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Tag: Nikolas Schreck

… But For Such Squeamish Souls

SPEAKING LIES TO POWER

empire news, published this story yesterday, June 4, 2014, on Charles Manson being granted parole. Although it is false, it’s a kind of twisted oxy-moron- in that it is a journalistic lie that speaks truth to power- especially in regard to proportionality and “justice” from such a christian nation. I know that there are many who read this story and thought the news was just, long overdue, and absolutely fair… for a man at his 80th year… a man who has spent the last 45 years of his life in prison, mostly in an inhumane solitary confinement… a man whose actual role in the murders was nothing it was perverted and scripted to be, by a district attorney (bugliosi) who would then write the book that began the lucrative, sensationalistic market of “real crime” novels…  a man who was convicted in a courtroom in which his right to defend himself was denied by a judge who would later reside in the “divorce court” of popular tv… it could go on… and on…
this should be real news, but for “such squeamish souls”-
as Nikolas Schreck put it in The Manson File- Myth and Reality of an Outlaw Shaman-

Those whose understanding of the spiritual path is limited to preconceived notions of conventional morality and “goodness” or reject out of hand the possibility that a man who probably defines himself as an outlaw could be endowed with genuine wisdom. Such squeamish souls would also fail to understand that a gem that’s fallen in the gutter is no less precious than one embedded in a king’s crown.
Such dilemmas, however, are to be expected in the Kali Yuga, the “unlucky age” of spiritual ignorance and rampant materialism we currently find ourselves enmeshed in. The sages who prophecy this iron age new that we would live in a time when the spiritual has all but then forgot. The traditional organized religions, as predicted, have become hollow shells of their former glory. They pay lip service to dead doctrines which only few actually live. 

In such dark aeons as ours, the increasingly rare treasure of transcendental knowledge will be found only where we least expect it.”

FREE MANSON!

“Corcoran, California – One of the most famous killers in the American prison system will be walking free. On Tuesday Charles Manson, who is now 79 years old, was granted parole by the California Board of Parole and authorized by California Governor Jerry Brown. According to California Board of Parole Hearings Commissioner John Peck, prison overcrowding  forced the prison board to re-evaluate prisoners that are elderly or those with serious illnesses.  In February a panel of federal judges ordered California Gov. Jerry Brown (D) two more years to reduce chronic prison overcrowding that has cost the state billions of dollars The ruling, issued by three judges overseeing the state’s efforts to ease the overcrowding, gives California until February 2016 to achieve their goals. But, the judges said, the state has to make elderly inmates and those with serious illnesses eligible for parole immediately. Manson, who was denied parole in April of 2012 and wasn’t scheduled for another parole hearing until 2027, was re-evaluated due to his age and health and the Parole Board recommended his parole. “He is 79 years old and in poor health,” said Commissioner Peck. “We know it’s not going to be a popular decision but, considering our other options he’s the least threat.” Protesters have already planned to picket the lawn outside of the prison in Corcoran but what is more surprising is the number of supporters that have come out to express joy over the news. “It’s a great [expletive] day in America!” said Joe Goldsmith, who camped out in from of the prison Wednesday morning decked out in manson gear with tattoos covering his face.  “Manson is my idol” While parole was granted, the actual release date has not yet been set.”

 
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Horsefly 7″ is still available

HF Released
11.11.11.
The day marking Charles Manson’s 77th year.
This gatefold seven inch is still available for $9.
Collage of Manson’s guitar and property done by myself.
Cover art done by Zeena Schreck.
Liner notes, “Talking To You From Another World”, by Nikolas Schreck.
Back cover art by Kai Nelson.
Mastered by Dan Randall.
Support ATWA, ATWAR, underground art and a DIY ethos by getting yourself a copy
here –
ATWAATWAR.COM

NIKOLAS SCHRECK | “MY SHIFT FROM DARKNESS”

