Nietzsche and the Nazis by Stephen R. C. Hicks (Full Audiobook)
This audiobook edition of Nietzsche and the Nazis is read by the author, Dr. Stephen Hicks.
Adolf Hitler’s Mein Kampf — Unexpurgated Edition (1939)
Mein Kampf (German: maɪn ˈkampf; My Struggle or My Fight) is a 1925 autobiographical manifesto by Nazi Party leader Adolf Hitler. The work describes the process by which Hitler became antisemitic and outlines his political ideology and future plans for Germany. Volume 1 of Mein Kampf was published in 1925 and Volume 2 in 1926. The book was edited first by Emil Maurice, then by Hitler’s deputy Rudolf Hess.
Hitler began Mein Kampf while imprisoned for what he considered to be “political crimes” following his failed Putsch in Munich in November 1923. Although he received many visitors initially, he soon devoted himself entirely to the book. As he continued, he realized that it would have to be a two-volume work, with the first volume scheduled for release in early 1925. The governor of Landsberg noted at the time that “he (Hitler) hopes the book will run into many editions, thus enabling him to fulfill his financial obligations and to defray the expenses incurred at the time of his trial.” After slow initial sales, the book became a bestseller in Germany following Hitler’s rise to power in 1933.
After Hitler’s death, copyright of Mein Kampf passed to the state government of Bavaria, which refused to allow any copying or printing of the book in Germany. In 2016, following the expiration of the copyright held by the Bavarian state government, Mein Kampf was republished in Germany for the first time since 1945, which prompted public debate and divided reactions from Jewish groups.
Zweites Buch, Adolf Hitler’s Second Book: The Unpublished Sequel to Mein Kampf
The Zweites Buch (German: [ˈtsvaɪ̯təs buːχ], “Second Book”), published in English as Hitler’s Secret Book and later as Hitler’s Second Book, is an unedited transcript of Adolf Hitler‘s thoughts on foreign policy written in 1928; it was written after Mein Kampf and was not published in his lifetime.
Gerhard Weinberg speculates that the Zweites Buch was not published in 1928 because Mein Kampf did not sell well at that time and Hitler’s publisher, Franz-Eher-Verlag, would have told Hitler that a second book would hinder sales even more.
Zweites Buch and Mein Kampf
Further information: Nazi foreign policy debate
There are a number of similarities and differences between Zweites Buch and Mein Kampf. As in Mein Kampf, Hitler declared that the Jews were his eternal and most dangerous opponents. As in Mein Kampf, Hitler outlined what the German historian Andreas Hillgruber has called his Stufenplan (“stage-by-stage plan”). Hitler himself never used the term Stufenplan, which was coined by Hillgruber in his 1965 book Hitlers Strategie. Briefly, the Stufenplan called for three stages. In the first stage, there would be a massive military build-up, the overthrow of the shackles of the Treaty of Versailles, and the forming of alliances with Fascist Italy and the British Empire. The second stage would be a series of fast, “lightning wars” in conjunction with Italy and the United Kingdom against France and whichever of her allies in Eastern Europe—such as Czechoslovakia, Poland, Romania and Yugoslavia—chose to stand by her. The third stage would be a war to obliterate what Hitler considered to be the “Judeo-Bolshevik” regime in the Soviet Union.
The “fourth stage”
In contrast to Mein Kampf, in Zweites Buch Hitler added a fourth stage to the Stufenplan. He insinuated that in the far future a struggle for world domination might take place between the United States and a European alliance comprising a new association of nations, consisting of individual states with high national value. Zweites Buch also offers a different perspective on the U.S. than that outlined in Mein Kampf. In Mein Kampf Hitler declared that Germany’s most dangerous opponent on the international scene was the Soviet Union; in Zweites Buch, Hitler declared that for immediate purposes, the Soviet Union was still the most dangerous opponent, but that in the long-term, the most dangerous potential opponent was the United States.
In the first two chapters Hitler claims the balance between population and natural resources to be the main focus of any nation.
The starting point of his analysis is the “struggle for daily bread” (food production) as the basis of human society. From this need for self-preservation, he develops his central idea of the relationship between the population and the size of the habitat of a people. If the habitat cannot provide sufficient resources for survival, degeneration and a decline of the nation results. Hitler raises the struggle for adequate habitat to a central principle of human history. Hitler points out that this battle is often enforced militarily, as history has adequately demonstrated.
As solutions to the struggle for living space, Hitler considers birth control, emigration of the population, increased food production, and increased exports to buy additional food. All of these alternatives he finds problematic. Birth control and emigration he believes leads to a weakening of the nation, as people are the true life-blood of the nation. The increase of food production he declares to be fundamentally limited by a finite amount of productive land. Greater exports he discards because it leads to increased market competition with other nations, making Germany dependent on outside nations and therefore leading to the situation Germany faced with the start of World War I in 1914. Hitler revisits these arguments several times in subsequent chapters.
In the other chapters Hitler developed his thoughts on the future National Socialist foreign policy that serves the struggle for living space. As in Mein Kampf, Hitler claims that the Jews are the eternal and most dangerous opponents of the German people; he also outlines and elaborates on his future political plans.
Hitler stated that National Socialist foreign policy was to be based on Lebensraum for the German people:
The National Socialist Movement, on the contrary, will always let its foreign policy be determined by the necessity to secure the space necessary to the life of our Folk. It knows no Germanizing or Teutonizing, as in the case of the national bourgeoisie, but only the spread of its own Folk. It will never see in the subjugated, so called Germanized, Czechs or Poles a national, let alone Folkish, strengthening, but only the racial weakening of our Folk.
