Malar

[kFoyauextlH]

Malar: Structure

Design Notes

Here are some notes, these deal width personal design elements and themes. These themes then may have small or major manifestations. They deal with Body, Structures or Habitations, and Actions. This thread is somewhat related to the thread made just prior to it regarding emerging glimpses of what one sees themselves as, but I am writing these notes to help assist me in the shopping.

Currently I have gotten hold of some of the items involved with my beginning to make larger visual productions and products.
[hr]
One way in which to analyze or design a character is from a top down sort of detailed list covering the parts of the body which are typically used for display and expression purposes.

The very top would be above the head or atop it, the slot or position for a crown or hat. The very bottom would be the bottom of the footwear if there is any.

Slot 0 Crown or Sillhouette shape:
1: Hair
2: Forehead
3: Eyebrows (number looks like eyebrows)
4: Eye Make up or Eyewear
5: Eyes shape and color (number looks like eye)
6: Ears and ear lobes (number looks like ear)
7: Nose and nostrils(number looks bose
8: Mouth (number looks like mouth)
9: Chin and Facial Hair
10: Mask (number looks like mask near face)
11: Neck (number looks like neck.
12: Upper Chest, Collar, Shoulder, forehead of body
13: Breasts and Shirt (number looks like breasts)
14: Arms (number looks like arms from top view)
15: Belly and Belt or Sash (number resembles belly)
16: Crotch and Buttocks and Hips
17: Legs (number resembles legs)
18: Ankles, Feet, and Socks
19: Shoes
20: Soles, lifts, or Shadow, the 2 of the Silhouette

0: Without Headwear
1: Dark wavey black looking hair shines red in sun
2: Clean Unlined Foread or Symbol on Forehead
3: Shapely, sharp, dark eyebrows of intelligence
4: None, but possible dark eyeliner or stripe across
5: Sharp eye shape with Amber color, Red or Yellow
6: Small shapely ears close to head, not sticking out
7: Refined nose, not long or short or wide
8: Refined lips with v ridge. Both lips medium.
9: No facial hair, stubble, cropped beard, Egyptian
10: Pure black concealing mask or Animal mask
11: Long neck with prayer beads or jewelry or snake
12: Black feathers or draped faux tiger fur
13: Black Long Sleeve Shirt and square plate on top
14: Slender Muscular Arms terminating in claw tips
15: Red Sash with Gold
16: Large dong and fit rounded buttocks of virility
17: Elegant Muscular Legs, Harem Pants
18: Ankle percussion above elegant clawed feet
19: Slippers or slip on shoes or foot shaped shoes
20: High Lifts or No Lifts, shifting illusion shadow

Now what this figure would be is a mystic and seer, a teacher or advisor that people ask things of, and a wild person who lives away from people and may be thought of as apart from society or humanity. If ever there is a cap on its a droopy long cap or a scarf or veil over the head.

What they do besides advising people, is view things in a spiritual and revelatory way, are devoted to God and Animalism, and perform various arts such as dancing and martial movements, speech imitation and writing, acting, drawing and painting, and music all aimed towards spiritual practice and cultivation. They would avoid all governments and legal red tape if possible and live obliquely between the cracks and unseen places.

If not living in a cave, their home would be that of refined collections and sculpted finely, with pillars and elegance and mystique mixed with luxuries and naturalism which is also artificial such as rock fountains or areas of sand and pools of water and plants and trees. This would be their sanctuary and look like an oasis, a small piece of a dark paradise, lit with flame colored and amber colored lights and little lights like the stars with an overall dark or nightime look to it. Ideally there would be either access to the stars or an artificial and lit star map or way to see the stars on the ceiling.

When going out into the world, one may feel more comfortable concealing aspects of themselves sonas not to attract unwanted attention and to dress in such a fashion as to gain wanted attention and advantage. Here the figure dawns tightly fitting tailored suits and the accoutrements of the highest classes in society, had it been in another age, they would go about in whatever garb they could to warrant the most respect and good treatment.

For casual clothes in society, still there would be an emphasis of looking good but unique while still ending up rather odd or eccentric of no particular fault of their own but circumstances and availability of clothes for a cave dweller mystic from outside of normal society who wishes to dress princely in the world.

[Socrates]

Thread moved to General Art, Music and Literature Discussion.

[kFoyauextlH]

Thank you! I considered posting it there originally but was not sure if the style was suited better there or elsewhere, feel free to shift around any topics and threads to more appropriate or apt homes.

[kFoyauextlH]

This song, so these themes, are currently trending somewhat, so a lot of people are supposedly taking in these ideas, they are assumed, if such things really even occur, to be sitting there, somewhere, and these messages and ideas go inside and start doing things inside of them:

[kFoyauextlH]

I wrote more in the "God(s)" thread, but it git wiped out by a refresh again! I have no idea why it is happening so often now:

"
Fashion: The Witch’s Greatest Friend, The Witch: Fashion’s
Worst Enemy
Women always consider what is out of fashion at the moment as being uncomfortable or ugly. For example, the biggest
objection to wearing nylons is the “discomfort” when compared to panty hose. When any new change in clothing styles
comes about, the old style is automatically branded as being uncomfortable, and women wonder how they could have ever
worn such torturous garments.
Panty hose are nothing more than glorified trousers. When women had to wear corsets, pantaloons and numerous
petticoats, they wouldn’t have felt right without them. Corsets gave the “support” that meant security, and only able to attire
themselves in the sort of accouterments that made a woman feel like a woman.
Later on when “emancipation” came from the laces and stays and heavy bloomers, the ladies felt “free” with their
shirtwaists and chemises and only wore merry widows beneath their step-ins. Silk stockings were the rage, and what a relief
they were from those heavy cotton and lisle things. In fact some “wild” young things even dispensed with the long
suspenders that held their hose and rolled their stockings over elastic bands. They didn’t consider that it might cut off the
circulation in their legs—only the feeling of freedom it gave them.
When rubber girdles appeared, women rejoiced that they could have the support without the encumbrance of a corset; and
garter belts and briefs were very daring when respectable women were wearing undies with at least an inch of leg attached
over their elasticized cocoons. Whether you wore your stockings rolled or suspended, you had to make sure your seams were
straight, but then the gal that got the stares as being a trifle sleazy was the one with the crooked seams.
Women were women, and damn well knew it and rejoiced that they didn’t wear trousers like the poor men. As a woman
you had the privilege of wearing a dress with a minimum of undergarments by the time the Second World War started, and
the bra made a “sweater girl” out of you and “gave your breasts the healthy support they needed” at the same time. Not too
many years earlier your bosom had to flop around, because no self-respecting flapper wore anything under the top of her
dress with the exception, perhaps, of a thin chemise. What a wonderful thing the bra was with its healthful respite from all the
scary articles you read telling how your were breaking down tissue in your breasts by going without support. Now the
granddaughters of those girls are equally convinced that going braless is the only natural and healthy thing to do.
When women started working in war industries, they couldn’t wear their feminine frills and no one could be expected to
keep her seams straight while riveting on a ships’ bulkhead. So as women’s roles during the war manpower shortage the
transition to trousers for women easily took place. A new garment in every woman’s wardrobe had come into its own.
Men were no longer poor fools who had to be all bound up in those cumbersome trousers with Scotsmen and Greek
soldiers the only lucky fellows who could let it all hang out. The outlook changed insofar as trousers were concerned, and
women were wearing them—not out of necessity, but out of choice. Capris were comfortable. Besides, you didn’t have to
worry that some awful man would look up your dress while you gave the dog a bath and your were free to climb all the trees
you wanted to.
But something was lost in the bargain. The baby had gone down the drain with the bathwater. The opportunities,
recognition and respect that was becoming possible for women with more to offer than their biological fixtures was a truly
admirable change. Unfortunately, it couldn’t stop at psychic and social emancipation. The trappings of defeminization had to
creep forth in subtle, insidious ways that would be guaranteed to convince women they were doing the right thing. New
standards of non-beauty were formulated by those women who couldn’t measure up to the old standards or else men who
hated women because of what might be called “vagina-envy.” These ugly women and vagina-less men didn’t need any
“secret conspiracy.” The burning bitterness seething inside them was enough.
Don’t confuse these purveyors of asexualization with the homosexual who loves the imagery of the archetypes of his own
sex he seeks. The “butch” lesbian, who would rather be a man tries her damnedest to look like a man and goes for the most
“femme” type of girls. A “femme” lesbian is attracted to another dominant lesbian, who knows why she often favors mannish
styles. A homosexual man likes other men and only wants to see women in un-womanly clothes if he is unsuccessful in his
homophile encounters.
The transsexuals and transvestites, bless them, come closer than anyone else to a complete recognition of the Demonic
element within them. These people who, because they truly admire and recognize the sensual qualities of the opposite sex,
would do nothing to discourage whatever trappings add to the difference. This is why transvestites and transsexuals often are said to “make better women than women.” They employ all the devices of overcompensation and frequently come out
actually looking more convincing.
But then not everyone with a desire to change his sex can be a Christine Jorgensen, even though, as Miss Jorgensen puts it,
“It could be as common as a nose job.” It takes a great deal of self-realization and courage to know oneself so well as to
decide to turn one’s Majority Self into the body it represents if that body happens to be the opposite from that which you
wear about.
Fashion designers, it must be realized, are in business to make money. There’s nothing wrong with that, and the women
who are dupes enough to blindly follow the latest trends, whether flattering or not, desire to have their money taken. I see
nothing wrong with trying to make a buck on whatever legal means they can find, and most women have made it very
obvious that they’re far more concerned with what is stylish, than with what looks the best.
There use to be a slogan, popular with the old patent medicine salesmen, whose nostrums were good for so many ailments
that if you got rid of one, there was sure to be a symptom present of another malady that the wonder elixir could cure. The
saying went, “You can’t make money off a well patient. Keep ‘em sick.” This very policy applies to the fashion industry in
the sense that you can’t sell clothes to a woman who has a closet full. And how do you get a girl to give up her favorite
garments? Tell her they make her look ugly, which is precisely what you are led to feel if you wear outdated styles.
Just as the hypochrondiac must be told he is sick, the woman who has something lacking in her life must blame her
unhappiness on something other than her own inadequacies, so fashion and current clothing styles become both her rejection
device (“I haven’t got a thing to wear.”) and her salvation. This type of woman who is stylishly dressed has bought for herself
a form of security that will give her confidence without the need for beauty, brains, talent, ability or actual respect from
others.
Be glad such multitudes of women exist, as they make your role as witch that much easier. However fanatical in their up-
to-date appearance the fashion followers are, they have never learned that you can’t fight nature, and there are certain
standards of female beauty that transcend all clothing style changes.
In order to practice magic, you must follow natural law, not violate it. Certain curves are conducive to consistency in the
appearance of a woman—any woman. Whatever violates these forms reduces the feminine imagery that a woman should
maintain if she is to succeed in enchantments. For example, a woman was not designed to look straight up and down, yet
many styles foster this appearance and designers champion it. The so-called “bulges” that a woman shuns in herself are the
feminine principle in a curvilinear form. Straight or concave lines are out for a witch’s wardrobe unless you want to appeal to
a man whose Majority Self is that of a woman and doesn’t know it.
There are basically three fashion patterns: the straight, concave, and naturally feminine convex configurations. The first
pattern dresses in angular garments, which do not emphasize but decrease the curved dimensions synonymous with woman.
There is a hint that they might not be. This girl seems to say: “Maybe yes, maybe no.” This is an ideal form to utilize if you
are tree trunk straight in the torso, but it would be more effective were you to take a tip from the old-fashioned bustle and pad
your hips out a bit so you could project a convex image.
The concave pattern is the complete opposite of the ideal shape though most of my readers will find her the most
compatible to their vision. Naturally, you would find her most attractive from a woman’s point of view, because she is
antithetical to your own Apparent selves. She looks like a boy with long hair, and her clothes would most likely have been
designed by a man who like boys or a woman who resented femininity in women. Every extremity of her outfit is like a
barb—totally opposite to the tactile dimensions for which you should strive. It’s as if she is saying, “Don’t touch me.” The
human brain responds to what the eyes see, regardless of what the mouth says, and the collective unconscious tells us, “This
is not a woman.” It also tells us that there is something antagonistic to sexual acceptance, much as the thorns on a pretty rose
tell us we’d best be careful not to grab it.
Straight lines, angles of all kinds, zig-zag lightning bold patterns, saw-tooth designs—all masculine dimensions and
concepts—will rob you of your femininity. They should not be employed unless the man you are bewitching is of an
extremely submissive nature. The reason prison matrons, deadly female super-spies and science-fiction heroines always
appeal so strongly to latent homosexuals is because the formidable take-no-crap-from-any-man attitude these ladies project is
reinforced by their severely cut tunics, studded leather, and one piece tantalum commando suits with behavioral control units
in each breastplate.
A girl dressed in the last pattern may not appeal to you and shouldn’t unless you are a self-aware “butch” lesbian or a man.
She is a series of curves, or better yet, circles. Circles, circles everywhere, all corresponding to each other—circles for the
breasts, shoulders, thighs, calves, arms, abdomen, even the area of the throat. Circles within circles—the same circles every
artist and cartoonist learns are the foundation of the picture of a woman. And the fashion designers actually think they can
come up with an act to follow this one?
That is the reason why the convex configuration will always win out, fashion and style be damned—unless standards of
beauty become so inverted and warped that a “woman” woman is no longer considered desirable but ugly and “Get outta my
way, you bastard” becomes the new non-matting call of the woman of the future. I hardly think this will happen, though, for
so long as there are real witches abroad and enough underground women who take delight in being women, the old rules of
the game will apply, and the convex type will always win.

She has, in her curved dimensions, a tactile quality that tells a man’s vision, “Hold me, stroke me, squeeze me, feel me,
touch me, put your arms around me—in short, try me out for size.” In order for anything to be tactile, it must be pleasing to
the touch, but first it must invite you to touch it. How does it do that? By conforming in its surfaces to the insides of your
hands. After all, you feel with your fingers, and the more surface of your fingers that can be accommodated at one time, the
more inclined you are to touch something. If a surface is of a nature that looks as though your whole hand would fit “just
right” on it, chances are good, unless there’s a “Do Not Touch” sign next to it, you will. Even if there’s a sign prohibiting you
from feeling the tactile object, if it’s compelling enough, you’ll touch it anyway. Just go to any museum or art gallery and
you’ll see plenty of evidence of what I am saying. Convex lines create the tactile impression of such an object, except, of
course, being another woman, your inhibitions, if nothing else, will forbid such a response.
You see another woman as something too familiar to yourself—too much like what you carry around with you in the
sculptured body of your own. You can feel yourself anytime you want (and probably do!). Why would you want to feel
another tactile piece of sculpture so similar to yourself? A man, though—that would be different—angles, straight lines,
round, but straight—tactile, but straight. Surely you like to feel those convex hand-filling art objects previously mentioned,
but not the object of art that is more familiar to you than any other—your own body.
That’s why you don’t like the final pattern. Because you, too, respond to the Law of the Forbidden, and the grass is, indeed,
always greener on the other side of the fence. But let us hope that you can now understand, why a heterosexual male with a
functioning sense of touch would respond to the visual stimulus provided by it.
Surely, the grand award for fashion designers in the world of witchery must go to Mr. Frederick, of “Frederick’s of
Hollywood.” The enduring styles purveyed by this chain of shops are the only hold-outs in the world of fashion.
Without any periodic style changes of a drastic nature, “Frederick’s” has proven beyond a doubt that money can be made
in women’s wear, selling clothes that make women look sexually appealing! Despite the fact that to many women,
“Frederick’s” has become somewhat of a joke, the joke is on them, for it is just such women who are the butt of the biggest
joke in realm of clothing.
While some of “Frederick’s” fabrics and colors are decidedly garish, the proper lines are almost always present. Almost
blatantly antagonistic to any attempts at defeminization, “Frederick’s” also features such trifles as hip and leg pads, fallacies
in varying degrees of ebullience, extra-high heels, extra-long falls, and other goodies guaranteed to reserve Mr. Frederick a
place before the firing squad, should female liberationists even take over.
While “Frederick’s” sells a certain amount of so-called “stylish” garments, it is readily apparent that these are simply a
concession to women who think they’re buying something sexy if they carry it out of a “Frederick’s” shop, yet don’t want to
violate any clothing taboos. It is for this reason that panty hose, shapeless dresses, and most of the other accouterments of
desexualization can be found sandwiched in between the blow-up bras, spike heels, and tight sheath dresses.
Woman-hating men and man-hating women comprise the largest part of the fashion industry. Be thankful to them for
eliminating would-be rivals who allow themselves to be duped.
Cartoon Cuties
Regardless of the attempts made by the fashion industry to foist questionable styles on women, there will always be certain
standards of sexiness that prevail. No matter how chunky shoes get or how shapeless dresses become, the basic wardrobe of
the witch will remain the same.
I find it amazing that women will live for the attention they receive from men and yet look to the pages of women’s
magazines for the styles to employ in their bewitchments. If a witch is wise, she will refer to men’s magazines for her
pointers in style. She won’t have to buy many such magazines, though, as repetition will set in at an early stage. When you
look at a man’s magazine to see what the perennial witch is wearing, don’t study the big centerfold or the slick photo essays.
Chances are good you’ll only see bikinis, G-strings, or no clothes at all. Instead turn to the cartoons. Yes, the cartoons—
especially the ones toward the back of the magazine. The reason for this is because the cartoons contain girls involved in
everyday situations, for the most part, and as such, they are clothed. But how are they clothed!
Invariably, they will be attired in the standard witch outfit, and I don’t mean a black cape and a pointy hat. They will be
wearing a rather skimpy dress which looks about two sizes too small and so thin that the lines of the body and sometimes the
undergarments are visible. The figure will always be full-blown—a mass of circles, so to speak. The face will always be pert,
exotic or provocative. The shoes will be as close as the cartoonist can get to an accurate rendition of a spike heel, and if the
girl is not bare-legged, she will be wearing stockings with visible tops and garters!
It seems that these masters of exaggeration—the cartoonists—know what will always catch the eye. They may change the
cut of a man’s suit from year to year, but a curvy cuties basic appearance—never! There are many periodicals devoted solely
to the cartoon art. Within the magical confines of their covers you will find the creations of a thousand Frankensteins—all
custom made, not dependent on the right model posing for the right photographer with her misguided idea of what to wear for
her photo session. Nor will you find any women in the cartoons who are any less pretty than the artist is capable of drawing.