Roosevelt Hotel Lobby

Roosevelt Hotel Lobby

I had the pleasure of officially meeting Nikolas in December of 2012, after maintaining a long distance relationship since our initial meeting on 08.08.08. via telephone communication
(Charles thought he and I should meet, and so he gave me his phone number while I was visiting him in the hole, 2008).
A prior post here-
ATWA– an excerpt about “ATWA” and it’s inception prior to the terms “deep ecology” and “revolutionary environmentalism” (and prior to “Earth First!“), from Nikolas Schreck’s huge contribution debunking the “myth” of Charles Manson, “The Manson File – Myth and Reality of an Outlaw Shaman”– provides much needed insight into one of the many pieces of the whole, that is Charles Manson. Truths that hitherto had been mostly non-existent to not only myself, but to the public at large, Nikolas has illuminated through many years of insight. This work that Nikolas has shared with the world is a clear light- a warm wind which counters the cold winds of this dark age.

I hold the highest Regard and Respect for Nikolas, his teachings, his work, and his spiritual evolution over the years (Zeena’s as well).
I consider him a brother, comrade, and teacher.

TitlePageSMALL
And so, For All Beings, I wanted to share “Mehr Licht” (More Light) with a couple excerpts from Nikolas’ latest interview for the occult magazine, “Secret Knowledge”, with Nik’s permission of course.
“MY SHIFT FROM DARKNESS”: AN INTERVIEW WITH NIKOLAS SCHRECK,
BY GUS BRESLAUER
Excerpts used with permission from Nikolas Schreck
“Secret Knowledge” Vol. I

When asked how Nikolas feels “about the Westernization of Buddhism in our modern society”,
he answers, in part-
“…In the largely secular, materialist, individualist, “rationalist” West, Buddhist teachers have to start from scratch, teaching Westerners the ABC’s of what spirituality is, which wastes a lot of time and energy. And in order to appeal to minds programmed to believe that only what can be scientifically proven is valid, much of the magical supernatural aspect of Tantric Buddhism is downplayed in the West. Another thing that bugs me about Western Buddhism is how it caters almost exclusively to the privileged, spoiled and well-educated elite who can afford the time and money required to take a nice little spiritual vacation by attending the teachings held at ornate dharma centers in a comfortable atmosphere of snobbish self-congratulation. I’d like to see a more socially engaged and classless Buddhism made accessible to the street, to the disadvantaged and despised, to prisoners, the homeless, the terminally ill, where the antidote the Dharma offers is desperately needed. There are 84,000 Buddhist teachings for all types of temperament and lifestyle, but it seems to me that sort of approach would be more in keeping with the wild yogic Mahasiddhas who were the founders and masters of Tantric Buddhism in India and Tibet. If Tantric Buddhism in the West really seeks to free all sentient beings from suffering, it has to develop the skillful means to speak to areas of society it currently ignores. Another factor is that this is the Kali Yuga, the cyclical phase of spiritual degeneracy. The Buddha predicted that in the Kali Yuga, the Dharma would become increasingly less comprehensible to humans until it died out altogether for many thousands of years. It may be that the West’s embrace of egoic individualism, hypercapitalist materialism, non-stop digital entertainment via information overload, and atheist reductionism has sped up the Kali Yugic tendencies to such a toxic degree that only a very few can even truly grasp the Buddhist teaching at all, let alone practice it…”

