folk in cornwall

This song is truly haunting my life. It has taken over my daily routine. It’s six minutes and thirty-four seconds of such a rare and frightening sound. The singer, Jonathan Stafford, has a unique sound. You believe every word he says. “Where is the line between my demons in my mind? In my reason…” This line is the beginning of the story of the man who was cracked in his soul. The poetry of the literacy is absolutely incredible and made me fall even more in love with this song.

Talking about the sound of the song, it fits the mood really well. There’s a build up from beginning to end, eventually exploding into your ears as if the bomb of his mind has finally burst in millions and millions of pieces.

Haunt The Woods, a four piece progressive rock/folk band made up of Jonathan Stafford, Phoenix Elleschild, Olly Bignell and Alex Skinner, is one of the unknown bands I can not wait to hear more from in the future!

Here they are, Haunt The Woods with ‘The Line’!

Originally posted by graftheory

anonymous asked:

May I ask you why you don't like Gemma Gary? I never read her books, just some abstracts here and there on tumblr and this is the very first time that I actually read of someone who dislike her, generally she's praised as a great author and her books are used very often in fancy pics... I'm just curious, I don't want to criticize.

The reasons I don’t like Gemma Gary are less about the woman herself and more about her books and public presence.

First, she lies about Cornish “traditional” witchcraft. Many of the terms, charms and traditions she claims to be part of her Cornish practice are pan-British, or taken specifically from other areas of Britain and aren’t local at all to Cornwall. She also makes big blanket statements about the magical practices and concepts of Europe, Great Britain, and Cornwall that are baseless (of course she sites almost no sources ever) and are highly contradictory to theories and histories that come from peer-reviewed properly academic texts.

All of that is working solely within the parts of her writing and media that can actually be attested as “traditional” or part of folk tradition – ignoring that the word “traditional” is already so misused and misunderstood in our communities. The major basis for all of her craft is the same modern wave of practice and tradition that lies at the heart of Wicca, which so many of her followers claim to detest; that is the ritual structures and philosophies of the 19-20th century occultists (such as the Golden Dawn) that have no place in vernacular folk magic. She regurgitates the same structures, philosophies and false histories of her very recent, and rejected, magical predecessors with newly invented names, symbols, and explanations behind them. In short, she has made up a new system based on the same modern systems she rejects with no authenticity to her creativity, and then has the audacity to call it folk magic and Cornish tradition. She is renaming parts of Wicca, with words and ideas that excite an audience bored with 90s hokey witchcraft, and claiming them to be traditional (another exciting trend-word) and naturally/rightfully keeping all the profit for her creations.

Secondly, Gemma is one of many authors under the same series of occult publishers who abuse overly flowery/poetic writing that can fill up 30 pages with two paragraphs of actual information. While she is not as bad as Schulke by any means, this is still an annoying waste of paper, but more importantly distracts from the substance and legitimate education possible with her media presence. It also is more and more risking exclusion and classism as the flowery writing gets worse, leaving the texts available only to those of a class or background able to understand the points of information amid the nonsense.

Thirdly, she plays on people’s desire for authenticity in witchcraft, for culture, and bluntness, using exciting topics, misplaced folk terminology, overemphasized rituals and the devil to excite her thirsty audience while really just feeding into capitalist witchcraft trends, further continuing the glass ceiling above young witches’ heads, preventing them from pursuing authentic vernacular traditions of magic and superstition through real sources or researching through properly academic channels. She is part of a large system that completely convolutes vernacular practices around the key words and exciting fads of a suburban internet-based magical audience. If you think the average cunning-folk of Cornwall two hundred years ago were running about calling crows in the north and bunnies in the south and asking the great serpent to envelope them while they pray to the wise devil, if you think they were proud to call themselves witches and embrace the darkness in the world…you have a serious gap in your education, further exacerbated by Gemma’s and other authors’ misinformation and profit-seeking books.

She can do whatever she wants, but the fact that she markets these lies the way she does, and the fact that she is claiming to be an expert while she is clearly still struggling through these complex subjects herself are what rub me so much the wrong way. There are many flaws with her practice and theory, but that is normal. This is not why I am fed up with her and her publishing peers; it is that she claims authenticity, tradition, and reliability in the midst of these blatant flaws. She is such an indication of the myriad concerns that should be raised within the witchcraft communities about capitalist profit, trend setting, laziness, and disrespectful appropriation of real traditions.