It is true, many “girlie” magazines feature photos of models wearing some of the accouterments of the witch but seldom
will perfection be attained. This is due largely to the fact that the photographer often tries to be “up-to-date” more than the
cartoonist, as he is not limited to a particular style of drawing to which, once perfected, is most easily adhered. The
photographer can do much, but he is still limited to the whims of his model, insofar as he himself doesn’t want to impose
styles of dress which might brand him as some kind of nut. When a cartoonist draws his women, however, he is the
Pygmalion, the Creator, and no embarrassment need enter his mind nor inhibition stifle his art. Therefore, he creates the
eternal witch, the perennial courtesan, the all-pervading strumpet—in a manner that his artistic unconscious tells him is the
way a real woman should look.
Of course, the single word that exemplifies a cartoon is “exaggeration.” Let us take a very useful clue from this word in the
pursuit of practical witchery. The secret of the appeal of the cartoon enchantress lies in over-development. Her breasts are not
simply large. They are immense. They are either distended globules threatening to burst the fabric which encases them or
dangerously out-thrust projections. And the nipples! Not just a subtle termination of the breast, but an outgrowth the size of a
large ripe olive! Her hips are like motorcycle saddle bags and her waist must be all of sixteen inches. Her buttocks resemble a
pair of over-inflated basketballs and her features are those of a two-year-old baby. All in all, a monster, if such a creature
could actually exist.
Fortunately, our minds are used to sorting out three dimensions, so such grotesqueries are unnecessary for a sexy
appearance, as the girl in the cartoon exists in only two dimension. She therefore must have a little bit more going for her, to
make up for the other one. What we are primarily concerned with here, though, is her style of dress. Proportions must vary,
dependent on the number of dimensions seen, in order that the final observations will appear standardized.
Style is not in need of such optical manipulation, however, when rendered in a graphic manner. A tight dress is a tight
dress, whether seen on paper or in person. Likewise, a garter is a garter, a high heel is a style of shoe and a glimpse of panties
is not a rose, and I’m sure Gertrude Stein, who had her own interests in both, would agree. The uniform of the sex-type witch
will be seen in the clothing worn by the denizens of the single-panel cartoon, and in some cases, the comic strips. Don’t count
on the comic strips for a guide, though, as their creators pride themselves on maintaining fashion plate standards, especially
in the last few years. Of course, Blondie’s attire will probably never change much, nor will Olive Oyl’s, and Orphan Annie is
not to be trusted much either witchery-wise.
Stockings versus Panty Hose
Throw away your panty hose and forget about them! The are a curse perpetrated on women by people who would rather
you weren’t women. Panty hose are nothing more than cloth chastity belts that assure the wearer that nobody’s gonna see
anything they ain’t supposed to. There goes twenty points for the Law of the Forbidden right down the drain.
The man who ogles a girl wearing panty hose knows that he can only see so much, nothing more. There is never the hope
that she might forget the hem of her skirt just long enough to give a flash of bare thigh. “Never worry about those ugly gaps
where your thigh bulges (ugh) between your girdle and stockings,” cackle the ads, brainwashing women into sensual self-
deceit. “No more unsightly hardware ruining the trim lines of today’s styles,” coo the harbingers of defeminization.
“Banishes all snaps, clips and straps, so you’ll look as smooth as can be,” prattle the merchants of misplaced mannishness.
Panty hose are nothing new. Jacques Leotard, a nineteenth century circus aerialist looked great in them. He even had some
with tops sewn on. In fact, he gave his name to the garment worn by ballet artists and trapeze performers. And do you know
why leotards, tights and pre-panty hose were worn? Because little else was and in the interest of property the bare flesh had
to be covered. That was seventy-five years ago, and tights were worn as a specialized type of garment by both men and
women, who, after the performance was over, got into their respective boy and girl clothes.
I am not going to use much space in a tirade about the desexualization of the American male and the defeminization of the
American woman.

[kFoyauextlH]

Many competent researchers, psychologists, sociologists and sexologists have observed the phenomenon.
The last ones to notice they are being duped are always the people, however. So instead of trying to change things, I’ll just
say that the field is wide open for a witch who follows my formulas, thanks to those wonderful folks with their panty hose
and starvation diets and chrome sequined jump suits and club foot shoes who have eliminated most of the competition.
Panty hose emphatically let a man know he can’t have access to a woman’s sexual organs, although the story goes that one
gentlemen was energetically making love to his lady friend and noticed that with each new thrust, she reacted by violently
curling her toes. After calling her attention to her unique aberration, the man was informed that she had forgotten to remove
her panty hose. This story is not far from the truth, as some women now wear their nylon security skins under pantysuits and
shorts and ever to bed in a manner not unlike the old farmers who used to sew their woolen underwear on after harvest and
remove it after the first spring thaw.
Get rid of those panty hose. Only the most desperate of men will condone them. Wear nylons with tops at least two inches
wide, held up by a garter belt or girdle, depending on how much you should show your luscious flab.
If you are attempting to bewitch a four to nine o’clock male, black or darker shade nylons are just the thing, held up by a
black garter belt or longish pantie girdle that will tend to make your thighs look firm but still let a little bare flesh peek
through. If you are working on men in the ten to three o’clock range, wear beige, tan and cinnamon tone nylons suspended by a white or pink garter belt or fairly short girdle that will allow plenty of thigh to balloon out. If your garter straps are a little
frayed, so much the better. He’ll think he’s really seeing something he shouldn’t! A safety pin repair job on a garter strap is a
real turn-on too. Another trick to remember is the run in the stocking. Four to nine o’clocks won’t like it much, but most ten
to threes will find a run in a nylon very appealing, providing it’s not on their own wife!
Of course, you can’t wear skirts eight inches above your knees, if you’re going to wear nylons that stop seven inches above
you knees. And you shouldn’t wear the type of nylons that come all the way up to your crotch, as you will be defeating the
whole purpose in wearing them. If you stockings end mid-way up your thigh, you have a lot of room to play around with in
using the Law of the Forbidden. If your hem is two or three inches above the knee, you can control the amount of leg you
display with amazing finesse.
If necessary, you can be prim and proper with no indication of what lies beyond the hem of your skirt as it is tucked neatly
under your legs which are closed together. You can cross your legs, allowing the tiniest glimpse of bare thigh to peek out
over the tops of your stockings, or you can arrange a brazen display of thigh, which will guarantee the wrath of every other
woman present—especially those wearing skirts much shorter than yours.
You can use the technique of not knowing anything is wrong while one small area of your thigh is “accidentally” exposed
in a manner that is not a question of how much is revealed, but rather, how far up.
Stockings, garters and skirts with enough leeway in length give you the very magical tools to work with in bewitching
through the Law of the Forbidden. I have proven the validity of my formulas many times over by sending my witches “into
the field” where there are men who pay lip-service to all the latest fashions, deny the principles I set forth, yet still salivate
when the bell rings, when they are actually confronted by a girl who employs these techniques. Always remember that a good
old-fashioned pair of nylons will be the best friend a witch ever had.
The High Heel
Another flagrant example of hypocrisy generated by fashion changes is the right-today, wrong tomorrow paradox of the
high-heeled shoe. In the Gay Nineties women wore high-button shoes and boots that came half-way up the leg. As the
twentieth century gave women the right to vote, it also took away their heavy leather footwear and gave them the French
heel, Cuban heel, wedgie, platform pump and spring-o-lator—all high or moderately high-heeled shoes.
A sort of obsolescence manifested itself through the respective periods of acceptance for all of the type shoes I just
mentioned. Like the undergarment situation, what was rationalized as “comfortable” one year, was considered “painful” and
“unhealthy” the next.
When women wore the French heel after the First World War, it was considered the height of sexiness with its small
wineglass-stem type heel. It was also considered a vast relief from the cumbersome boots of the earlier era with their fat heels
that lacked grace. Pretty soon only old ladies were wearing shoes with chunky heels. The slender high heel was here to stay.
A few years later, when heels had grown even higher, a thicker, heavier shoe had a short popularity. Largely inspired by
the Latin lover image and the immense popularity of the tango, rhumba and other dancers, the Cuban heel of the early
Thirties slimmed itself out however; and outside of novelty shoes like the wedgie, by 1940 every women who had any style
was wearing high-heels. The old cry “emancipation” went up, and great thanks were given by countless women that the
graceful, feminine, light-weight shoe had arrived.
Reminiscences of grandmother’s day, when high-button shoes with low heels were the rage, made every woman grateful
that she didn’t have to wear such monstrosities. Thick, chunky heels were worn by old women and for orthopedic purposes,
and boots were for horseback riding. This basic ideal continued for many years, and women’s legs never looked so good . . .
until it was decided they looked too good by the woman-haters and the ugly uglies, so back to the old drawing board.
Trousers for women had already gained unanimous acceptance with pedal pushers, toreador pants, capris, etc. running their
courses. All that was needed to get rid of the high heel was to start by shortening it so that its wearer appeared to be standing
in soft mud. Women blindly accepted the new one and one-and-a-half inch heel as sensible and rationalized it by telling of its
comfort in all-day standing sessions.
Then came the boots, and, though some of the first ones had spike heels, they soon disappeared in “favor” of lower and
thicker heels. Within a short time the full circle had come about with women wearing low-heeled boots, which rose above
their knees in many cases.
Now the fashion slaves were cheering a new age of comfort, as they sipped their scotch and waters in their tight Gay-
Nineties boots and full-length drawers (panty hose). They gave few eulogies for the “horrible, uncomfortable,” spike heels
that a few decades earlier had been hailed as freedom from the “heavy, sweaty, binding, unhealthy, confining, cumbersome”
footwear of the Gay Nineties which only “bred germs, raised bunions, and did nothing for a girl’s legs!”
Now, as some of you read this, while wearing your Li’l Abner gunboats, you wonder how you mom could possibly have
walked in those awful spike heels. It was easy, witches, it was easy.
How sad it is that women have never been taught the reasons for the appeal of the high-heeled, I mean the three-inch
spike—not the two-inch, inch-and-a-half or one-inch “high –heel.” Nor do I mean the chunky heel, however high, which
resembles nothing so much as a handle from a .45 automatic pistol.