When asked about Nikolas’ spiritual evolution, and whether his political stance has had a similar evolution, Nikolas answers, in part-
“… To the minimal degree that my political stance was ever understood by the public at large, yes, of course, that’s evolved over the years too. I’m still a monarchist who believes rulership must be guided by divine and spiritual authority rather than corporate-sponsored election by a mob or a dictatorship of the proletariat. But I no longer believe any kind of political system can address the deeper spiritual dilemma facing humanity. All efforts should be directed to ultimate liberation by spiritual practice rather than the futile Samsaric ups and downs of politics. What some mistakenly interpret as a mundane and political agenda on my part was actually an intrinsic facet of my spiritual quest in my exploration of how to change human behavior through magic. You mentioned the counterculture and that’s a good key to this quandary. My understanding that a truly comprehensive politics must be informed by a spiritual perspective, and isn’t simply a pragmatic matter of economics and social policy, comes from my upbringing in the late 60s and early 70s counter-culture. Back then, it was a common utopian belief in radical factions that a total revolution on every level was imminent, and that the entire social, spiritual, sexual framework of human existence would be drastically transformed by mass insurrection against the prevailing establishment values. I expected to be on the front lines of that civil war that unfortunately never happened. If you weren’t there, you can’t imagine how intensely this expectation of revolution was in the air. That revolutionary ideal was imbued with the 1960s magical revival and the sudden awareness of mystical experience mass use of psychedelics revealed. The best example of this magical politics was the ritual banishing and exorcism a collective of pacifist radicals performed on the Pentagon in October 1967. When Squeaky Fromme was accused of trying to assassinate President Ford in 1975, I thought, “Oh, good, here’s that revolution I’d been waiting for.” Now, I know you were expecting me to get into Hitler, not hippies, but there’s a strong similarity between the 1960s American counter-culture revolt against “The Establishment”, and the 1930s German counter-culture rebellion against what was called “The System”. They were both concerned with changing humanity at the root, making a new world, a sharp break with politics as usual, and they were both greatly focused on pioneering radical ecology and getting back to nature and the soil. And more importantly, they were both informed by magical, pagan, and spiritual ideals that few other political movements have ever been concerned with. What interested me about the history of the Third Reich wasn’t the political aspects, but the fact that several National Socialist leader’s planned to bring about a new religion in Europe once the war was won. While in Germany to research my first book in 1983, a study of Nazi occultism which I ultimately decided not to publish, I investigated this subject exhaustively…”

Support independent publishing & purchase your copy now from:
http://www.lulu.com/shop/stephen-bower/secret-knowledge-volume-one/paperback/product-21015040.html

“TALKING TO YOU FROM ANOTHER WORLD” – Nikolas Schreck

Talking to You From Another World
Manson’s Music in Context

Liner notes essay, insert, for Charles Manson’s Horsefly
By Nikolas Schreck

CM guitar body side

This raw shout of sonic shamanism was recorded in a prison cell on a smuggled recording device during a few precious minutes of stolen silence. California Correctional Department jargon says this isn’t a record, it’s contraband. Some clever attorney’s probably making a case that merely by purchasing this, you’ve aided and abetted a crime.

But seen through Abraxas’s all-seeing non-dual eye, this record’s very existence is a potent symbol of a creative soul standing up to the inhuman system of stone and steel which holds his body captive but has never crushed his spirit. As befits an artist who proudly claims that he’s stood on the law’s other side since his bastard birth, this is a seventy-seven year old survivor’s defiant call to a society he X’d himself out of decades ago. A testament to music’s power to transcend even concrete and chains.

Artists and criminals both stand outside the fixed order of things, reshuffling social reality’s deck. They’re brothers in bearing the stigma that breaking the rules brings with it. In Manson, artist and criminal unite. The urge to create and the drive to transgress become one.

Jaded collectors of true crime curiosities and other pop culture ghouls will bring false expectations to this release. If you buy the cover-up pushed in court forty years ago and sold ever since, this is only the artifact of a deranged mind. Consensus reality has it that Manson’s only claim to fame is his supposed masterminding of a shocking crime spree committed for reasons that’ve come to be accepted as society’s gold standard for Satanic insanity. This is neither the time nor the place to correct Vincent Bugliosi’s career-making masterpiece of legal duplicity. Only a new trial could do that. Let us consider, instead, for once, the artist obscured beneath the vast tissue of fabrications concocted to convict him. To hear Manson’s music – really hear it – you must pull the plugs from your ears and dispel the projections superimposed on his art.