Ideas on international relations
Of all of Germany’s potential enemies comprising the eventual Allies of World War II, Hitler ranked the U.S. as the most dangerous. By contrast, Hitler saw the United Kingdom as a fellow “Aryan” power that in exchange for Germany’s renunciation of naval and colonial ambitions would ally itself with Germany. France, in Hitler’s opinion, was rapidly “Negroizing” itself. In regard to the Soviet Union, Hitler dismissed the Russian people as being Slavic Untermenschen (“sub-humans”) incapable of intelligent thought. Hitler consequently believed that the Russian people were ruled by what he regarded as a gang of bloodthirsty but inept Jewish revolutionaries.
In Zweites Buch, Hitler called for an Anglo-German alliance based on political expediency as well as the notion that the two Germanic powers were natural allies. Hitler argued that the alleged British striving for a balance of power leading to an Anglo-German alliance would not conflict with his goal of Germany being the dominant continental power because it was wrong to believe that “England fought every hegemonic power immediately”, but rather was prepared to accept dominant states whose aims were “obviously and purely continental in nature”. Hitler went on to write that “Of course no one in Britain will conclude an alliance for the good of Germany, but only in the furtherance of British interests.” Nonetheless, because Hitler believed that there was an ongoing struggle between the “Jewish invasion” and the “old British tradition” for the control of the United Kingdom, Hitler believed the chances for Anglo-German alliance to be good provided the “Jewish invasion” was resisted successfully. Hitler hedged somewhat, however, by claiming that:
The instincts of Anglo-Saxondom are still so sharp and alive that one cannot speak of a complete victory of Jewry, but rather, in part the latter is still forced to adjust its interests to those of the English. If the Jew were to triumph in England, English interests would recede into the background…. [But] if the Briton triumphs then a shift of England’s attitude vis-à-vis Germany can still take place.”
English publication history
A translation by Salvator Attanasio was published in 1962, as Hitler’s Secret Book, with an introduction by Telford Taylor. A translation by Krista Smith was published in 2003, as Hitler’s Second Book, edited by Gerhard Weinberg.
Zweites Buch (Secret Book): Adolf Hitler’s Sequel to Mein Kamph
Zweites Buch is an unedited transcript of Adolf Hitler’s thoughts on foreign policy written in 1928, it was written after Mein Kampf and was not published in his lifetime.
Now, these historical documents give an insight into the mind (and intentions) of one of the most famous political figures of the 20th Century. A fascinating read and great source of material for students and history buffs alike.
Eva and Adolf, Happier Days – Before The Fall
“Wolfsschanze,” Adolf Hitler mit Stab
In search of Atlantis
17 SS Pz Gren Div GOETZ VON BERLIGHINGEN
The StG 44 (abbreviation of Sturmgewehr 44, “assault rifle 44”) is a German selective-fire assault rifle developed during World War II by Hugo Schmeisser. It is also known as the MP 43 and MP 44 (Maschinenpistole 43 and 44). The StG 44 was an improvement of an earlier design, the Maschinenkarabiner 42(H).
The StG 44 was the first successful assault rifle, with features including an intermediate cartridge, controllable automatic fire, a more compact design than a battle rifle with a higher rate of fire, and being designed primarily for hitting targets within a few hundred metres. Other rifles at the time were designed to hit targets of over a thousand meters, but this was found to be in excess of the range in which most enemy engagements actually took place.
The StG 44 fulfilled its role effectively, particularly on the Eastern Front, offering a greatly increased volume of fire compared to standard infantry rifles. The StG largely influenced the Soviet AK-47, introduced three years after the war concluded. The StG’s influence can still be seen in modern assault rifles, which, after World War II, became the global standard for infantry rifles.
German Articles of Surrender
The Turner Diaries
The Turner Diaries is a 1978 novel by William Luther Pierce, published under the pseudonym “Andrew Macdonald.” The Turner Diaries depicts a violent revolution in the United States which leads to the overthrow of the federal government, nuclear war, and, ultimately, a race war. All groups opposed by the author, such as Jews, gays, and non-whites, are exterminated. The book was described as “explicitly racist and anti-Semitic” by The New York Times and has been labeled a “bible of the racist right” by the Southern Poverty Law Center.
As a cultural artifact, The Turner Diaries is political fiction that presents the means by which white nationalism (white separatism, eugenics, etc.) can be established with a race war and genocides against the perceived non-white enemies of the nation.
Jersey Nazis – today
Symbols of The Movement, White Power
Parasitism and the fight for the wrong century
Generals are famously always “studying how to fight the last war,” with the last war’s technology, while dismissing how the world and its tech have changed in the interim. This is true for dissidents, rebels, and culture wars too. Our fears tend to be of 20th century boogeymen, the Nazis and the Soviet Union — but we should be worrying about other things entirely. The world and its dystopias have moved on.
The Nazis and the Soviets obviously inspired Orwell’s “1984,” which was stunning, visionary, and enormously influential, while still being slightly myopic compared to Huxley’s earlier, much weirder, and much more subversive “Brave New World.” But Orwell too was already able to prophesy a world in which no one really fought for territory any more. What would be the point?
Militaries around the world are constructed primarily for national defense against an invading, conquering force, but invading and conquering territory makes no sense any more. Wealth and power are no longer remotely related to how much real estate or raw materials you control. South Korea’s US-dollar GDP is higher than that of Russia.
The US swept Iraq’s military away like gauze paper when they invaded in 2003, but it turns out that, even after you overthrow a brutal dictator, even when it’s one of the most oil-rich nations on the planet, attempting to occupy and control a hostile nation inevitably becomes a horribly expensive catastrophe that costs enormously more than any possible benefits.
Nation-states don’t invade and conquer each other any more because of military defenses, or any kind of Pax Americana, or because everyone has gotten nicer and kinder over the last hundred years. They don’t do it because, thanks to technology-driven transformations over that time, it simply doesn’t make any sense; in fact it has become complete madness.
