Songs for the Witch Women In the world of music, there is a vast repertoire of songs that capture the essence of witch women. These songs celebrate the power, mystery, and strength of women who embrace their magical nature. From folk to rock, and from ancient chants to contemporary anthems, these songs serve as a soundtrack for those who embrace their inner witch. One such song is Fleetwood Mac's "Rhiannon." With its haunting melody and Stevie Nicks' distinctive voice, this song embodies the spirit of a witch woman. The lyrics describe a woman who is both enchanting and untamed, mirroring the archetype of the witch.
“They were not seeking someone to grow old with by the fire,” Pendle says. “They were each seeking someone to embrace and burn up with.”
The book embarks on an intimate archaeological dig, tracing the emotions of two lovers through the clarity of their handwriting, the delicacy of their line. Thanks to a new book out from Fulgur Esoterica, we now have a window into the love story of Jack and Marjorie two transfixing, but somehow still obscure, Los Angeles figures.
The lyrics describe a woman who is both enchanting and untamed, mirroring the archetype of the witch. Similarly, "Witchy Woman" by the Eagles is another classic that focuses on the allure and mystique of witch women. The lyrics speak to the magnetic and bewitching qualities that these women possess, drawing others into their web of magic.
Cameron: Songs for the Witch Woman
Born Marjorie Cameron in 1922, Cameron grew up in rural Iowa before embarking upon a brief stint in the Navy during the Second World War. Following her service, she moved to Pasadena, where her family had relocated. There, Cameron threw herself into the jazz world bohemia surrounding the clubs on South Central Avenue in Los Angeles. Soon after, she would discover another subcultural undercurrent of L.A.�one that was smaller and stranger, and which would radically alter the course of her life. One fateful evening in 1945 or 46, Cameron attended a party at a Pasadena mansion dubbed The Parsonage, home of the rocket engineer and occultist Jack Parsons. Immediately entranced by Cameron's red hair, Parsons believed that she was the "Scarlet Woman" that he had been trying to conjure through ritual magic. The two began an intense love affair, during which Parsons introduced Cameron to the esoteric philosophies and practices of astrology, the Tarot, I Ching and Aleister Crowley's occult Thelema, mentoring her in rituals of "sexual magick."
Cameron used her artwork as a site to explore the new ideas she was encountering through Parsons, evident in a series of watercolor drawings titled Songs for the Witch Woman , created in response to a series of Parsons' poems. Published to accompany MOCA LA's 2014 exhibition at the Pacific Design Center, the engrossing monograph Cameron: Songs for the Witch Woman opens with scanned pages from the Parsons/Cameron collaboration. The left pages feature Cameron's drawings of female figures, fantastical creatures and eerie landscapes, while Parsons' handwritten verse poems, featuring titles like Pan , Danse and Sorcerer appear on the right.
ABOVE: The "Pan" spread from Cameron and Jack Parsons' Songs for the Witch Woman , 1951.
Although Cameron would always return to California, her life thereafter was marked by several long and restless sojourns. After marrying Parsons, Cameron traveled to Europe, where she tried and failed to locate Aleister Crowley, who had died. She then traveled to San Miguel de Allende, Mexico, where she met a community of artists that included Leonora Carrington and David Alfaro Siqueiros.
But tragedy caught up to Cameron in 1952, when Parsons was killed in an explosion at his laboratory. Devastated, Cameron retreated to the desert town of Beaumont, California, where she immersed herself in magical practices, claiming to have created a mystical child�or "wormwood star"�with the spirit of Parsons. She also continued working on her Songs for the Witch Woman series, this time in black-and-white ink.
ABOVE: "Witch Woman," 1955.
When Cameron finally emerged from her solitude, she returned to L.A. and fell into contact with some of the era's most influential avant-garde artists and counterculture figures. She first gained notoriety through her acting, which included a starring role in Kenneth Anger's film Inauguration of the Pleasure Dome and an appearance alongside Dennis Hopper in Curtis Harrington's Night Tide .
ABOVE: Cameron as the Scarlet Woman in Kenneth Anger�s 1956 film, Inauguration of the Pleasure Dome , photographer unknown.
Cameron's attempts at expanding her consciousness did not end when she returned to the city, and as before, this process was documented in her work. In 1955, in the midst of a peyote trip, she created a drawing that would have repercussions for the greater L.A. art scene. A bold depiction of interwoven mysticism and sexuality, Peyote Vision depicts a woman having sex with an alien figure. The drawing was later displayed in the window of the esoteric bookstore Books 55, where it was seen by the artist Wallace Berman. Berman was so entranced by the work that he sought the woman who made it.
ABOVE: �Peyote Vision," 1955.