Manson was never the Beatle wanna-be the Helter Melcher Skelter caricature paints him as. Not a note of his music echoes the British minstrel show derived from Afro-American rhythm and blues that became the Sixties’ defining sound. His work twangs with his Scotch-Irish Southern hillbilly roots. This is the Great Depression country boy who praised the Lord in Protestant church choirs, his percussive way with a git-box informed by the Catholic monk who taught him chords in Gibault Boys School. Alvin ”Creepy” Carpis of the Barker Gang showed him some slide guitar rubs in Terminal Island. A Mexican amigo added a Latin twist during a brief time on the lam in Acapulco. The bare bones strum of Hank Williams and Lefty Frizzell, the country and western heroes of Manson’s youth, left their mark too. His music was shaped by chain gang chorales and the anguished cries of convicts shouting on the tiers of all of the prisons in which he’s marked time. In short, it’s hard to imagine a more All-American musical fusion than Manson’s mix of white prison blues and hillbilly gospel. His holy roller snake-handler sound is built on the twin pillars of crime and religion, the two pillars upholding the American dream.

Along with the Beatles canard hung wrongly on Manson’s head, we find the well-entrenched lie that he was a jealous non-talent who struck out at random at the entertainment industry which supposedly spurned him. This willful denial of the facts, one of the rock and film industry Mafia’s most successful facades, is actually the complete opposite of the truth. Manson’s talent was hailed by many successful musicians, among them Neil Young, Dennis Wilson, and Terry Melcher – who never confessed to how deeply involved he was in pushing Manson’s career. Few who remember will admit it now. But Manson was no feared pariah until the media cast him as one. He was a welcome guest and admired musical and spiritual inspiration in the homes (and beds) of many of Hollywood’s groovy and moneyed elite. By 1969, the blessing/curse of Manson’s charisma had him well on his way to being marketed by the Hollywood rock aristocracy as the ”Next Big Thing” of the 70s. He fit right in with the fashion for country-tinged Laurel Canyon singer-songwriters with a message. His truly radical lifestyle, his prison past, and his unique mystical views stamped him with a visionary outlaw chic authenticity made to order for those insurrectionary times. A major Capitol Records album backed up by the Beach Boys was in the works. As was a companion documentary about life among Manson’s revolutionary circle meant to establish him as the countercultural avant-garde’s prophetic voice.

In the early summer of ‘69, Manson was no rejected would-be. In only two years, the ex-con had climbed out of society’s trashcan and managed to come within reach of a mainstream success he regarded with more than a little ambiguity. Manson wasn’t so sure he wanted to sell his soul. In spirited campfire singalongs in the hills of Santa Susana and Death Valley, his music was empowered by religious dimensions. Could that holy force be sustained in the rock and roll circus’s marketplace? Despite the star of the show’s reluctance, the music machine’s Manson campaign would’ve been going full blast within weeks. If it weren’t for the backlash set off by a series of hopelessly bungled drug burglaries, banal crimes conceived and committed by Manson’s associate Charles ”Tex” Watson on some well-connected industry drug dealer peers of his acquaintance. Manson’s industry backers got cold feet because of his marginal connection to Watson’s crimes, not because of any doubt about his talent and commercial potential.

In fact, Manson’d already tired of corporate rock’s formulaic rigmarole. He rejected pop stardom’s strictures as yet another prison. Dennis Wilson had stolen his music, changed his lyrics, and released it without proper credit or payment on the Beach Boys 20/20 album. When Manson tried to get paid what was due him, the Beach Boys’ manager threatened to have Manson rubbed out by a hit man. So much for the much misunderstood past.

Manson didn’t commit this latest musical violation – and suffer the penalty of removal of ”privileges” – to provide entertainment to those drawn to his monstrous media myth. Since the mid-Nineties, his keepers in the Mojave Desert hell-realm he calls home have denied him a voice. To prevent him from being seen as a ”hero”, Manson’s right to grant face-to-face interviews has long since been rescinded. This recording, smuggled out of the heart of the beast, allows Manson to speak. This isn’t show biz or polished performance. Under the hopeless conditions it was recorded, how could it be? Manson’s the first to admit that what he’s recorded in prison doesn’t match what he’d be capable of under proper circumstances. Consider this instead a coyote cry from the heart. No sweetening, no overdubs, no second take. A desperado at his most desperate. A special delivery lyrical letter from the depths of an Orpheus deep in the underworld, in every sense of the word.