Similarly, counterculture individualists and lovers of freedom worry about Nazi fascism or Soviet police states. How twentieth century of us. There are plenty of neo-fascists out there, to my dismay, and we often seem to be doing our best to accidentally construct the tools of a police state out of modern technology — smartphones, drones, facial recognition technology, etc. in the much-abused name of “security.” I’m certainly not suggesting that people or societies today are somehow less likely to construct such horrors because they have grown morally better over time. There are plenty of awful people out there.
I am, however, suggesting that awful people today are a lot less likely to aim for fascism or totalitarianism because awful people benefit a lot less from those systems than they used to. The Soviet Union collapsed because it was an economic disaster as well as a moral one. The closest things we have to fascist states today — monarchies like North Korea and Saudi Arabia — are fragile, riven by internal contradictions and internecine warfare, facing the future with desperation and fear.
There’s a new playbook for oppression today. Instead of outright totalitarian rule, you construct the appearance of democracy, while controlling it by subtly — in some cases perhaps not even consciously — restricting the options available to individual voters; by controlling a tiered system of “representative” electors behind the scenes; or by simply outright stuffing the ballot box. (There can be much sound and fury about the distinctions between the available candidates, but if you’ve done your job correctly, and made democracy as awful as possible, in general only establishment candidates or easily manipulated narcissists will ever be nominated.)
Then you give your people enough freedom to thrive; to create, to disrupt, to innovate. And you siphon as much as you can of that created wealth.
You don’t give them enough to actually seriously challenge the establishment, of course; to, say, remake the system so that the siphoned wealth goes to its poor and oppressed people instead of its silent, invisible masters. That is a red line that must not be crossed. But the beauties of this system — call it parasitism — is that it is very rare to encounter a challenger who cannot be co-opted. It vampire-squids enough wealth for its upper-tier members and their families to live lives of extraordinary, gilded luxury, without the unpleasant threat of being assassinated or deposed that comes with outright fascism or totalitarianism.
These parasitic systems couldn’t exist without today’s technology. They are mostly networked, not hierarchical. They watch, they adapt, and they distract. They construct shell corporations that shuttle gobs of money around the globe like 747s. And they very rarely need to resort to violence, because, like the Borg, and like capitalism itself — from which it is distinct, although there are places where it has been so successful that people rarely recognize any difference — parasitism usually has the capacity to absorb all those who confront it.
I’m not saying fascism and totalitarianism are things we should be completely unworried about. They’re out there, they’re real, and they’re terrifying. But there are playbooks for how to fight them. Parasitism, though, seems almost unstoppable. Presumably the solution is a technological one; let’s hope it’s discovered soon.
“On the Blue Water,” Esquire Magazine, April 1936
“Certainly, there is no hunting like the hunting of man. And those who have hunted armed men long enough and liked it, never really care for anything else thereafter. You will meet them doing various things with resolve, but their interest rarely holds, because, after the other thing, ordinary life is as flat as the taste of wine when the taste buds have been burned off your tongue.”
Ernest (Miller) Hemingway (1899-1961)
Win by any means
“Sons of guns. Stop apologizing to the conquered. Grow a set. Fuck all the haters and the baiters. White Power!!!” — Sarah Palin, VP & Arcane QAnon Wizard
INFERNO LOS ANGELES, Signed
Closeout Price! Signed by both! Written by Ron Bassilian. Art by Jim Wheelock. Over 700 years ago, the poet Dante Allighieri found his way to the Underworld from the dark wood outside his native Florence, and the adventure he recorded in The Inferno still haunts us to this day. Now a new traveler finds his gateway to Hell beneath the urban jungle of the “City of Angels,” weaving new characters and contemporary scenarios with the timelessly familiar scenes Dante described. Fraught with obstacles, monsters, horrific visions and prophecies–all visualized in an epic graphic woodcut-like style.
Over 700 years ago, the poet Dante Allighieri found his way to the Underworld from the dark wood outside his native Florence, and the adventure he recorded in The Inferno still haunts us to this day. Now a new traveler finds his gateway to Hell beneath the urban jungle of the “City of Angels,” weaving new characters and contemporary scenarios with the timelessly familiar scenes Dante described. Fraught with obstacles, monsters, horrific visions and prophecies–all visualized in an epic graphic woodcut-like style.
Journey with him, as each step down this human whirlpool brings new dangers and monstrosities, and we delve ever deeper into the torments of our own minds.
“Ron Bassilian has taken Dante’s Inferno and reworked and re-imagined the classic epic into an updated, powerfully emotional voyage through the stuff of nightmares, while Jim Wheelock’s artwork, sometimes reminiscent of the 1930s woodcut picture stories of Lynd Ward, conjures up a phantasmagoria of an often hallucinogenic intensity. A remarkable book.”–Bryan Talbot.
Nudity, adult themes.
Always From Darkness DVD
When a young woman takes notice of her neighbor, she has a plan to make him hers. Only problem is, she’s a vampire. A beautiful vampire thirsts for the pure blood of her handsome young neighbor.
This is the only Phil Thomas video.
|List Price||$19.95 (You save $5.21)|
|Studio||Music Video Distributors|
|CD Universe Part number||8632647|
|Release Date||Jan 24, 2012|
Most Helpful Customer Reviews
3.0 out of 5 stars
Always From Darkness review from videoviews.org, January 18, 2012
Amazon Verified Purchase (What’s this?)
This review is from: Always From Darkness (DVD)
Cast: Erika Rainey, Kevin M. Costello, Danielle Paccione
Director: Matt Brooks, Phil Thomas
Rating: NR When a young woman takes notice of her neighbor, she has a plan to make him hers. Only problem is, she’s a vampire.