Despite recent propaganda to the contrary, high-heels are not extinct. Pick up any men’s magazine and glance at the
cartoons of sexy girls and you’ll find the high-heel is every bit as fashionable as it always was. Cartoons are still
exaggerations of reality, and the competent witch must be constantly aware of the importance of properly employed
exaggeration. In the casting of spells, exaggeration of the chosen imagery is necessary for the emotions to become worked up
to their highest pitch. Sexual fetishes are nothing more than exaggerations of what would be considered normalcy. For this
reason, it is easy to pass the whole subject of high-heels off as a simple device for fetishistic activity. Even if this were the
case, it would be assumed that high-heels should be a universal article of clothing, basing its popularity on such a commonly
encountered fetish.
Why, however, is the high-heel, so prevalent as a sex symbol, synonymous with femininity? The reasons are many. First,
the three-inch spike-heel forms a distinct “S” curve from the top of the heel to the point where the spike touches the ground.
This “S” curve is a traditional curve of beauty, the serpentine curve of mystery, the epitome of fluidic, feminine contour. No
other style of footwear is as flagrant in the portrayal of this emotionally pleasing configuration.
Now, something very magical happens when the foot is placed within the high-heeled shoes and the wearer stands up. The
back of the calf is thrown out in an exaggeration of its normal plane, creating another “S” curve directly above the one
formed by the shoe. Still another exaggeration is formed above the knee, where we find the buttocks thrown out, along with
the hips and thighs, and forming a third “S”—this one starting where the waist nips in, bulging out for hips and buttocks and
retreating as the knee is approached. One might call this a very unholy trinity, as it is sure to be the basis for much
temptation.
One such parabolic curve is deadly enough as a device employed towards positive attraction, but when three such “S”
curves are used, one on top to the other, the onslaught is too much to possibly be ignored. No one is immune to these
geometries when confronted by them. Whether it be seen in the neck of the swan, as it glides across the lake, or in the
elegance of the landau bar, fastened to the rear of a vehicle’s passenger compartment, or in the mysteriously compelling
beauty of the structure of the roller coaster, the “S” curve will always compel attention.
So much for the effect of the high-heel when the wearer is in a standing position. When the really devastating effect of the
high heel comes is when the wearer begins to walk. It is virtually impossible to walk in high-heels without the hips and pelvis
reacting in an exaggerated manner! Any girl who has ever tried to walk in high-heels without shaking her behind should
know that the resultant effect is so ludicrous as to defy description. The fact that the walk has become unnatural only applies
when compared to the type of walk produced without high-heels. Once the high-heels are placed on the feet, any attempt to
walk without the posterior swaying becomes unnatural. In short, one doesn’t even have to try to walk in a sexy manner while
wearing high-heels—it comes naturally!
The high-heel is always in style, at least insofar as the emotional appeal it generates. As a device for separating the sexes, it
seems to be the only article of clothing worn by women that men have not been able to incorporate into their wardrobes. It is
true that men’s shoes have been fashioned in the semi-high-heel style but with a thick heel of the type women used to wear
when Cuban heels were in vogue. It is highly unlikely that men will ever take up three inch spike heels. So long as such
footwear is restricted to women, the woman who is a holdout for her exclusiveness in being a woman will always have such a
“badge of office” at her disposal.
No matter how extreme the juxtaposition between men and women grows fashion-wise, if a man wishes to wear women’s
high-heels, he will have to own up to his transvestite tendencies, which in itself would be a refreshing display of honesty.
Men may dress as women, to all intents and purposes, so long as the clothes they wear are purchased in men’s shops. This
gets the feminized male off the hook and eliminates the stigma accompanying the wearing of women’s clothing. So long as a
man can go into a fashionable men’s shop and purchase an ensemble he saw in the latest Playboy or—Esquire, he needn’t
fear anyone referring to him as a “drag queen.” Should he find the wearing of women’s high-heels appealing, however, he
has no choice but to receive the questioning glances of all who see him to say the least!
One thing must be borne in mind and that is that anything which looks freakish can negate to otherwise potent force which
exaggeration provides. A good example of this is the style of high-heel seen in journals and cartoons catering to purely
fetishistic needs. Often grotesque styles feature heels five inches or higher, some actually rising to the ludicrous height of
nine or ten inches. These specially-made shoes are devoid of the “S” curve, and, in order to allow the wearer to stand, let
alone walk, it is necessary to build up the soles so that the shoe resembles a corrective orthopedic device rather than an article
of footwear.
The most fool-proof type of high heel for the witch to wear is the classic three-inch pump in whatever material or color is
best suited to the occasion. Variations include the open toed sling pump —a slightly more naughty and yielding image with
just a hint at sleaziness. Then, of course, there is the backless spring-o-lator or as it used to be called, the “mule.” Only the
most “daring,” “cheap” and “loose” women wear this type of heel, or so the hostile females would claim. It is true that the
spring-o-lator’s very design suggest a shoe intended to be worn while lying down rather than walking. The element of the
high-heel is definitely emphasized while the shoe itself is minimized, thereby flaunting the premise that it is the effect which
counts, not the utilitarian aspect. It is for this reason, the spring-o-lator must be considered the most “self-conscious” of the
family of high-heels. This, then, is why only the most “thick-skinned” of witches can feel comfortable wearing such a style
shoe.