Manson says this moment of Now is ”just for us”, his Inner Sanctum, the ”my-mes” and ”alikens” tuned into ”the thought.” But when Manson speaks of thought, it’s not the rehash of discursive chatter that usually fills the mind. Like all mystics, Manson breaks those familiar patterns, allowing non-thought’s silence to break through quotidian mentation’s clutter. Manson’s art is without artifice. Never contrived or forced but immediate and flowing. The unmediated reflection recorded here captures a fleeting moment in the middle of the night after the din of another day in his cage. The Bard of Corcoran’s poetry is a twilight language of underworld argot. Here is the uncut pulse of the alternate universe of American crime which slumming Beats like Burroughs sought to capture but never quite caught. Hermetic, cryptic, veiled with allusions meant for the few and never the many, Manson’s message resists the reductionism of linear minds. His refusal to explain is bound to engender confusion.

Manson’s knee-jerk detractors and admirers alike may miss one salient point. Given a rare chance to communicate, the state’s scapegoat issues none of the bloodthirsty orders to kill we’ve been led to expect from Public Enemy Number One. Instead, ”the most dangerous man in the world” makes the same appeal for Agape that’s always infused his deeply Christian Gnostic thought: Love your brother and you will survive. Hate your brother and you will eat your self.

Coming from a man who’s spent most of his life locked inside the heartless machine of America’s high-security hate factories, that hard-won lesson is a plea worth taking seriously.
Nikolas Schreck, September 2011

TTYFAW NS INSERT

Heathen Harvest | Review of Horsefly

Charles Manson – Horsefly


Written by: Sage
Artist: Charles Manson
Title: Horsefly
Label: A.T.W.A.R. / The Zou / Parasitic Records
Format: 7″

Genre: Folk

Side A: Revolution
Side B: Air Trees Water Animals

I’ve been sitting and pondering this release for several months now, letting it sit undisturbed in the room adjacent to this one in which I spend most of my time, facing outwards, the portrait of Manson’s one visible eye staring out at me from it’s spot in front of the other vinyl promos awaiting their turn for a write-up, beckoning, taunting as the familiar other half, a portion of the face on the Shroud of Turin, peers with one ghastly dead eye from the other side. Many times, after a momentary connection with the front cover, I have passed it over because, frankly, I just wasn’t ready to write on it yet. This is the type of thing that isn’t a simple artistic expression that someone has put out on record — there is so much more depth, meaning and importance to something like this than some journalists would have the chance to experience in their career, though not all of which are of Manson’s choosing. Symbology, music, artwork and text aside — all the things that normally make up a concrete release for a project — this is at it’s most basic, core level one man’s ability to reach out and show society that the walls that contain his physical body cannot contain his spirit, his writing, or even his music. That man’s modern inhuman, flawed systems can only hold that vessel that carries him, but not that which IS him. That man can implement their forced view of morality and put in chains the body which disrupts their fickle societal reality, but what really makes someone “real” transcends those barriers so long as there are few outside those walls who still believe in what freedom actually means.

I could go into great length and detail about my feelings on the subject of Manson’s incarceration, the hypocrisy involved, the lies and the ignorance/apathy that plagues modern society into simply swallowing what they’re fed instead of looking at facts and taking the time to research much of anything. I could go into great detail on what kind of man Manson really is to myself and others. However, this record comes with a lengthy article as written by Nikolas Schreck whom — and I feel this should go without saying — has had his own battles with media portrayal and backlash from society, both from his spiritual beliefs which have steadily evolved over the years and his musical endeavors (see: Radio Werewolf). In the end, Schreck puts Manson and his life-long ordeal into perspective in a more profound and educated way than I could ever hope to, which shouldn’t come as any surprise given his known sympathies towards Manson as seen in his book “The Manson File”. Regardless, the problems that he speaks of transcend the individual and reach far past Manson himself to other controversial subjects and individuals like Boyd Rice or Adam Parfrey and the rest of “Apocalypse Culture”, though the stigma against both is far less intense. However, this is neither the time nor the place for that discussion.