First off I want to send out a thanks to Writer/Director, Phil Thomas for sending me a screener of his new film. The story is about Jude who is depressed over his girlfriend dumping him. He lives with his sister who does her best to cheer him up and encourage him. One night Jude begins to feel a presence around him so he goes down stairs to check everything and to his surprise there is a woman standing outside his door. We find out her name is Anatasia who just happens to be his neighbor. She invites Jude over for a drink which seems a bit odd since it’s well past midnight but he agrees anyway. Anatasia asks him out the following night and when Jude arrives at her place he spots a picture of a man who looks eerily like himself, Anatasia seems to just change the subject but we do find out the man’s name was Eddie who was killed during WW1 in 1918. It doesn’t take long to figure out that Anatasia is a vampire who wants to become a “Watcher” so she can change Jude because her past never let her truly be with Eddie and she feels this is a second chance she can’t pass up. Eddie seems to be clueless about what is going on but Anatasia’s plan seems to be working well after she convinces him to spend the night. The next morning Jude awakes to find Anatasia gone, after going home and hearing his sister scream at him because she was worried about him he goes upstairs because he is not feeling well. After looking in the mirror he notices bite marks on his neck. Jude’s sister and her girlfriend become suspicious about their neighbor but it is her friend that has other plans, she decides to black mail the new neighbors because she wants to become a vampire but she ends up dead instead. Now it is a matter of staying alive for Jude and his sister.
I am not going to go into details on what happens from there so not to ruin the story for those that want to see it. “Always From Darkness” is a Independent film written and directed by both Matt Brooks and Phil Thomas. You can tell it was done on a very limited budget but the filmmakers take good advantage of what they have to work with. Don’t expect a bloody, action-packed film here, this is more a horror/drama that is character and story driven. The story is simple but it is well-written and the pace is deliberately slow but it moves at a good pace. The characters are also very well-written and well developed. The cast including, Kevin Costello as Jude and Danielle Paccione as Anatasia did a terrific job playing their characters in a realistic and believable way. Production wise the film looks good and the musical score and lightly-lit rooms add a nice Gothic feel. For those that enjoy more mainstream movies the film might get a bit tiresome but I think you Independent film lovers are going to appreciate the effort on top of finding the film to be very entertaining. Over-all I found the film to be both interesting and enjoyable with characters you care about and villains you hate, the ending is well done and it tosses a bit of a twist in as well. My final thoughts are that “Always From Darkness” was a very well made Indie film from a couple very young filmmakers that show a ton of promise. The story was original and engaging so I highly recommend checking this one out when it is released. As of right now I do not have a release date on the film’s release but will update this spot when I have more information
Released Filmzero Productions/R2 Films
1/2 Out Of
House of Dracula 1945 Ultimate Guide Book Lon Chaney Glenn Strange
House of Dracula 1945
Ultimate Guide Book
Lon Chaney Glenn Strange:
Universal’s moody monster mash-up comes to spectacular life in our beautiful House of Dracula Ultimate Guide magazine – a stunning tribute to the 1945 extravaganza!
The core of Universal’s Frankenstein franchise went out with a bang with House of Dracula, a monster rally like no other – and our full-colour Ultimate Guide will take you right back to Dr Edelmann’s clifftop mansion. Familiar favourites Larry Talbot, Count Dracula and the Frankenstein Monster went head to head with new characters like Dr Edelmann and kindly nurse Nina in a tale packed with action and emotion; we investigate the making of the movie and its context as the end point of the series proper.
A range of lavishly illustrated articles in our House of Dracula Ultimate Guide magazine tells the story of the movie’s production, taking you behind the scenes with a wealth of facts, trivia and details. Meanwhile, a range of biographies introduces you to stars Lon Chaney, Onslow Stevens, Jane Adams and Glenn Strange as well as director Erle C Kenton, producer Paul Malvern and the rest of the crew who brought our favourite horrors together so successfully.
This high-end collector’s guide to House of Dracula captures the film’s melancholy majesty; it’s the perfect addition to your Ultimate Guide portfolio, and a fitting tribute to an important moment in horror movie history.
Full colour throughout
Luxury gloss laminated cover
Dracula Has Risen From the Grave 1968 Ultimate Guide Book
Dracula Has Risen From the Grave 1968 Ultimate Guide Book:
Pre-order now for April 2018 publication and shipping.
The Dracula Has Risen From the Grave Ultimate Guide has been lovingly researched and written by Nige Burton, Jamie Jones and Veronica Carlson, and evokes the brochure you might have bought at the cinema in 1968!
There’s a thunderstorm on the mountainside, so don’t spend too much time around the castle – it looks like Dracula Has Risen From the Grave! Our Ultimate Guide to the stylish 1968 movie brings back the horror and thrills of this beloved instalment in Hammer’s Dracula series.
Written by Nige Burton, Jamie Jones and Hammer legend Veronica Carlson, this magazine guide is a sumptuous tribute to a most striking movie. Dracula Has Risen From the Grave is a hugely popular movie among Hammer Horror fans for so many reasons – we explore the making of this compelling motion picture, as well as its legacy in the franchise as a whole. Veronica Carlson’s first-hand accounts of working on the movie bring the tale to life, making this publication an absolute essential.
Printed in vivid full colour, our guide to Dracula Has Risen From the Grave is packed with information. Inside you’ll find biographies on the movie’s major players from Christopher Lee to director Freddie Francis and cinematographer Arthur Grant, as well as a wealth of behind the scenes facts, stills and artwork, all compiled and designed with the style and reverence that makes Classic Monsters Ultimate Guides a must-have.
Full colour throughout
Luxury gloss laminated cover
Shipping Monday April 30, 2018, but go ahead and order now. We will consider it a preorder and will not charge you until the item ships. Many of our products are limited edition and are sold out before they even arrive. This means if you prefer to wait until the product arrives, it may be too late. We recommend using a credit card for preorders, as we will not charge it until the item is ready to ship. This way you can reserve the item with no upfront cost.
Release date subject to change without notice. Please check back here for status updates. For funds verification, an authorization,not a charge, will be made on your card, then dropped. When your product is ready to ship, we will then charge your card and ship your item! When using your PayPal account you are authorizing them to pay us instantly.
