(i ripped this off wikipedia real fast so sorry if it’s lib)

In October 1776, the Public Universal Friend contracted an epidemic disease and was bedridden and near death with a high fever. Their family summoned a doctor from Attleboro, six miles away, and neighbors kept up a death-watch at night. The fever broke after several days. The Friend later reported that [deadname redacted] had died, receiving revelations from God through two archangels who proclaimed there was “Room, Room, Room, in the many Mansions of eternal glory for Thee and for everyone”. The Friend further said that [deadname redacted]'s soul had ascended to heaven and the body had been reanimated with a new spirit charged by God with preaching his word, that of the “Publick Universal Friend”, describing that name in the words of Isaiah 62:2 as “a new name which the mouth of the Lord hath named”.

From that time on, the Friend refused to answer to their deadname, ignoring or chastising those who insisted on using it. When visitors asked if it was the name of the person they were addressing, the Friend simply quoted Luke 23:3 (“thou sayest it”).  Identifying as neither male nor female, the Friend asked not to be referred to with gendered pronouns. Followers respected these wishes; they referred only to “the Public Universal Friend” or short forms such as “the Friend” or “P.U.F.”, and many avoided gender-specific pronouns even in private diaries. When someone asked if the Friend was male or female, the preacher replied “I am that I am”, saying the same thing to a man who criticized the Friend’s manner of dress (adding, in the latter case, “there is nothing indecent or improper in my dress or appearance; I am not accountable to mortals”).

editorial note: I think this is a very cool story and I really love hearing it. We’ve been around forever and we’ve been doing variations of this forever. It’s really beautiful

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  • LocalOaf [they/them, ze/hir]@hexbear.netEnglish
    7·
    2 months ago

    the brilliant soundtrack blends seamlessly amongst its influences; Tangerine Dream, Wendy Carlos, and of course John Carpenter, with the latter’s mark heard on the oppressive synth percussion of the main titles and the evocative melodies heard throughout. Created by Sinoia Caves, the ongoing project of Jeremy Schmidt, a disciple of the long-form cosmic synthesizer soundscape, and member of Canadian psych-and-prog-spiritual pioneers Black Mountain, this recording also features guest appearances by Joshua Wells, drummer of Black Mountain.

    Schmidt’s score is many things – haunting, uncompromising, intense – but is always a fascinating listen. Incorporating touchstone elements such as mellotron choirs, glacial analogue synthesizer pads and arpeggiators, Schmidt artfully navigates the various sonic sensibilities of the 70s-80s genre aesthetic. What emerges from this schematic realm of the ‘almost familiar’ evolves and manifests as a work of striking originality, an ominously beautiful, otherworldly and terrifying score. Simply put, BEYOND THE BLACK RAINBOW is an astounding piece of work and must not be missed.

    Sounds dope tbh though, I might have to check it out