Moving on, the one thing that Schreck did not hammer home about Manson with his article on the subject that I personally believe is one of the most important characteristics about him is that he is the ultimate symbol of a spiritual man’s unending quest to transcend that which makes him human and live closer to the deity that he is drawn to. In Manson’s case, his belief in and his love for the Gnostic deity Abraxas has led him to constantly have to fight the duality of his own existence in prison — the hatred and the love, the criminal underworld in which he lives and the society which contains and restrains him — to consider and represent in himself the complete reality of right AND wrong / light AND dark that Abraxas himself wholly represents. Equally, Manson represents the human weakness to need a leader or need followers, so much so that murders that were carried out, in some minds, in his name — not on his command — have landed him the legend that he has become, when in reality he merely wishes for individuals to be responsible for their own actions and beliefs — to leave him as a neither a leader nor a follower, but simply a man with a voice. As can be seen on both a literal political and a metaphorical personal level for Manson, Lynette Fromme perhaps put it best when she was quoted in the documentary “Charles Manson Superstar” as writing: “As for Manson’s revolutionary right-wing cause, I believe that if Manson had wings, he’d have at least two of them and a substantial soul-self in the center.”

 Horsefly Back Image
Now that we’re through that, it’s time to focus on the most important part of Manson’s being and ultimately the most important idea that he has to offer humanity from the cage that it has left him in, and perhaps the second biggest influence on this record — the ecological idea of ATWA. It might seem strange to some whom are reading this review and are already disillusioned by my personal sympathies for and ramblings on Manson, but the man himself is an environmentalist, someone who identifies with the ways of wildlife more than he does with the ways of his own species — and for good reason. ATWA simply stands for Air, Trees, Water, and Animals, and has had an “R” for Revolution added to it to create “ATWAR”, a movement and entity completely separate from “ATWA” but based off it’s ideas. This ecological idea is simple and uncompromising on several levels, both preaching the return to the natural world because of our parasitic habit of obliviously destroying everything that we depend on and the realization that one man’s gain in modern society is another man’s labor, that instead of loving our brother, we’re enslaving him. These are obvious thought patterns that have a very modern reality that should need little explaining to the environmentally conscious mind — though it seems the majority of us in the Western world continue to live under the illusion that what we’re afforded here doesn’t come with consequences to someone else (or for ourselves further down the line). Symbology aside, the back cover of the 7″ pictures, in a realistic manner, Manson as a champion for that natural cause, surrounded by the forest and wildlife that he so identifies with, from wolf and raven to the subtle presence of scorpions and a trio of horseflies. There is also a supernatural quality to the art as well, with eyes completely white and the forehead swastika that he has become known for becoming ignited, reaching up and faintly touching the center of a Germanic black sun halo which symbolizes his (in his own way) alignment with the beliefs of pre-christian and pre-industrial thought. Even in those few years in the late 60′s when he had his freedom, he was avoiding the post-modern coming-of-age realities of feminist (and other) philosophies and reverting himself and his followers to look towards the natural world. The wolves being white and black symbolize, once again, the duality of Abraxas through color (black/white and dark/light) and symmetry (left/right). The horseflies at his head remind of old superstitions that state that a horsefly signals the coming of a visitor. Given Manson’s (hinted at) belief that he can astrally project his thoughts out into the world from his confines, it would seem that these symbolize the vehicle for those projected thoughts. The fact that these objects have obvious significance to his ties to occult subjects should go without saying.

This review has become somewhat of a biography, but it’s imperative that if you’re reading this that you try to open your mind beyond whatever preconceived notions that you have about the man and understand who Manson is from a perception that lies beyond the usual media hysteria. This record represents a man towards the end of his life who is simply just doing his thing as he has always done. It’s a genuine piece of music from a soul who has carried a banner of authenticity even through his flirtation with Hollywood and the “big time”. This isn’t meant to simply be a historical artifact or an attempt to document someone who may soon no longer be part of our reality. It’s certainly not a fickle attempt to make a dime off a famous figure. The very nature of the movement behind this release, A.T.W.A.R., firmly aligns the people behind this release as being behind Manson himself, and when this is looked at in relation to the other recent releases of similar themes, it should show that this release envelopes and captures who Manson is on a level seen in only glimpses before.