- Catalog#: 14MCM32
- Theme(s): Classic Monsters
- Theme(s): Dracula
Neo-Nazi murderess, stripper, and biker Jennifer Lynn Morrissey and her sugar daddy Michael McNew
WEIRD LOVE: You Know You Want It!!!
YOU KNOW YOU WANT IT
(CRAIG YOE BOOKS)
THIS BOOK COLLECTS ISSUES:
PUBLISHER: IDW COMICS
COLOR or B&W: COLOR
(W) Joe Gill (A) Various (CA) Ogden Whitney
Your Valentine likes it hardcover, here’s the must-give book for them (or just get it for your depraved self)! “Weird Love: All You Need Is Weird Love” collects the first three issues of the so-bad-it’s-good comic book that is the buzz of geekdom! Plus a raging bonus showcase of the most bizarre and sexy romance comic book covers! Revealing foreword by Craig Yoe and Clizia Gussoni who 13th Dimension calls, “The Masters and Johnson of comics!” Fascinating introduction by Comic Book Girl 19. These vintage stories will blow your mind: “I Fell for a Commie!,” “Love of a Lunatic!,” “Yes, I was an Escort Girl!,” “Love, Honor and Swing, Baby!,” “Gangster’s Girl,” “Too Fat to Frug!” And MORE!
Last Gasp & Amazon.com, Present: Robert Williams – Through Prehensile Eyes
This This massive hardcover art book collects Robert Williams’ paintings from his shows at the Tony Shafrazi Gallery in New York.
The images range from Williams’ familiar lowbrow and biker culture, stretching deep into a faux science of quantum mechanics leaving the viewer in a world of scientific mindplay.
After singlehandedly becoming the model of Lowbrow art, Williams has now penetrated the inner sanctum of the fine arts movement.
Available in three variations:
- Hardcover edition
- Slipcase edition, limited to 700 copies
- Signed & Numbered slipcase edition, limited to 300 copies
“A highly-anticipated new collection of 58 of Robert Williams’ most recent paintings, many from his past three shows at Tony Shafrazi’s Gallery in New York. The images range from Williams’ familiar lowbrow and biker culture, and delve deep into a faux science of quantum mechanics, leaving the viewer in a world of scientific mind play.” — Amazon.com
Last Gasp & Amazon.com, Present: The Drawings of Laurie Lipton
The Drawings of Laurie Lipton is a comprehensive survey of Lipton’s fantastical, meticulously detailed, hand-drawn images. Featuring more than 70 works, this is the most conclusive and ambitious publication about the artist to date.
A conversation between Lipton and Begovich Gallery Director Mike McGee offers insights into her personal history, motivations and creative process. Lipton’s brief notes about several specific artworks offer further anecdotes and context.
Inspired by the religious paintings of the Flemish School, Laurie Lipton tried to teach herself how to paint in the style of the 16th century Dutch Masters and failed.
When traveling around Europe as a student, she began developing her very own peculiar drawing technique building up tone with thousands of fine cross-hatching lines like an egg tempera painting.
“It’s an insane way to draw,” she says, “but the resulting detail and luminosity is worth the amount of effort. My drawings take longer to create than a painting of equal size and detail.” “It was all abstract and conceptual art when I attended university. My teachers told me that figurative art went ‘out’ in the Middle Ages and that I should express myself using form and shapes, but splashes on canvas and rocks on the floor bored me. I knew what I wanted: to create something no one had ever seen before, something that was brewing in the back of my brain. What I wanted fell between ‘isms.’ It wasn’t ‘surreal,’ it wasn’t ‘real,’ it was lurking between the two.”
“I used to sit for hours in the library copying Durer, Memling, Van Eyck, Goya and Rembrandt. The photographer, Diane Arbus, was another of my inspirations. Her use of black and white hit me at the core of my Being. Black and white is the color of ancient photographs and old TV shows, it is the color of ghosts, longing, time passing, memory, and madness. Black and white ached. I realized that it was perfect for the imagery in my work.”
“Lipton is a borderline-fanatical artist who props herself on a stick for at least 6 hours every day, drawing almost unrealizably thin lines and feathery details with a permanent point pencil, betraying layer upon layer of dark secrets, sleepless nights, and footsteps in the hall.” – Juxtapoz
“ Technically Lipton is a profound draftsman. She captures nuances of light and shade with masterful proficiency.” – Artweek
“ Her exhibition returns constantly to the theme of social masks while laying bare those deeply harbored fantasies and terrors which belie supposedly ‘normal’ appearances.” – The Times (London)
Laurie Lipton was born in New York and began drawing at the age of four. She was the first person to graduate from Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honors). She has lived in Holland, Belgium, Germany, France, London and has recently moved back to the USA after 36 years abroad. Her work has been exhibited extensively throughout Europe and the USA.
