Pope Sixtus VI: An Inglorious Guide To Hitler’s Doubles •
“Therefore, however well a man might remember his incarnation as Julius Caesar, there is no necessity for his representing his power to set all upon the hazard of a die by imagining the Rubicon.”
•
“Even a Julian could confute this sort of thing; but are we to rest for ever in negation?”
•
“Had there been five righteous men in Rome, a Cato, a Brutus, a Curtius, a Scipio, and a Julian, nothing would have occurred; but there was only the last, and he too late.”
•
“Let me run wild for once, I beg; I am tired of emulating Mr. Storer Clouston’s Sir Julian.”
Joseph Storer Clouston was a Scottish author and historian who influenced some writings of Aleister Crowley. Clouston’s first popular novel was “The Lunatic at Large” (1899). His thriller “The Spy in Black” (1917) was made into a successful film in the 1930s. Storer Clouston published his bizarre “Beastmark the Spy” in 1941. If the mark of the beast looked like a Nazi tyrant’s swastika or SS death’s head, his chauffeur Julius Schreck was well matched to put in order the decoy preparations of the Third Reich. For in spite of everything else, the Bavarian body-double “chum Julian” happened to be the wickedest person’s masked gunman, from the earliest days of their comradeship. With his rogue spy network, the new boss of a Germanic occult fraternity would infiltrate the security and intelligence communities of Britain and the Weimar Republic. Crowley Ale and St Julien Tobacco were trendy –– and well liked in Munich’s beer halls. Brewing industry chemist Julian Baker first introduced ale baron Crowley to the magical Order of the Golden Dawn. *** “The Producers” is a 1968 comedy film by Mel Brooks, and remade in 2005 by the Broadway director Susan Stroman. It tells the story of theatrical producers who try to bamboozle their investors by deliberately presenting a fiasco Broadway show entitled “Springtime for Hitler.” In his lampoon, Brooks compares the Third Reich to a shaky “designed-to-fail” investment scam that utterly backfires. The worst director in the business is hired to interview the Fuhrer’s doppelgangers. During the casting calls, the doubles stand on a soapbox to practice the part of Adolf Hitler, voice tasteless musical tunes, and rehearse the Sigfreid oath. In actual fact, the task of directing Hitler’s doubles was a full-time activity –– like an undercover model agency –– calling for wardrobe, styling, and makeup experts. As said
36