The music was released on November 11th, 2011, which was Manson’s 77th birthday — a mathematical anomaly that one has to admit is stranger than fiction. The music itself is what one would expect from an older Manson whom hurriedly recorded his soul on two tracks via a smuggled recorder. Grimy Southern old-time prison folk that heralds back to the influences of his youth but in that unique Manson sound that concentrates more on a linear path of thought that is streaming out of him rather than a concrete, constructed song — a style that symbolizes the chaos that Manson has faced in his life, both internally and externally, since his birth. The lyrics and vocal style, especially on side A are somehow incredibly similar to the likes of both Captain Beefheart and David Tibet (Current 93) in their psych overtones and, specifically Tibet’s spiritual ramblings, yet are also completely different, simply meeting somewhere in a combination of those two gentlemen with a little bit of bluesy soul. The guitar can act as both an accent to his current mood in the track or as a simple backdrop to his spoken word, but it is always changing and not necessarily evolving — it’s always becoming something new, not simply progressing from the previous line. The other side of the insert that contains Schreck’s article on Manson contains a beautiful portrayal of how I prefer to see him — as one with the wilderness, raven on wrist. This side of the insert also contains the lyrics for both tracks that, like the songs themselves, contain no structure and are only transcriptions by the label — a truth that is made apparent through segments that are marked “[inaudible]” and can unfortunately only be heard as such on the recording.

With ATWA, it appears that his primary reasoning is that words don’t mean anything. Only action matters in this life, and it has to be action that doesn’t utilize a hypocritical engine (“You can’t protest cutting down trees by writing papers”). In the end though, even if he could read them, Manson couldn’t care less about my thoughts on who he is or his music. He isn’t concerned with having followers, but only his own survival — he doesn’t want the attention, but rather to return to where he was before his latest incarceration — to the desert. So in the end, that soul that reached out and will be touching 1,000 individuals through this release, in reality, it’s just one man doing his thing and nothing more. Music is his religion, and he’s going to express that religion by any means necessary. But to the listener, he offers only words. Whether we choose to do anything with them is on us, but if you do, be prepared to take responsibility for your actions, and to do it alone. This realization doesn’t change the fact, though, that in his own way, intentionally or not, Manson is slowly influencing a growing number of people on an ecological front, and perhaps one day, will fully overturn the perspective that he has achieved falsely in life through disinformation that he is a murderous mastermind and turn that legend towards the status of folk hero. It would seem that this is quickly becoming the state of things as recent years have seen an influx of activity from Manson’s musical offerings via this release and a few offerings from Magic Bullet Records. The basic point in the end though is that if you want to get into Manson’s head — REALLY get into his head — this is the release to do so with.

 Air Trees Water Animals REVOLUTION

ATWA- excerpt from “The Manson File – Myth and Reality of an Outlaw Shaman”

Nikolas and Charles, April 4, 1988

An excerpt from Nikolas Schreck’s “The Manson File – Myth and Reality of an Outlaw Shaman”, taken from Chapter Six- The Revolutionary… Hermetic Politics, Countercultural Confusion, and Radical Ecology
(Used with permission)