I find it charming that little girls, who have not yet learned to deny their gender take great delight in wearing their
mommy’s high-heels, even though mommy never wears them anymore herself. So strong is this compulsion in these tiny
witches that one wise toy manufacturer has produced a “dress-up” shoe for little girls, which is a replica of the “out-of-date”
spring-o-lator and comes complete with “fancy silver clips and a red jewel.” And don’t forget that all “big lady” dolls, such
as “Barbie” have a selection of high-heeled shoes from which our little enchantresses can choose to match any outfit in the
doll’s wardrobe, whereas the child-type dolls come with flat shoes. To the aspiring witches who try to stay on the good side
of me by saying they’d “just love to wear high-heels” but can’t because it “hurts their feet” I have a ready answer. I say “it’s
easy—in fact, it’s child’s play!”
Little boys seem likewise fascinated with high-heels, most likely because they know it is an article of clothing they are not
allowed to wear and is reserved for girls.
The rule every witch should remember concerning high-heels is: It is not what is fashionable but what is sensually
attractive that counts; and the high-heel cannot be other than attractive, as it represents the natural line of beauty, combined
with the pelvic movement which is the very dance of life. Let the fashion industry argue until they’re blue in the face. People
may not know what they like when they see it, but they sure respond to it. And, after all, in witchery that’s what counts.
On Prostitutes and Pentagrams
Some of the best witches are prostitutes. It’s their job to attract men! They not only learn the little quirks that other women
never see in men, but they must be able to dress, act and think outside their natural role.
Unfortunately, many present-day prostitutes have abandoned their uniforms and gone the way of fashion, and there is
nothing so dismal as a stylish prostitute. Or course, the girls who wear the panty hose, bell-bottoms and combat shoes can’t
understand why they aren’t spoken for as much as their high-heeled, stocking-clad, tight skirted sisters. And you can be sure
the gals who know what most men prefer are not about to tell them.
The “uniform” of the prostitute is virtually little different than the uniform of the compleat witch. Dresses should be tight
enough, if straight, to allow the lines of undergarments to be faintly perceptible through the material. Dresses with full skirts
should be nipped in at the waist as much as possible with a belt. Straight dresses may also be worn with a wide belt. Unless
you are particularly thin, the belt should never be lighter than the basic color of the dress and generally should be much
darker.
Avoid the empire line dresses, despite your passion for them. They violate your true waistline, if you have one, and should
only be worn by those who are fat in the midriff! All hemlines should be no more than four nor less than one inch above the
knee. Belts should also be worn with skirts and blouses or skirts and sweaters. The best neckline is always a “V” but
unobtrusive variations may be worn. Avoid huge boat necks. They break up your curvilinear symmetry and make you look
like a lighthouse. If you can’t wear heels, then wear classic flats or sandals. Avoid novelty shoes unless your feet are so
misshapen you want to detract from them by drawing attention to the strangeness of the shoe.
Choose uniform patterns or solid colors (more to come on colors). Suits are fine, if they’re figure-revealing—nipped in at
the waist and have a straight skirt. Peasant blouses are a standard. Flowered prints are always good as are polka dots, checks,
stripes, etc. Avoid “camouflage” prints unless your figure is so bad it needs them. This applies to wild psychedelic prints.
These patterns were designed by way of acid-tripping and place the importance on the fabric of the dress rather than what’s
inside.
Wear a bra, unless your garment is thin enough that it’s apparent you’re not! Otherwise, your nipples won’t be seen, and
what’s the point in going bra-less if they don’t show? You’ve either got to show some breast or else some nipple. A bulky
sweater, with no bra, shows neither. If you are one of the big-busted, kindly disregard what I just said.
Wear a slip or a half-slip if you wish, but keep it plain and simple—no layers of ruffles to get in the way when you sit
down so your legs will be obscured.
Panties should be plain white or pink (or if you must wear brand new ones during an enchantment, a color called
“eggshell” is good, as it looks a bit dingy) if they’re a four to ten o’clock; black if you’re on the top end of the synthesizer,
between ten to four o’clock. Undies should look as though you didn’t plan on anyone seeing them; then they look more
forbidden. If you wear “stage undies,” with all kinds of embroidery, lace, fringe, etc., it appears that you give everybody a
show, and that’s all that can be hoped for—a show. You want to give the impression that you are for real, not an entertainer,
and nothing turns a man on more than to think he’s seeing something you hadn’t planned on him seeing. Get out the old
panties you wouldn’t want to get in an accident wearing, and you can’t go wrong.
Sometimes other back-stabbing women can inadvertently do you a big favor simply because they are laboring under the
delusions and follies that have been supplied by sex-haters in general and woman-haters in particular.
An amusing example of such an occurrence is the real life Cinderella story which follows: It all happened in a large
insurance firm in San Francisco. A new girl had been hired in an office staffed by several women and two eligible men. She
was unmarried, with a pretty face and was just overweight enough to enhance her basically good figure.
One day, shortly after joining which had fallen behind a filing cabinet, and in the process of her unexpected gymnastics,
revealed a great deal more than the other women felt was proper. It was awful, and the nasty minded men naturally got a big kick out of it. It wasn’t so much the exposure, for short skirts had been in for quite awhile. The other women couldn’t even
complain about the fact that the newcomer was wearing regular stockings instead of panty hose, though they would have like
to. The charge finally levelled at the violater of office tranquillity was predicated upon hygiene and supplied by the fact that
Miss “X” was wearing a pantie-girdle that was rather soiled in a crucial area. The florescent office lights had illuminated her
like a filming for a living-girdle TV commercial.
By the next day the whispering-campaign was in full swing and sounded more like an actualization of a soap commercial.
“Did you see that girdle she was wearing?” “You should have seen that girl’s girdle. How disgusting!” “I’ll bet her
underwear stands up by itself.”—and other colorful praises, were loudly sung by all the harpies present. Before long, word
had gotten around to other offices in the building and interest started building concerning this “gal in the next office with the
dirty underwear.” Slowly, surreptitiously and slyly men started developing excuses to talk to the girl—men who didn’t even
work in the same office.
In fact, the girl was later hired by the regional manager of another firm in the same building and placed in a new branch
office in a nearby suburb as a receptionist. Her salary was almost doubled, and, as of this writing, she is still holding off her
boss’s proposals of marriage, though she says she’ll give in soon. The moral of this true story is: Never underestimate the
power of a dirty girdle!
Worn clothing is always more sexy than fresh, new clothing, whether in blue denims, Levi’s or cocktail dresses. This
doesn’t mean scroungy and dirty but “broken in” clothes. I’ve known men who were driven crazy by a soiled bra strap
revealed through a sleeve opening. Say I’m daft if you will, but these are the tricks, and potent tricks they are. Don’t worry
about it if your panties get a little damp. The moister they are, the better men like it.
A very famous movie sex symbol of my acquaintance used to allow herself to dribble enough to get a small wet spot on the
back of her skirt, implying to all the stupid men who say her that she was so excited she couldn’t control herself. Maybe she
was. At any rate, it certainly achieved the desired reaction.
Other sneaky tricks that are decided turn-ons to many men are “unknown” tears or rips in skirt seams that will reveal a
glimpse of underwear. A well-trained zipper can also do wonders. When a nice old lady calls you aside and tells you you’re
unzipped in back, just blush a little more, thank her while frantically zipping up, wait a few minutes ‘til she’s gone, then pull
the zipper back down, hoping you don’t run into her again.
If you must wear pants, the same tricks of “accidental” rips and errant zippers can apply. Especially effective is an opened
seam on the upper inside thigh or anywhere along the crotch seam up to the waistband in back. When wearing sleeveless
tops, consider not only the opportunities for a peep-show through an extra-wide arm opening, but also the role your armpit
can play in visual enchantment.
Accessories
Forget about hats that look like Boer war campaign numbers, Soviet secret police, Anzac and Roman lictor models, not to
mention French Foreign Legion kepis. You’ll be getting right back into the chrome-plated jump suit image. Instead, try a
saucy little number or wide sailor, and watch the reaction. Gloves are another accessory that can add to you allure.
The best kind of jewelry is often the simplest. Flashy rhinestones are fine if you’re a dominant personality type. Otherwise,
tasteful—even corny—necklaces, bracelets and earrings are in order. Unless you are an exotic type, avoid monstrous earrings
and arms full of bracelets. Likewise, ten-pound pendants and yards of beads and necklaces will make you look less like a
compleat witch and more like a complete fool.
The jewelry you wear must add to your appearance, by serving as tinsel or frosting on the cake, not as a walking museum
collection, where the embellishments have their own obvious meaning which will make them the point of interest rather than
you. Edith Head, one of the few designers whose creations could be worn by a compleat witch, maintains that only if a
compliment is directed at how lovely you look, rather than what a beautiful dress you’re wearing, can you truly feel flattered.
This is one point on which I agree with most notables in the field of fashion. Clothing, jewel and other accessories should
complement you, not outshine you. If they do overshadow you, the whole point is lost. The only exception to this would be if
you have nothing to enhance, which is true of the great number of fanatical fashion followers! If you have a small, tasteful
pendant or ring or bracelet that has particular significance to you, by all means wear it so long as it doesn’t detract from the
rest of you.
Concerning amulets, wear only one at a time, and tastefully, so it looks like a functional piece of jewelry. Would-be
witches are notorious for loading themselves up with so much hardware in the form of amulets and talismans that it’s a damn
good thing they don’t really fly on broomsticks since they’d never make it off the runway.
Witches whom I have personally trained wear a small round amulet bearing the Devil’s symbol—and inverted five-pointed
star with the head of the Sabbatic and Hebrew characters around the perimeter of the circle spelling out the name,
“Leviathan,” another manifestation of the name of Satan. Of course, there are times when it is more feasible to conceal such a
talisman and confine one’s neckwear to pearls or costume jewelry. If you are clever (or rich), it’s amazing what can be done,though, and I know witches who have had the above-mentioned amulet wrought in diamonds, rubies and other precious
substances so at first glance it would not be interpreted as an amulet.
Just remember, your ability as a witch has nothing to do with how many pounds of amulets you wear. The only purpose an
amulet serves is as a reminder of what you want or represent. An amulet can, therefore, give you constant awareness of your
role, but constant awareness of your role will not accomplish a thing unless you have whatever other devices and actions
necessary to go with it.
Color Clues for Witches
This chapter is not going to attempt to tell, by way of the old school of fortune-telling, what certain color preferences
signify in people. The synthesizer clock will take care of color and personality in a manner that allow for the most subtle
gradations in both. If you insist upon reading about how people who like red are daring, those who like black are morbid,
lovers or yellow and intellectual, etc., etc., buy yourself a copy of dear old Mother Schloker’s Old Gypsy Dream Book and
Oracle or something. No matter how proficient you are in your choice of clothes, the wrong color can lessen the impact of
your bewitchment. Your most helpful device in choosing the proper colors is the color wheel.
Starting with red at twelve o’clock, the corresponding colors of each personality type encircle the synthesizer. If you wish
to charm a man, find his position on the circle and choose the color exactly opposite to wear. There are some simple rules
which will serve you well if they are observed. The color a man would least likely wear on himself is the color he responds to
best on a woman. The color a woman hates worst on herself is the color she will like on a man. This formula is so simple to
employ that it requires no involved study of the psychology of color, although modern researchers, like Faber Birren, have
contributed a great deal towards a comprehensive understanding of the subject.
If you look good in red, you may not like to wear the color, but prefer green. When deciding on the proper color, or
combinations of color, you will often encounter situations where the last color you would ever choose to wear can be the best
for the role you are to play. The vast difference in your Apparent type that a simple change from your usual color choice can
produce is truly remarkable. Of course, your skin tone and hair color must be taken into consideration. If you have a pinkish
complexion, purple is the worst color possible for you, and if your skin has a yellowish caste, stay away from greens.
If you are not actually fat, light colors are always sexier than dark ones, as they show more of the contours of your body.
Most witches make the mistake of assuming black to be the standard for all clothing. Black can be very effective, but must be
used with discretion. The color pink is always sure to work magic, as it is the color of feminine intimacy. Likewise, white is
always good for a witch who is in doubt as to the best color. If white clothes are worn in an enticing manner, they will often
steal the show from all other colors. The erotic stimulation many men derive from nurses stems from the fact that a nurse’s
uniform is usually figure-revealing, very sound in its basic design and white. Even the pale blue and green uniforms worn by
nurses have the waists where waists should be, a smooth (and thereby tactile) finish and a fitted line. If nurses and waitresses
get more than their share of attention from men it’s only because they’re often the only women around who wear clothes that
make them look like women.
Bright colors of any kind are best worn by witches of a more dominant personality type, although, as with a red hair dye
job, a loud colored dress on a usually mild mannered girl will often do wonders to change her personality. When you wear
loud colors, you automatically place yourself in a position to attract men from the lower half of the synthesizer clock. When
you dress in pastels, muted or toned down colors, you will appeal to the males on the top half of the clock.
Owing to the fact that, as far as their ECI (Erotic Crystallization Inertia) is concerned, men are still young boys, they will
most often pick bright red as a preference. Every witch that isn’t a bonafide fatty should have at least one bright red dress,
whether she can stand it or not. Also a pink and a white. If you have these basics, you need never worry about not having a
thing to wear witchery-wise. Then if you wish to get mysterious you can always wear black, but don’t say I didn’t tell you,
when you find out that the pink, white or red dresses did what the black one couldn’t. Of course if you’re really overweight,
black is best. It’s a shame that certain colors are almost sure to steal the show, but being realistic is a large part of being a
compleat witch.
Don’t think for one moment, though, that the color of your dress is more important than the Law of the Forbidden. Sexual
compulsions will invariably win out if a contest is at hand. Don’t delude yourself that by donning a scarlet minidress over
your panty hose and chunky shoes you’ll be any competition for a gal of equal looks who is using “the formula” and wearing
a beige suit. Color is important but must be employed as a single ingredient—not as sole magical weapon.
You probably wonder where browns and grays fit in on the color wheel. Browns, beiges, tans, etc. are all variants of the
yellows, golds, orange-yellows and oranges that make up the “earth” section of the clock and are harmonious with all of the
colors on the left side. For example, everything from green at six o’clock to red at twelve o’clock can be mixed with browns
and remain compatible color-wise. Try and mix violet or blue, from the other side, and you get an ugly mess. The same
formula applies to gray on the right side of the clock. All colors in this section are compatible with gray from red to green.
Add blue to gray and it works fine. Likewise, green or violet. Just try mixing yellow or orange with gray and see the awful
results.