Berman, subject of the recently reprinted classic, Semina Culture: Wallace Berman and His Circle, was a central figure in the California Beat art scene of the late fifties. A man of eclectic interests ranging from Kabbalah to jazz to French literature, Berman attracted and sustained a network of visual artists, poets, filmmakers and photographers. Integral to this network was Berman's hand-printed publication, Semina , which extended his assemblage technique by including texts by William Blake and Charles Baudelaire alongside the work of friends like Allen Ginsberg, Llyn Foulkes and Michael McClure. Berman had such a high regard for Cameron that he featured her portrait on the cover of the very first issue of Semina (1955), which included a reproduction of Peyote Vision inside. When Berman staged his first and only gallery exhibition two years later at Ferus Gallery in Los Angeles, he included Peyote Vision in one of his assemblages.
ABOVE: The first issue of Semina , featuring Berman's portrait of Cameron. Image is reproduced from Semina Culture.
But not everyone was so appreciative; a visitor to Berman's Ferus show found Cameron's drawing offensive and called the L.A. Vice Squad, anonymously alleging public obscenity. As a result, the show was raided during the opening and shut down; Berman was later convicted for the display of lewd and obscene materials. This infamous incident would have a profound effect on both Berman and Cameron, neither of whom would consent to show their work in a gallery context again in their lifetime. And yet, both would continue to work prolifically, as is evident in the second half of Songs for the Witch Woman�especially the series of ink drawings, Pluto Transiting the Twelfth House .
ABOVE: A drawing from Cameron's Pluto Transiting the Twelfth House series, 1978�86.
That neither Cameron nor Berman's artistic output was affected by the rejection of the gallery system is not surprising, given the intensely personal nature of their work. Just as Michael Duncan's introduction to Semina Culture describes the art of the Beat movement as "one that stands outside of the traditional art-historical narrative of 'progression,'" the only progression that Cameron's art followed was that of her own spirit as she dove ever deeper into the investigation of self. Songs for the Witch Woman gathers the traces left from that journey, which, thankfully, opens up the world of Cameron for us just a little bit more, mystery still intact.
HAYDEN ANDERSON studied media and literature at New York University. He is Associate Publicist at ARTBOOK | D.A.P.
Moving into the realm of rock, there are songs like "Black Magic Woman" by Santana. This song is an ode to the seductive power of a witch woman. The guitar riffs and passionate vocals add to the mystical atmosphere, making it a favorite among those who embrace their inner witch. On a more contemporary note, "Seven Devils" by Florence + The Machine captures the darker side of witchcraft. The song's haunting melody and powerful vocals evoke images of witches casting spells and commanding their powers. It serves as an anthem for those who embrace their own darkness and strength. Not all songs about witch women have a brooding or mystical tone. Songs like "Firework" by Katy Perry celebrate the magic and individuality within all women. It encourages them to embrace their unique powers and shine brightly, just like a firework in the night sky. Another empowering song is "Woman" by Kesha. With lyrics like "I'm a motherfuckin' woman, baby, alright. I don't need a man to be holding me too tight," it speaks to the strength and independence of witch women. It encourages them to embrace their inner power and stand tall. In conclusion, songs for witch women encompass a wide range of genres and themes. They celebrate the power, mystery, and strength of women who embrace their magical nature. Whether it's Stevie Nicks' enchanting vocals or Katy Perry's empowering lyrics, these songs provide a soundtrack for those who proudly identify as witch women..
Reviews for "Eclectic Enchantresses: A Playlist for Witchy Women"
1. Emily - 2/5 - I was really looking forward to "Songs for the Witch Women" as I love music that showcases the powerful voices of women. However, I found this album to be highly disappointing. The songs lacked depth and meaning, and the melodies were forgettable. The production also felt rushed and poorly executed. Overall, I was left feeling underwhelmed and would not recommend this album to others.
2. Mark - 1/5 - "Songs for the Witch Women" is an absolute disaster. The music is a cacophony of dissonant sounds that lack any semblance of melody or structure. The lyrics are nonsensical and pretentious, making it impossible to connect with the songs on any level. I struggled to even listen to the entire album without cringing. It's a shame, as I had high hopes for this project, but it fell flat in every aspect.
3. Sarah - 2/5 - I had heard a lot of buzz about "Songs for the Witch Women," so I was excited to give it a listen. Unfortunately, I found the album to be quite underwhelming. The songs lacked variety and ended up sounding monotonous after a few tracks. The vocals felt strained and didn't showcase the range I was expecting. Overall, I felt this album was overhyped and failed to live up to its potential.
4. Alex - 2/5 - I gave "Songs for the Witch Women" a chance, but I regret it. The album failed to capture my interest from the very first track. The melodies were generic and uninspiring, and the lyrics didn't resonate with me at all. The production felt flat and lacked any creativity. Overall, I found this album to be forgettable and would not recommend it to anyone seeking memorable music.