“The Drawings of Laurie Lipton” is a comprehensive survey of Lipton’s fantastical, painstakingly detailed, hand-drawn images. Featuring more than 70 works, this is the most conclusive and ambitious publication about the artist to date. A conversation between Lipton and Begovich Gallery Director Mike McGee, offers insights into her personal history, motivations and creative process. Lipton’s brief notes about several specific artworks offer further anecdotes and context. Laurie Lipton was born in New York and began drawing at the age of four. She was the first person to graduate from Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honors). She has lived in Holland, Belgium, Germany, France, London and has recently moved back to the USA after 36 years abroad. Her work has been exhibited extensively throughout Europe and the USA. Lipton was inspired by the religious paintings of the Flemish School. She tried to teach herself how to paint in the style of the 16th century Dutch Masters and failed. When traveling around Europe as a student, she began developing her very own peculiar drawing technique building up tone with thousands of fine cross-hatching lines like an egg tempera painting. “It’s an insane way to draw,” she says, “but the resulting detail and luminosity is worth the amount of effort. My drawings take longer to create than a painting of equal size and detail.” “It was all abstract and conceptual art when I attended university. My teachers told me that figurative art went ‘out’ in the Middle Ages and that I should express myself using form and shapes, but splashes on canvas and rocks on the floor bored me. I knew what I wanted: to create something no one had ever seen before, something that was brewing in the back of my brain. What I wanted fell between ‘isms.’ It wasn’t ‘surreal,’ it wasn’t ‘real,’ it was lurking between the two. I used to sit for hours in the library copying Durer, Memling, Van Eyck, Goya and Rembrandt. The photographer, Diane Arbus, was another of my inspirations. Her use of black and white hit me at the core of my Being. Black and white is the color of ancient photographs and old TV shows, it is the color of ghosts, longing, time passing, memory, and madness. Black and white ached. I realized that it was perfect for the imagery in my work.” — Amazon.com
Ron Turner (founder and publisher, Last Gasp), Ron English (PoPaganda, Abject Expressionism), Robert Williams (Through Prehensile Eyes, Zap Comix), Camille Rose Garcia (Tragic Kingdom, Saddest Place on Earth), Andrea Harris (fmr director, Grand Central Art Center), Jon B. Cooke (The Book of Weirdo), Attaboy (Hi-Fructose magazine) and Colin Turner (associate publisher, Last Gasp) discuss the history of Last Gasp, from the 1990s and the rise of lowbrow art through present day and current projects. www.lastgasp.com
Die Watching (DVD, 1999)
Ready to rip you apart, with a smile on his face – The Pit
The Four – J. Edgar Hoover, Royal Miller, Clyde Tolson, and Joseph McCarthy on holiday in California.
Ilsa, She Wolf of the SS
At the Mountains of Madness Hardcover
Arkham, 1933. Professor Dyer, a prominent geologist, learns that a scientific expedition will soon leave for Antarctica following in the footsteps of the journey which he himself had made in 1931. In the hope of dissuading the attempt, Dyer decides to make a full account of the tragic events he had survived, this time without omitting the passages which he had kept silent about on his return, for fear of being taken for a madman. Two years earlier, ships chartered by Miskatonic University had landed on the frozen continent at the start of the Antarctic summer, and the group of four professors and sixteen students set to work immediately. The expedition biologist, Professor Lake, left with several members of the team to follow a promising fossil track. After just a few days, he announced by radio that he had discovered astonishing specimens of an unknown ancient species, before stopping all communication after a terrible storm. Guessing the worst, Dyer went to their rescue the next day. What he discovered went beyond his wildest fears. In the illustrated AT THE MOUNTAINS OF MADNESS VOL.1, artist, Francois Baranger, acclaimed for his work as a concept designer for cinema and video games, has performed the incredible task of reimagining one of H.P. Lovecraft’s most classic and horrific tales into visual art― Landscapes of frozen wastes, unspeakable creatures millions of years old found in an abnormal state of conservation, strange geometric structures at the top of black mountains. Words cannot do the visuals justice. It is a book with images to pour over.
From the foreword by Maxime Chattam: Beyond his formidable talent for capturing images on paper, there is this enlightened vision of adventure, mystery and horror. Somehow, he manages to transport us onto the ice. Each spread is a journey; every turn of the page, a thrill. You will soon feel the cold.
About the Author
H.P. Lovecraft, born 1890 in Providence, Rhode Island, died 1937, was an American writer mainly known for his influential horror novels. Although he achieved limited success during his lifetime, his reputation has grown over the years. Lovecraft’s so-called cosmic horror touched on themes such as man’s inadequacy and the horror of the incomprehensible and indifferent universe surrounding us. With short stories like The Call of Cthulhu, The Case of Charles Dexter Ward, and The Shadow over Innsmouth, Lovecraft laid the foundation of a mythology, which, over the years, has been studied and developed by a number of successors. The short novel At the Mountains of Madness is perhaps his most ambitious work, and has been on its way to the silver screen several times, without success yet. Lovecraft’s characteristic prose, heavy on adjectives, grand imagination, and his frantic storytelling technique have formed a school, and his legacy in popular culture is unprecedented. Along with Edgar Allen Poe, Lovecraft is undoubtedly one of the greatest horror writers of all time
François Baranger, born in 1970, is a multi-faceted artist and illustrator. He works primarily as a concept designer for films (Harry Potter, The Clash of the Titans, Beauty and the Beast) and computer games (Heavy Rain, Beyond: Two Souls). He has also illustrated a number of book covers. In 2013, he wrote his first science fiction novel, Dominium Mundi, and in 2017, he wrote the thriller The Domino Effect. It was during his early years that he discovered Lovecraft, mainly thanks to role-playing games. Ever since, he has had a passionate interest in fantasy worlds in general, and for those created by a certain writer from Providence, Rhode Island in particular. After dreaming for years about seeing an illustrated version of Lovecraft’s works, Baranger finally decided to create one himself, and chose the most classic short story of them all, The Call of Cthulhu, first published in French in 2017 and translated into English in 2019. This is his second book based on Lovecraft’s work.
- Publisher : Design Studio Press (November 18, 2020)
- Language : English
- Hardcover : 64 pages
- ISBN-10 : 1624650082
- ISBN-13 : 978-1624650086
- Item Weight : 2.05 pounds
- Dimensions : 10.5 x 0.5 x 14.25 inches
- Best Sellers Rank: #25,011 in Books (See Top 100 in Books)
- Customer Reviews: 4.9 out of 5 stars 109 ratings
Lovecraft´s At the Mountains of Madness Illustrated by Baranger Revealed
Dreadful secrets lie beneath the ice, waiting to be discovered. Strange, cyclopean structures squat amidst the mountains towering in the distance, promising only madness to those who dare to explore their alien architecture.