Those occupying a six or twelve o’clock position can easily go in either direction; however, neither grays nor browns will
be quite as effective as on those to the far right or left of the circle.
A good clue to a man’s position on the synthesizer may be given by the color he chooses in clothing. If he wears a necktie,
the one that appears to be his favorite should tell you to wear the color directly opposite on the color wheel.
Many witches think that to get on the good side of a man it helps to wear matched outfits and nothing could be more ill-
advised. Girls who go out and buy a red sweater to match their boyfriends red shirt give a Bobbsey Twins ring to the whole
affair and unwittingly encourage a platonic relationship. I have had numerous would-be witches come to me for tuition
wearing slinky black outfits, assuming I will be impressed, because they might have seen me on a TV show or in a magazine
wearing black. I do appreciate their thoughtfulness but hasten to inform them that a man who goes around wearing black
clothes all the time, of his own choice, would prefer to see women wearing light or pastel colors.
Most businessmen who must wear black or gray suits, however, respond strongest to girls in loud, bright colors. This
illustrates why subjective/objective preferences must be taken into consideration in a person’s choice of clothing colors. For
example, a person who wears a lot of black objectively such as a waiter, priest, musician, concert artist, etc. cannot be typed
accurately, but one who wears black because he loves it is a different story. I have found that people who prefer to wear black
actually favor the color red, but refrain from wearing it because they are often introverted. The man who wears black clothing
of his own choice will seldom respond to loud colors on a woman, but the wearer of black who must can be judged by the
color of his car.
Unless he had no choice in the matter, his car color will tell you a lot. Again, just consult the synthesizer, and appear in the
opposite color from his car. If his car is a drab or nondescript color or one of the “practical” colors, such as light green, pale
blue, beige or tan, he needs a gaudy wench, so bedazzle him with your color. If his automobile is bright red, black, white or
some exotic color, don’t think you need to compete and wear your loudest colors. There is good reason for this. If his car
represents his Apparent self’s color choice, he wants his woman to be the opposite. If his car represents his Demonic self,
then it'll take a lot more than a crimson dress to woo him away from his red fiberglass lover. No matter what, it’s bad
witchery to dress in the color of his car!
The same factors apply concerning living quarters. It might look good in the movies to see a gal in her all-white bedroom,
wearing white, but it just doesn’t work that way and is limited to publicity photos. No man wants to be overwhelmed by the
room around him when he’s trying to get to first base with a woman. And having the room in identical colors to what its
occupant is wearing does just that. It fairly yells at him, “You’d better please me too!” or like a chaperone, “Just what do you
think you’re going to do to us?”.
When decorating a room in the right color is an issue, the ideal witching-room would be one with revolving or changeable
walls of different colors. If one is to really explore the potential effects color can produce, opportunity and facility for quick
changes must be present, which is often easier said than done. The simplest means to attain such color modifications is
through the use of lighting. A small spotlight against the base of one wall, mounted in a housing which will hold removable
colored filters, is the ideal arrangement. Then, if you want a blue wall one night, you can change it to pink the next.
Despite what you may think, black is an ideal color for a witch’s den of iniquity, as any color accessory can be used, any
color clothing can be worn, and you will be the star performer at all times. Black is limitless in its perspectives, and a small
room can lose any confining quality it might have if painted another color. It used to be thought that a black room would be
restrictive, depressing and morbid, but if there are highlights of any sort in furnishings, art, rugs and draperies, you can’t go
wrong with black walls.
In addition to its adaptability for decorating, a black room is the most restful when the lights are off and totally devoid of
distraction when you want to read or work; not to mention it makes an ideal ceremonial chamber for your magical rituals.
Another tip: Red carpeting has proven itself to be the most conducive to keeping people in a room, so don’t use it if you
want a fast turnover of visitors. People naturally linger on red carpet, and restaurants and bars that want to keep their places
full have found it to be one of great assistance. I have found that a room with black walls and ceiling with bright red
carpeting will make people lose track of time completely, especially if the room is rather long and narrow.
If you want to use mirrored walls in your room, be extremely careful that you don’t have more than one wall so covered.
You know how distracting the mirrors in a beauty shop can be when one mirrored wall is opposite another, especially if one
wall is slightly off parallel from the other. With certain colors and the proper deviations in the placement of mirrors the most
horrible crimes and raging madness can transpire, and you don’t want to be the loser in such cases.
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https://www.researchgate.net/publicatio ... anic_Witch