Nikolas Schreck
On
ATWA

“”It isn’t generally recalled that Manson’s arrest in Death Valley in October of ’69 was unrelated to the Tate/LaBianca murders. He was originally apprehended for his part in setting a Park Service road vehicle on fire. Manson later admitted to carrying out this arson against state property, claiming that he wanted to stop the Death Valley rangers from “tearing up the land” and “destroying the water and destroying the animals and the deserts”. Manson has described that every time he was released from prison, he would notice that more damage to the environment had been caused while he was inside. Manson has said that he and others at the Spahn and Barker ranches carried out other acts of pro-ecology sabotage, but this incident is the only one of these actions that was documented. It was in this spirit that Fromme and Good began their militant campaign to further the cause of what Manson was now calling ATWA – an acronym for Air, Trees, Water and Animals, At War, and All The Way Alive. Long before scientists’ warnings about the threat to the survival of life presented by global warming and pollution became common knowledge, Manson pioneered an extreme return-to-nature lifestyle. Manson’s ATWA is not a political theory to read about or debate. It’s a way of life that must be enacted in deeds rather than words. Bearing many similarities to the better-known Earth First!, the Deep Ecology movement, and Europe’s Green political parties, ATWA proposes that mankind’s blind and self-destructive greed and obsession with “the money mind” has led the species to the brink of self-extinction. Through the corporate despoliation of natural resources for maximum profit, Manson argues, a state of ecological emergency has been brought about. If radical measures are not taken, the complete destruction of life on earth is guaranteed. Those who have brought about this state of catastrophe, Manson stated, are the “big money benders and lenders that are selling the next generation of children out.” He advocates the complete cessation of the automobile industry and its accomplice in eco-side, the oil industry, as a necessary step: “Our air is dying. We’ve got to stop the fossil fuel, if we don’t stop that oil consumption there’s nothing of us left.” As an alternative, Manson recommends returning to the horse as a means of transportation. Manson considers the gravity of the ecological crisis so dangerous that he proposes that only what he specifically terms a “One World government and a One World court” whose resources are completely dedicated to the reseeding and regreening of the poisoned earth at all costs can possibly effect the necessary change. Mankind, he believes, has a spiritual obligation to become a servant to the earth, rather than an exploiter of its resources. For this to happen, a new understanding of man’s subordinate position in the natural world must be reclaimed. ATWA rejects the arrogant anthropocentric secular humanism that has led to this situation since the Enlightenment. Manson confronts the basic underpinnings of “rational” and profane liberalism with a pantheistic and pagan recognition of the holiness and interconnectedness of all of nature. He recommends adopting a vegetarian diet, and actively working against experimentation on animals, the whaling industry, and all other human exploitation of the animal kingdom. Manson’s belief in reincarnation and karma informs his pro-animal stance, as does his shamanic practice of communion with totem animals. ATWA goes against the grain of the modern world by repudiating the computerized, digital, mechanized robot system mankind has been enslaved by and urging a return to a life deeply bound with the natural world. Fromme and Good, who were co-creators of this developing ecological evangelism, became soldiers on the front line of Manson’s “holy revolution against pollution.” Most of the political extremists of left and right who’ve been drawn to Manson have tended to reduce his revolutionary creed to strictly rational political goals, selectively ignoring the fact that Mansonian metapolitics is indivisible from his spiritual understanding. Manson continually stresses that ATWA begins in changing thought, and bringing one’s own inner being into balance. Without first undertaking the work of this internal revolution, Manson has maintained, any attempt at external revolution will only “reflect the confusion of old reruns of programming they got everything fucked up in the first place… How can you go into a new thought world if you drag in the old one with you in your mind?” That ATWA is essentially a religious movement rooted in the transformation of mind was also emphasized in Manson’s statement that “I won’t sell my soul 4 it’s for ATWA. That’s the only way life on earth can be alive. The will of God is life. Get in God’s will or die. Die can be done in the mind’s thought pattern and new life can be brought in focus.” Obviously, this clearly stated theistic basis of ATWA would make it anathema to those violently irreligious “Satanists” and other secular atheists who ignorantly claim allegiance to Manson, but this fine point seems lost on them.””


And I should add here that I urge anyone who is TRULY searching for what this books title illustrates- to separate the “myth and reality” of Charles Manson, an “outlaw shaman”-
to purchase a copy of this piece of work, a collection of close to 25 years research and insight, thoroughly debunking much of the regurgitated nonsense that has spewed from too many writers, journalists, polished news anchors and publishers for over four decades. This is a thoroughly honest and intelligent perspective that is now available to ALL who TRULY wish to know the ALL, and thereby end ALL the “sourcing” and “citing” of the above mentioned vomiting of fabricated hearsay and patch work postulations that have already aided enough in further perpetuating the vast surplus of party line ignorance and misinformation. Thanks to Nikolas for being the one to finally put the proper context to print.
X- Haze