Prepare to descend into madness. Free League Publishing and Design Studio Press have revealed an illustrated edition of H.P. Lovecraft‘s iconic story At the Mountains of Madness, by acclaimed artist François Baranger. The book is set to launch at November 24th and is now available for pre-order. All pre-orders will ship immediately.
At the Mountains of Madness, Volume I: https://frialigan.se/en/atmom
REVIEW COPIES & INTERVIEW REQUESTS
For review copies, please e-mail: firstname.lastname@example.org
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H.P. Lovecraft’s At the Mountains of Madness is one of the greatest classics of American horror literature. As the most ambitious story Lovecraft ever wrote, it has served as a source of inspirations for filmmakers and authors in the decades since his death.
The critically acclaimed artist François Baranger was fascinated early on by Lovecrafts works that explore the darkest corners of human imagination. After dreaming about illustrated versions of Lovecraft‘s works for years, Baranger finally began to create his own vision of the Lovcraftian horror. He has previously interpreted the classic The Call of Cthulhu which received international praise. Now Baranger is pushing the boundaries even further with his bold vision of At the Mountains of Madness.
The book is the first volume of two and is a hardback book in the huge 262 x 350 mm folio format, bringing Lovecraft’s horror to life with lavish, full-spread images.
About At the Mountains of Madness
Antarctica. A place of frozen wastes, desolation, and things best left forgotten. Explore the tale of William Dyer, a professor from Miskatonic University and the leader of an ill-fated expedition to that remote and forlorn continent. Recorded in a series of letters, Dyers tells a scarcely believable tale full of anomalous and often horrific events. The expedition ventures further than any other before them, and ultimately pays the price for it.
Live Q&A with François Baranger – Friday November 6th at 3PM CET
Live Q&A with the acclaimed artist François Baranger & Free League project lead Nils Karlén about the illustrated edition of H.P. Lovecraft’s iconic story At the Mountains of Madness: https://www.youtube.com/c/FrialiganSe
About François Baranger
François Baranger is a multi-faceted artist and illustrator. He works primarily as a concept illustrator for films (Harry Potter, The Clash of the Titans, Beauty and the Beast) and computer games (Heavy Rain, Beyond: Two Souls). He has illustrated a number of book covers and written the two novels Dominium Mundi and The Domino Effect. Baranger has previously interpreted the Lovecraft classic The Call of Cthulhu.
Web page: www.francois-baranger.com
About Howard Philips Lovecraft
H.P. Lovecraft (1890-1937) is one of American literature’s most influential authors, a giant of horror literature and popular culture. Since the 1920s, his short stories and novels has spellbound generations and influenced countless games, comics, novels, records, and films. His reputation has grown over the years and he has been praised by among others Stephen King and Guillermo del Toro. Lovecraft‘s cosmic horror touched on themes such as humanity’s inadequacy and the horror of the incomprehensible and indifferent universe surrounding us. His characteristic prose, heavy on adjectives, grand imagination, and his frantic storytelling technique have formed a school, and his legacy in popular culture is unprecedented. Along with Edgar Allen Poe, H.P. Lovecraft is one of the greatest horror writers of his time.
About Design Studio Press
Design Studio Press is a Southern California–based publishing house with its fingers on the pulse of concept design. Founded over a decade ago by Scott Robertson, the press has stayed true to its mission to feature and partner directly with artists. With almost 100 titles and approximately 12 new ones released every year, Design Studio Press brings international attention to the field of concept art and educates future generations by publishing art and tutorials by world-renowned entertainment designers.
Free League Publishing is a Swedish publisher dedicated to speculative fiction. We have published a range of award-winning tabletop role-playing games and critically acclaimed art books set in strange and wondrous worlds.
Our game portfolio include the official ALIEN The Roleplaying Game (Gold ENNIE for Best Game 2020), the Nordic horror roleplaying game Vaesen, the pitch-black apocalyptic fantasy RPG Mörk Borg, the alternate ’90s Things from the Flood, the alternate ’80s Tales from the Loop (winner of five ENNIE Awards 2017, including Best Game), the sandbox retro fantasy Forbidden Lands (winner of four ENNIE Awards 2019), the postapocalyptic Mutant: Year Zero (Silver ENNIE for Best Rules 2015), the space opera Coriolis – The Third Horizon (Judge’s Spotlight Award 2017) and the dark fantasy game Symbaroum.
We have also published the art books Tales from the Loop, Things from the Flood and The Electric State by internationally acclaimed visual artist Simon Stålenhag, as well as the illustrated edition of the Lovecraft classic The Call of Cthulhu by the praised French artist François Baranger.
- At the Mountains of Madness product page
- At the Mountains of Madness press assets
- Free League Publishing Web page
- Design Studio Press
Related / Contacts
Guillermo del Toro Reveals Horrifying At the Mountains of Madness VFX
del Toro’s adaptation of the H.P. Lovecraft story was axed by Universal in 2011, but work still exists from the production.
By Linda Codega
Last night, Guillermo del Toro dropped some VFX footage on Instagram from his canceled production of his adaptation of H.P. Lovecraft’s At the Mountains of Madness. The clip was created by Industrial Light and Magic, which demonstrates that he was pretty far along in the film’s pre-viz development, and was minutes away from starting to shoot before it got unceremoniously shut down by Universal Studios, citing both the R-rating and the 150 million dollar price tag. You can see the clip below, but be warned; the monster that appears truly lives up to del Toro’s best horror creatures. (It also, stunningly enough, matches up to Lovecraft’s own vision for the monster.)
Back in December of 2021, del Toro mentioned on Stephen King’s podcast that when he signed a multi-project deal with Netflix, he was given the opportunity to pull out some of his shelved projects including The Count of Monte Cristo and At the Mountains of Madness. He also mentioned that if he were to make Mountains now he would aim for a script that was weirder, tigther, and more focused. That makes sense! The del Toro of 2010 is a far cry from the del Toro of 2022.
