leader," required to wear "tasteful Satanic garb." "Spectacle Films and Polemic Media … are producing a mockumentary about the nicest Satanic Cult in the world," said the casting call, according to the Huffington Post.

Let's take a break to quote that ad in full, via HuffPo.

Spectacle Films and Polemic Media the companies behind ‘The War on Kids’ and ‘Freeloader’ are producing a mockumentary about a the nicest Satanic Cult in the world. We are looking for actors for 8 speaking roles to play minions as well as 10 featured extras. We are seeking people from all walks of life, goths, grandparents, soccer moms, etc to be the followers of a charismatic yet down to earth Satanic cult leader. The shoot will be on January 25th in downtown Tallahassee. Actors will be required to wear tasteful Satanic garb.

The Miami Herald further specified, "A casting call was posted on the web site Actors Access on Jan. 7 seeking non-union actors for no pay."

So there are some things they're consistent about.

Back to the CNA article:

Shane Bugbee, an early collaborator of the Satanic Temple, told a version of the group's history at the Vice magazine website, and then a more critical version in an interview with the Village Voice and related blog posts in 2014. He said that Lucien Greaves is in fact Doug Mesner, who reportedly studied at Harvard University, focusing on neuroscience and false memory related to ritual abuse and alien abduction. [Note: If this is true about the credentials of Lucien Greaves, whose real name is actually "Doug Misicko", no one has ever offered evidence verifying it.] Bugbee himself had interviewed Mesner for the website Vice, an interview published July 30, 2013. Bugbee named Cevin Soling, president of Spectacle Films, as the real man behind "Malcolm Jarry," the pseudonymous co-founder of the temple. According to Bugbee, Soling was president of the Harvard Extension Cultural Studies Club at the time it attempted to host the black mass. Bugbee alleges that David Guinan, owner of Polemic Media, was a third co-founder of the temple.

This is a lot of information, but it's actually been known virtually all along. The Church of Satan has documented this stuff for years, and these accusations have never actually been refuted, despite what some TST defenders will say.

But it's this next part that can be distracting because it goes back to "there is only one true Satanism" which most people outside of the Church of Satan don't really care about.

Claiming a long history with Satanism, Bugbee himself said he and his wife held the final interview with prominent Satanic figure Anton Lavey, who allegedly made Bugbee a Satanic priest. He contended that Mesner is an employee of Soling and that Soling asked Bugbee to play the role of Lucien Greaves. [Note: Whether or not this is true, Penny Lane's Hail Satan? film contains footage corroborating that Doug Mesner/Misicko was not originally intending to take on the role of Lucien Greaves.] Bugbee said he at first saw the Satanic Temple as a prank, believing it was "thrilling" to participate in "a joke on the public at large and, in general, the grossly inept media." He said the group's purpose seemed to shift after the fake rally for Rick Scott. "The dissolving of the original idea of making a mockumentary and the rise of a want for a real religious sect seemed to happen very quick," said Bugbee. He objected that Soling and Guinan had "no real relationship with Satanism."

Sure, Shane Bugbee has an axe to grind and a very particular view of Satanism, but is he wrong?

As that excerpt talks about, the original "second rich kid" in the project was David Guinan, the director for another Cevin Soling self-insert “documentary” Mr. Cevin and the Cargo Cult a.k.a. John Frum, He Will Come, being worked on since at least 2006 but officially released in 2017.

The premise of that stunt seems to be that Soling was interested in convincing the people of the island of Tanna that he was John Frum returned, the messiah of a cargo cult.

You can judge for yourself which trailer makes him come off worse (Facebook video, if the first embed doesn't work).

"I believed that by fulfilling the prophecy, I truly would be John Frum," Soling says in the first trailer.

"I think you're a lazy guy who wanted to start a cult so you picked up on one that was already around," offers up the second trailer.

Hmm.

Anyway, Professor Joe Laycock in his... "scholarly" look at The Satanic Temple confirms all this original intention about TST being meant to be a similar documentary, and it's anything but a secret.

Here's how book reviewer Brian C. Wilson, a professor of American Religious History, puts it:

Laycock’s book is roughly divided into two parts. The first charts the history and development of TST, while the second addresses how TST has shaped national debates on several fronts. In March 2012, Florida governor Rick Scott signed into law a bill “allowing students to read ‘inspirational messages of their choosing’ at assemblies and sporting events”. In order to push back against what they viewed as a violation of the separation of church and state, three friends, Malcolm Jarry, Doug Mesner, and David Guinan, decided to stage a public rally for a fictional organization called The Satanic Temple, praising Scott for finally allowing Satanists a public voice. Other publicity stunts followed, but by this time a creed had been created and TST began to coalesce into a real organization.

