From poet/blogger wordman...

..“A man couldn’t have survived that fire, the more he kills, the more he transcends, he’s the essence of evil.”

There it is.

In one stark statement director John Carpenter has distilled the weltanschauung of the age down into one pearl of wisdom – a tagline for the damned – much as he did with his opening salvo of what would become the Halloween franchise back in 1978. So much water under the bridge since then, but so very little has changed. Oh sure, the horror has become more horrific, both on the screen and in the streets, but the dialogue and the conversation between interested parties remains the same. Destroy humanity as we know it.

This new line, this mantra for a new wave, is featured in his upcoming Halloween Kills, set to crash land in October, of all months. A new time for an all new Autumn of Fear after a paralyzing Summer of Transcendence. At this rate, who knows what will transpire before then, because that thing about transcending lies at the heart of every satanic neopolitan wanna-be at the top of our illustrious food chain. It’s what they drug for, it’s what they sacrifice for, and I’m sure you know I’m not invoking that service-to-others kind of sacrifice here; but sacrifice as in kill for their own spectacle and ends. It’s what they live for. Hmmmm, catchy.

Carpenter, much like a working man’s Kubrick, knows things, and has been laying it out there for decades. What’s going on in the Antarctic? The Thing. What’s the world really all about? They Live. What’s the nature of reality? In The Mouth of Madness. What is the Devil? Prince of Darkness. And he got this whole party started with Halloween, that exploded like a serial killer thought bomb on an unsuspecting Grease/Happy Days/Free Bird sunny 1978 subculture wholly not ready for it. Turns out he laces his fast food with DMT. Guilty pleasures that you realize far too late have transformed your worldview in the going down. The ultimate subversive. Oh sure, ’78 also had its share of the Stones going disco and punk, Elvis and Bruce leading a sonic New Wave, and Cheap Trick and the Cars going all Raspberries punk and techno – as well as many other cultural touchstones – but Halloween opened a door onto something dark and shiny and new, and there would be no closing it in the collective mind ever again. It even used, to great and lingering effect, Don’t Fear the Reaper, one of the darkest, stateliest, and most romantic songs ever written: https://www.youtube.com/watch?v=Dy4HA3vUv2c

Rimbaud or Yeats couldn’t have said it any better.

But where am I going with this? It’s my belief that some times, at certain junctures, things get unleashed into the psychosphere and can’t get put back again. A corner is turned, and nothing is ever the same after. The world becomes altered, and a path is chosen. The mid-and-late 197os were such a juncture,

here for the remainder
http://mcmmadnessnews.blogspot.com/2021/07/our-scary-summer-of-transcendence.html