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Anton Szandor LaVey wrote The Satanic Witch in 1970 as a response to the contemporary discourses of his time: feminism and the occult revival. This essay focuses on LaVey’s treatment of the scent of feminine fluids blood, sweat, and urine—in The Satanic Witch and selected texts in order to demonstrate that LaVey’s emphasis on the importance of bodily secretions is an extension of his carnal-magical worldview; he employs the arcane language and aesthetics of the occult to methods of physiological and psychological manipulation in order to influence others and achieve desired ends. Throughout this article I apply Mary Douglas’ theories in Purity and Danger (2002 [1966]), which address our notions of contagion, dirt, and taboo; feminist rhetoric on 1960s and 1970s feminine hygiene products and their putative cleansing of natural feminine scent; and finally, the use of sexual fluids in esoteric magical practices such as described by Aleister Crowley. This article illustrates that LaVey’s use of feminine fluids for magical efficacy reflects his notion that magic is firmly rooted within one’s own body, and the capacity of one’s own will, while also incorporating and responding to the surrounding discourses of his time.
"

https://www1.stjameswinery.com/uploaded ... fWoman.pdf

https://www.academia.edu/41405353/Liber ... c_Feminine

https://churchofthemorningstar.blog/201 ... -feminine/

https://in.sagepub.com/sites/default/fi ... _77620.pdf

https://verbumetecclesia.org.za/index.p ... ew/428/489

https://digitalcommons.usu.edu/cgi/view ... imwjournal

https://archiv.ub.uni-marburg.de/ep/000 ... /3565/7564

https://en.m.wikipedia.org/wiki/The_Satanic_Witch

https://en.m.wikipedia.org/wiki/Gender_role

https://en.m.wikipedia.org/wiki/Masculinity

https://en.m.wikipedia.org/wiki/Femininity

https://en.m.wikipedia.org/wiki/Sexual_dimorphism

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Aggressive utility traits such as "battle" teeth and blunt heads reinforced as battering rams are used as weapons in aggressive interactions between rivals. Passive displays such as ornamental feathering or song-calling have also evolved mainly through sexual selection.[2]
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https://en.m.wikipedia.org/wiki/Seconda ... acteristic

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A secondary sex characteristic is a physical characteristic of an organism that is related to or derived from its sex, but not directly part of its reproductive system.[1] In humans, these characteristics typically start to appear during puberty—and include enlarged breasts and widened hips of females, facial hair and Adam's apples on males, and pubic hair on both.[1][2] In non-human animals, they can start to appear at sexual maturity[3]—and include, for example, the manes of male lions,[4] the bright facial and rump coloration of male mandrills, and horns in many goats and antelopes.
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https://en.m.wikipedia.org/wiki/Gonochorism

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The term is derived from Greek gone 'generation' + chorizein 'to separate'.[6] The term gonochorism originally came from German Gonochorismus.[7]

Gonochorism is also referred to as unisexualism or gonochory.
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Gonochorism stands in contrast to other reproductive strategies such as asexual reproduction and hermaphroditism. Closely related taxa can have differing sexual strategies – for example, the genus Ophryotrocha contains species that are gonochoric and species that are hermaphrodites.[30]

The sex of an individual may also change during its lifetime – this sequential hermaphroditism can, for example, be found in parrotfish[31][32] and cockles.
"

https://en.m.wikipedia.org/wiki/Plant_r ... #Unisexual

https://en.m.wikipedia.org/wiki/Plant_r ... y#Bisexual

https://en.m.wikipedia.org/wiki/Plant_r ... morphology

https://en.m.wikipedia.org/wiki/Gynogenesis

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Gynogenesis, a form of parthenogenesis, is a system of asexual reproduction that requires the presence of sperm without the actual contribution of its DNA for completion. The paternal DNA dissolves or is destroyed before it can fuse with the egg.[1] The egg cell of the organism is able to develop, unfertilized, into an adult using only maternal genetic material. Gynogenesis is often termed "sperm parasitism" in reference to the somewhat pointless role of male gametes.[2] Gynogenetic species, "gynogens" for short, are unisexual, meaning they must mate with males from a closely related bisexual species that normally reproduces sexually.[3]

Gynogenesis is a disadvantageous mating system for males, as they are unable to pass on their DNA. The question as to why this reproductive mode exists, given that it appears to combine the disadvantages of both asexual and sexual reproduction, remains unsolved in the field of evolutionary biology. The male equivalent to this process is androgenesis where the father is the sole contributor of DNA.[4]
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https://en.m.wikipedia.org/wiki/Androgenesis

https://en.m.wikipedia.org/wiki/Parthenogenesis

https://en.m.wikipedia.org/wiki/Dioecy

https://en.m.wikipedia.org/wiki/Gender_binary

https://en.m.wikipedia.org/wiki/Heteronormativity

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Heteronormativity is the definition of heterosexuality as the normative human sexuality.[1][2] It assumes the gender binary (i.e., that there are only two distinct, opposite genders) and that sexual and marital relations are most fitting between people of the opposite sex.

Heteronormativity creates and upholds a social hierarchy based on sexual orientation with the practice and belief that heterosexuality is deemed as the societal norm.[3] A heteronormative view, therefore, involves alignment of biological sex, sexuality, gender identity and gender roles.
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https://en.m.wikipedia.org/wiki/Heterosexism

https://en.m.wikipedia.org/wiki/Compuls ... _Existence

Added in 1 minute 4 seconds:
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Michael Warner popularized the term in 1991,[6] in one of the first major works of queer theory. The concept's roots are in Gayle Rubin's notion of the "sex/gender system" and Adrienne Rich's notion of compulsory heterosexuality.[7] From the outset, theories of heteronormativity included a critical look at gender; Warner wrote that "every person who comes to a queer self-understanding knows in one way or another that her stigmatization is intricated with gender. ... Being queer ... means being able, more or less articulately, to challenge the common understanding of what gender difference means."[6] Lauren Berlant and Warner further developed these ideas in their seminal essay "Sex in Public":

Heteronormativity is more than ideology, or prejudice, or phobia against gays and lesbians; it is produced in almost every aspect of the forms and arrangements of social life: nationality, the state, and the law; commerce; medicine; and education; as well as in the conventions and affects of narrativity, romance, and other protected spaces of culture.[8]
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Added in 8 minutes 5 seconds:
https://digitalcommons.ursinus.edu/cgi/ ... 3Danth_sum

https://www.wattpad.com/414629372-becom ... -lavey%27s

https://www.jackfritscher.com/PDF/Witch ... ey-Web.pdf

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Druggies are not manipulative witches. To manipulate someone you've got to be able to relate to that someone.
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Added in 4 minutes 24 seconds:
I'll add that I was told that a dog used speech buttons to ask to go to the vet, and it turned out they had a UTI, and people have just been neglecting that they are fully intelligent people who simply have not had easy enough ways to communicate that they can fully understand complex ideas, like that such a person is trying to help them, is there for that purpose, is who they would go to in order to get help for a problem, even though they probably had not been there for that specific problem before.

[kFoyauextlH]

https://skemman.is/bitstream/1946/19330 ... 20Bear.pdf

https://skemman.is/bitstream/1946/20343 ... ur_MIS.pdf

https://harrypotter.fandom.com/wiki/Thorfinn_Rowle

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https://harrypotter.fandom.com/wiki/Rowle_family

Kind of weird that Rowling put in a family called Rowle as villains
Rowle family
Harry Potter Wiki
I like how this guy is looking:

https://static.wikia.nocookie.net/harry ... 0328224151

His techniques as well as the name Thorfinn are of interest too, since I seem to have a long history associated with the Fox from childhood and other similar animals like the Coyote, and one mention of the Fox Fylgja or Norse Totem as a spiritual representation of someone has it associated with a magic user named Thorgrim or something, but the annoying jerks as usual have wiped it from the internet.
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It is hardly surprising in medieval context that a dream message should have prognosticating context, giving warning about the person's fate. Both Andy Orchard and Rudolf Simek note parallels between the concept of the female guardian hamingja—a personification of a family's or individual's fortune—and the fylgja.[21][22]

In another saga example, Atli of Otradalr dreams of a vixen leading a pack of 18 wolves. The ensuing attack was led by the "most wicked wizard in the whole of the region" (Hávarðar saga Ísfirðings, i.e. "Saga of Hávarður of Ísafjörður[23]). This is a fylgja or fetch example discussed by G. Turville-Petre, etc.[4][24]

Þórarinn
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It combines the element "Þór" (Thor), the Norse god of thunder, with a suffix such as "-arinn," which relates to a follower or one who serves.