Guinan used his real name for all this, including in the book; Soling instead used "Malcolm Jarry".

(And for those who are still confused, a person whose legal name is Doug Misicko has also publicly used "Doug Mesner" for past public work, and an absolute legion of sockpuppet names, but he's popularly known by "Lucien Greaves" now. Unlike Soling, Greaves apparently doesn't try to have a separate public life pretending he's not an owner of The Satanic Temple, so we stick with Greaves' pseudonym for most references.)

You can easily see how what was intended to just be a film taking the piss out of conservatives for their public religious hypocrisy snowballed into the beast that is The Satanic Temple today.

Penny Lane's documentary/propaganda film Hail Satan? released in 2019 even seems to rely on some of this early project's footage since there's no indication anyone else was involved at that early stage in 2013 when TST hadn't even decided if they officially believed in a supernatural devil or not.

To recap, this silly project—meant to be just one of many—came first.

But at some point, apparently rather quickly, they realized:

And the connection with Spectacle Films was eventually (mostly) severed as they invested more and more into this one.

Which is unfortunate for all sorts of reasons—not least of which being that The Satanic Temple never fully lost their original ethos, and they muscled their way to the center of attention in regards to reproductive justice and abortion access in the United States by taking advantage of conservative media outrage and straight journalism's laziness—exactly like Bugbee claims was the plan from the start.

They have also been given a lot of money by people who just learned about them five minutes prior, knowing none of this history—or of their founders'—and The Satanic Temple's various corporations have continued to not be forthcoming about how much money they're pulling in with this trick or transparent in how it's being spent.

But, and this is key, they have argued for many years that they are a legitimate religion.

That means that criticizing them, particularly with factual references to well-documented events, is not defamation.

(Even if they sue you and lose anyway.)

Hail Satan for the First Amendment, huh?

Next time, we'll actually take a look at The United Federation of Churches LLC d/b/a "The Satanic Temple", and what will hopefully be a much shorter bit of writing since you all should already be at least a little bit familiar with it.

P.S. - Spectacle Films continues to publish Cevin Soling film and book projects. The most recent of which was Tiffany Brittany Brooke.

Here's the first page.

In between the book printing and the eventual short film adaptation, someone apparently had the brilliant insight that perhaps the phrasing here ("young girl") is not ideal, even for a supposed dark satire, and wouldn't it all land a little better if it was "a young woman" instead?

So remember, self-publishing your ideas can be risky business, even if you can afford it financially

But mainly remember, when it comes to The Satanic Temple there's always more, and it's always worse.

"well you see, the for-profit United Federation of Churches LLC does business as 'The Satanic Temple', but the old name of the non-profit church 'The Satanic Temple Inc' was ALSO just 'The Satanic Temple', so you have to go by federal EIN & secretary of state ID number for corporations" just very normal, very cool, very on-the-level religion things, obv

[actual image of describing in person the situation of who is suing @QueerSatanic, colorized]

[dtcvmusic]

Here is the video for our song “Capital ennui” from CONFUSION MODERNE out April 8 from XEMU RECORDS and LOLIPOP and via limited edition vinyl from LA SOUTERRAINE in France or at http://store.dtcvband.com

It’s a really cool video, we hope you dig it. It was shot in Prague and has a kind of early Wim Wenders vibe.

[dead-meadow]

Dead Meadow is coming back to SXSW (For Better or Worse) and will be hosting our second Xemu Records tiki party at Vahalla Austin, TX.. Here are all of our shows at the fest, hope to see you at least one of them...

13th- Desert Daze Party at 3pm (Hotel Vegas)

14th- Levitation (Official SXSW Showcase) at midnight (Hotel Vegas)

15th- Volcom Garden in-store at 3pm

16th- XEMU RECORDS FREE TIKI PARTY at 4pm (Valhalla)

17th- Burger Records Party at 7pm (Hotel Vegas)

[otherbandsstuff]

Dead Meadow 2/5/14

[pluckyeah]

Hey all you kids out here at SXSW! Matt Hollywood & The Bad Feelings with be play the XEMU Records party to at 3pm with out good friends @deadmeadow at Valhalla. 710 Red River St Austin, Texas 78701 #deadmeadow #matthollywoodandthebadfeelings #sxsw2017 (at Valhalla)