At the Mountains of Madness is one of Lovecraft’s most well-known works, and it holds a special place in the horror canon. It is, thankfully, one of his least racist pieces of fiction, probably because of the setting itself; an isolated Antarctic exploration doesn’t really have a lot of the inherent social structures that occur in his other work.
THE CALL OF CTHULHU Hardcover – Illustrated
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About the Author
H.P. Lovecraft is a giant of horror literature and popular culture. Since the 1920s his short stories and novels has spellbound generations and influenced countless games, comics, novels, records and films. His short story The Call of Cthulhu, written in 1926 and first published in Weird Tales in 1928, is an absolute classic.
François Baranger, born in 1970, is a multi-faceted artist and illustrator. He works primarily as a concept illustrator for films (Harry Potter, The Clash of the Titans, Beauty and the Beast) and computer games (Heavy Rain, Beyond: Two Souls). He has also illustrated a number of book covers. In 2013, he wrote his first science fiction novel, Dominium Mundi, and in 2017, he wrote the thriller The Domino Effect. It was during his early years that he discovered Lovecraft, mainly thanks to role-playing games. Ever since, he has had a passionate interest in fantasy worlds in general, and for those created by a certain writer from Providence in particular. After dreaming for years about seeing an illustrated version of Lovecraft’s works, Baranger finally decided to create one himself, and chose the most classic short story of them all, The Call of Cthulhu.
- Publisher : Design Studio Press; Illustrated edition (November 5, 2019)
- Language : English
- Hardcover : 64 pages
- ISBN-10 : 1624650449
- ISBN-13 : 978-1624650444
- Item Weight : 2 pounds
- Dimensions : 10.6 x 0.4 x 13.9 inches
- Best Sellers Rank: #30,268 in Books (See Top 100 in Books)
- Customer Reviews: 4.8 out of 5 stars 320 ratings
The Call of Cthulhu Illustrated by Baranger Released Today
Great Cthulhu has arisen. Today, François Baranger’s massively illustrated edition of H.P. Lovecraft’s iconic story The Call of Cthulhu was officially released by Free League Publishing, in partnership with Design Studio Press. A true classic of American horror literature, The Call of Cthulhu is tale of the weakness of the human mind when confronted by powers from beyond our world.
H.P. Lovecraft is a giant of horror literature and popular culture. Since the 1920s his short stories and novels has spellbound generations and influenced countless games, comics, novels, records and films. His short story The Call of Cthulhu, written in 1926 and first published in Weird Tales in 1928, is an absolute classic. Now, french artist François Baranger presents the ultimate illustrated version of the story. Baranger’s The Call of Cthulhu is a 64-page hardback book in the huge 262X350mm folio format, bringing Lovecraft’s horror to life with lavish, full-spread images.
For review copies, interview requests, and other queries, please e-mail: firstname.lastname@example.org
About François Baranger
François Baranger is a multi-faceted artist and illustrator. He works primarily as a concept illustrator for films (Harry Potter, The Clash of the Titans, Beauty and the Beast) and computer games (Heavy Rain, Beyond: Two Souls). He has illustrated a number of book covers and written the two novels Dominium Mundi and The Domino Effect. Early on, Baranger was fascinated by Lovecrafts cosmic horror that explored the darkest corners of human imagination. After dreaming about an illustrated version of Lovecraft’s works for years, Baranger finally decided to create his own vision of the Lovcraftian horror. He chose to interpret the most iconic story of them all, The Call of Cthulhu.
Read more: https://www.francois-baranger.com
About Howard Philips Lovecraft
H.P. Lovecraft (1890-1937) is one of American literature’s most influential authors. Although he achieved limited success during his lifetime, his reputation has grown over the years and he has been praised by among others Stephen King and Guillermo del Toro. Lovecraft’s cosmic horror touched on themes such as humanity’s inadequacy and the horror of the incomprehensible and indifferent universe surrounding us.His characteristic prose, heavy on adjectives, grand imagination, and his frantic storytelling technique have formed a school, and his legacy in popular culture is unprecedented. Along with Edgar Allen Poe, H.P. Lovecraft is undoubtedly one of the greatest horror writers of his time.
Free League Publishing is a Swedish publisher dedicated to speculative fiction. We have published a range of award-winning tabletop role-playing games and critically acclaimed art books set in strange and wondrous worlds.
Our game range include the alternate ’80s Tales from the Loop (winner of five ENnie Awards 2017, including Best Game), sandbox retro fantasy Forbidden Lands (winner of four ENnie Awards 2019), postapocalyptic Mutant: Year Zero (Silver ENnie for Best Rules 2015), space opera Coriolis – The Third Horizon (Judge’s Spotlight Award 2017), dark fantasy Symbaroum, and the official ALIEN RPG.
We have also published the art books Tales from the Loop andThings from the Flood by visual artist Simon Stålenhag, as well as the illustrated edition of the Lovecraft classic The Call of Cthulhu by French artist François Baranger.
- The Call of Cthulhu at Free League Publishing
- The Call of Cthulhu at Design Studio Press
- Trailer for Baranger’s The Call of Cthulhu
Related / Contacts
Drawn to Sin
Vampira, Plan 9 from Outer Space
The Wizard of Oz: Follow the Yellow Brick Road in the Hungry Forest
There once was a serpent
Who only traveled one direction: always forward, never backward.
Until one day the serpent came upon a demon.
The demon cursed the serpent, driving him insane —
Causing him to eat his own tail.
The serpent was blind.
But there were those who could see;
Who knew the serpent’s true path.
So, they created a weapon to destroy the demon.
They hid the weapon in the snake’s den, where he waited for his madness to end.
But it never did.
For the seers discovered that the only one who could wield the weapon was the demon itself,
And so, the serpent was doomed to circle in madness. Forever.