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That might be the name and very similar to the Harry Potter character's name
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Animal fylgjur often take the form of animals that fit the character of their possessors. As
Turville-Petre pointed out in “Dreams in Icelandic Tradition”, a wizard or a cheater may be
attended by a fox fylgja while beautiful women might be attended by swans.82 Fylgjur appearing
in dreams commonly do so preceding a battle. In these instances the fylgjur of the participants of
the battle often play out what will come. In Hárvarðar saga Ísfirðings, Atli í Otradalr has a night
in which his dreams are so haunted that everyone else is kept awake by him. When asked what
made his sleep so fitful he answers, “ek þóttumk ganga út ór búrinu, ok sá ek, at vargar runnu sunnan á vǫllinn átján saman, en fyrir vǫrgunum ran refkeila ein”83 (I seemed to walk out of the storehouse, and I saw that wolves ran from the south on the field, eighteen together, but before the
wolves ran a vixen). Atli was woken before the encounter played out in his dream, but realizing
the danger he was in, he prepared himself for battle. The word that Atli uses for the animals he
sees approaching in his dreams is hugr, which is used alongside fylgja and hamingja to describe
these fetch-like doubles.84 The wolves represented the enemy assailants, and the vixen at their front
was the fylgja (or hugr) of a wicked wizard.
The appearance of fylgjur in dreams did not necessarily predict only single battles. In
Vápnfirðinga saga a woman had a violent dream that brought her to tears. She had dreamt that
several bulls and oxen killed each other. Her dream was a foretelling of a blood feud that would
haunt two families for multiple generations.85 Dream foretelling through the presence of animal
fylgjur could also take place before the birth of the person whose fylgja was present. In Gunnlaugs
saga ormstungu we hear of a dream in which a yet unborn girl appears as a pen swan."

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The key to the transformation is usually a swan skin, or a garment with swan feathers attached.[7][8]

In the typical story a maiden is (usually bathing) in some body of water, a man furtively steals, hides, or burns her feather garment (motif K 1335, D 361.1), which prevents her from flying away (or swimming away, etc.), forcing her to become his wife.[9][1][11] She is often one of several maidens present (often celestial beings), and often it is the youngest who gets captured.[1] The bird wife eventually leaves this husband in many cases.[1]

The oldest narrative example of this type is Chinese, recorded in the Sou shen ji ("In Search of the Supernatural", 4th century), etc.[12]

Another type of tale that involves the swan maiden is type ATU 313, "The Magic Flight" (cf. feather cloak), where the character helps the hero against an antagonist.[123][5] It can be the maiden's mistress, e. g., a witch, as in a tale published by illustrator Howard Pyle in The Wonder Clock,[124] or the maiden's father, e. g., the character of Morskoi Tsar in Russian fairy tales.[125][126] In this second format, the hero of the tale spies on the bird (swan) maidens bathing and hides the garment (featherskin) of the youngest one, for her to help him reach the kingdom of the villain of the tale (usually the swan-maiden's father).[127][128]

In the Scottish story titled "The Tale of the Son of the King of Ireland and the Daughter of the King of the Red Cap" (Scottish Gaelic: Sgeulachd air Mac Righ Éirionn agus Nighean Rígh a' Churraichd Ruaidh), the prince of Ireland falls in love with the White Swan of the Smooth Neck, also called Sunshine, the young daughter of the King of the Red Cap, as he saw her coming to bathe in a lake.[129]
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https://stream.indieagora.com/w/euQLuNmdxXhyGSB4vHqqri

Added in 4 days 8 hours 50 minutes 30 seconds:
https://encrypted-tbn0.gstatic.com/imag ... gfPvC&s=10

[kFoyauextlH]

https://globalnews.ca/news/11477330/bea ... le-deaths/

Added in 4 days 1 hour 29 minutes 47 seconds:
https://en.wikipedia.org/wiki/Fur_clothing

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Crown proclamations known as "sumptuary legislation" were issued in England[5] limiting the wearing of certain furs to higher social statuses, thereby establishing a cachet based on exclusivity. Furs such as leopard, snow leopard and cheetah (all three of them known as 'panther' at the time), red squirrel, marten, and ermine were reserved for the aristocracy, while fox, hare and beaver clothed the middle, and goat, wolf and sheepskin the lower. Fur was primarily used for visible linings, with species varied by season within social classes. Populations of fur-bearing animals decreased in West Europe and began to be imported from the Middle East and Russia.[6]
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Added in 2 minutes 16 seconds:
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In 1970, Germany was the world's largest fur market. In 1975, the International Fur Trade Federation banned endangered species furs like silk monkey, silky sifaka, ringtailed lemur, golden bamboo lemur, sportive lemur, dwarf lemur, ocelot, margay, cougar, snow leopard, black panther, leopard, jaguar, tiger, cheetah, quoll, numbat, chinchilla, black bear, Sun bear, Moon bear, and polar bear. The use of animal skins was brought to light during the 1980s by animal rights organizations while the demand for fur decreased. Anti-fur organizations raised awareness of animal welfare issues within the fashion industry. Fur farming was banned in Britain in 1999. During the twenty-first century, foxes and mink have been bred in captivity with Denmark, the Netherlands and Finland being leaders in mink production.[6] Fur farming has since been banned in the Netherlands.[8]
"

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Fashion houses such as Hermès, Dior and Fendi still use natural fur. Alex Mcintosh, who leads the Fashion Futures post-graduate program at London College of Fashion, says "change on this level would only be driven on a genuine lack of demand and not just social media outcry".[12]
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"
Common animal sources for fur clothing and fur trimmed accessories include fox, mink, rabbit (specifically the rex rabbit), finnraccoon (industry term for tanuki), lynx, bobcat, polecat (called 'fitch'), muskrat, beaver, stoat (ermine), marten, otter, sable, civet, seals, karakul sheep, muskox, caribou, llama, alpaca, skunk, coyote, wolf, chinchilla, opossum, and common brushtail possum.[13] Some of these are more highly prized than others, and there are many grades and colors. In the past animals such as leopards, jaguars, tigers, lemurs, and Colobus monkeys were commonly used but CITES laws and the environmental regulation has made these furs illegal. Additionally, in some regions the furs of domestic dogs and cats are used for warmth.

Different furs have different properties; coyote fur is resilient and works as a great wind barrier but is very rough to touch, while fox fur is silky but delicate.

The import and sale of seal products was banned in the US in 1972 over conservation concerns about Canadian seals. The import and sale is still banned even though the Marine Animal Response Society estimates the harp seal population is thriving at approximately 8 million,[14] and the bans harmful impact on Indigenous communities that had relied on seal hunting as a source of international income. The import, export and sales of domesticated cat and dog fur were also banned in the US under the Dog and Cat Protection Act of 2000.[15]

Most of the fur sold by high fashion retailers globally is from farmed animals such as mink, foxes, and rabbits. Some cruel methods of killing have made people more aware as animal rights activists work harder to protect the animals. The 2001 recommendations of the European Commission's Scientific Committee on Animal Health and Animal Welfare (SCAHAW) state correspondingly: 'In comparison with other farm animals, species farmed for their fur have been subjected to relatively little active selection except with respect to fur characteristics.[16][17]
"

https://en.wikipedia.org/wiki/List_of_types_of_fur

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Real fur in fashion is contentious, with Copenhagen (2022)[44] and London (2018)[45] fashion weeks banning real fur in its runway shows following protests and government attention to the issue. Fashion houses such as Gucci and Chanel have banned the use of fur in its garments.[46] Versace and Furla also stopped using fur in their collections in early 2018.[47] In 2020, the luxury outdoor brand Canada Goose announced it would discontinue the use of new coyote fur on parka trims following protests.[48] Luxury brands like Dior, Fendi, Louis Vuitton, Max Mara, and Hermès continue to use fur in their designs.[49]
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https://www.metmuseum.org/art/collection/search/567608

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Men serving as high priests, Iunmutef-priests, or sem-priests required specific items of dress, one of which was the pelt of a leopard. Fastened over a shoulder or hanging down the back, the leopard skin served as a powerful symbol of regeneration, particularly relevant for priests conducting rituals carried out on behalf of the dead.

Depictions suggest that priests wore actual pelts, but nearly all the rare surviving examples are made from painted linen. Here, the paws, tail, and neckline were cut from a doubled piece of cloth whose edges were then stitched together. The "leopard spots" were once brightly colored rosettes of red, yellow, and blue.
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https://www.newyorker.com/magazine/2022 ... heir-spots

https://en.wikipedia.org/wiki/Clothing_in_ancient_Egypt