Thursday, December 30, 2021

FINANCIAL VAMPIRISM AND BITCOIN
A vampire has taken complete dominion over capital markets, but Bitcoin will be a stake through its heart.
FEB 23, 2021


Ransomware-as-a-service, intricate phishing scams, cryptomining and cryptojacking schemes: Ransomware attacks will continue as long as cryptocurrency remains valuable.

2020 was an unprecedented year in financial engineering. Unprecedented and yet… totally predictable if you pay attention to the right metrics.


Source

Market trajectories which have been set in motion, and remain in motion until acted on by an outside force, are being brought to bear on the world stage. No matter how many pundits regurgitate the notion that “nobody could’ve possibly seen this coming,” the truth is that the underpinnings of societal structure have been beset by a very predictable and destructive curse.

As markets become unstable following a period of monetary expansion and contraction, investors will demand either a premium on longer-term lending rates or will drive down yield (due to increased demand) on shorter-term lending rates. Historically, this yield curve inversion is a clear indicator of upcoming recessions because it signals uncertainty regarding the future. Couple this with historically-low unemployment rates (another signal that the market is oversaturated) and you’re left with a clear picture of the downturns to come. In fact, the only truly surprising thing about the market malaise of 2020 is how it leaves supposed experts scratching their heads in befuddlement.

THE RISE OF THE VAMPIRE


Source

The story certainly isn’t new (aggry beads are a sobering example of the economic and societal impacts of monetary debasement); in fact, American economist Murray Rothbard chronicled over a century’s worth of financial engineering and capital market manipulation in his book “A History of Money And Banking In The United States: The Colonial Era To World War II.” An endless boom and bust cycle exacerbated by fiat currencies and Keynesian economic theory have put us on a trajectory of ever-accelerating debasement.

The history is nuanced and complex, but the mechanics are quite simple. Sovereigns expand the money and credit supply to retain a disproportionate level of expenditure relative to tax receipts. A trick, colloquialized by the name of “coin clipping” in a time prior to the fiat monetary monopolies that plague the modern day, involved gathering tribute in the form of taxes, clipping or shaving a small value of the precious metal from the coins, and then recirculating them at face value.



Market boom cycles (bubbles) occur in response to the expansion of money and credit in the system. The less affluent individuals, who can only afford to save in the form of cash, experience a reduction in their purchasing power as their slice of the economic pie becomes steadily smaller. Scarce assets are bid up at market, as a greater supply of currency competes for a limited supply of resources. Crack up-asset booms are followed by deflationary busts and credit contractions.

Under monetary metal standards, suspension of redemption of specie was used to disrupt the liquidation of malinvestment. Legislation such as Executive Order 6102 in 1933 and the suspension of Bretton Woods in 1971 were indefinite forms of suspension of redemption of specie. This ultimately placed the world on a fiat standard, where expansion of the monetary base and allowable credit could continue unabated without the bothersome settlement to the base layer.

Disruption of the liquidation process that naturally occurs in the market, however, does not free the vampire from the economic consequences of bleeding its prey dry.

Source

There is a great deal of misunderstanding in modern analysis of financial markets in the 21st century. Events seem haphazard and at odds with the natural order when not viewed through the lens of Austrian economics. But in reality, these events are perfect representations of the logical basis upon which all human action occurs.

Man acts to satisfy his most immediate needs first, utilizing whatever resources are available to him to prioritize satisfaction of his most urgent wants in descending order. Rothbard called this the “marginal utility of value.”

While human action is subjective and no one can predict how any one man will act under the various circumstances he finds himself in, a natural order of operations can be gleaned from societies and economic activities as a whole.

Obviously, Maslow’s hierarchy of needs naturally drives man to satisfy his physiological and safety needs first. This can be observed across the sociological spectrum of societies and traced back throughout history. We can see societies begin to flourish when enough capital goods and information are accumulated to the degree where focus can shift from the satisfaction of the most pressing and basic wants (survival) to those of a higher order.

Source

Man learned through voluntary and profitable trade with his counterparts that in a free and flourishing society, his capital could be preserved and could grant him a degree of certainty in satisfying his basic needs into the future via savings.

The dominant medium through which man determined he would save his capital emerged in the form of a monetary medium, that is, the most liquid salable good in a society that served to preserve value across time and space. A single, most important asset which enjoys its value premium separate from its function as a capital or consumption good. In terms of historical significance, this medium, with unprecedented success, was gold.

Fast forward to 2020 and the world looks much different. The bastardization of the natural economic order through policies influenced by the likes of Keynesian economics has distorted the ways in which man can plan for and save his capital for the satisfaction of his most basic needs in the future.

The melting ice cube that is fiat currency functions not as a chosen dominant market leader in capital savings and transactions, but rather as a lynchpin in a vampiric legal monopoly which extracts the wealth from every productive aspect of profitable and voluntary cooperation among men. Whether consciously or not, acting man fears for his ability to preserve wealth into the future and provide for his grandchildren, or even satisfy his most basic needs in the immediate future.

This drives him to seek out alternative media in which he can preserve his monetary energy into the future, giving birth to a wide range of inefficient and arcane financial instruments through which he can find refuge in the storm of monetary debasement.

Real estate, equities, bonds, precious metals, fine art, luxury vehicles...you probably know the list. Tune in to any average joe financial planning YouTube channel and you’ll find a laundry list of strategies employed to preserve capital into the future. Capturing asset inflation has become an entrepreneurial activity in and of itself. Entire industries are built around advising, planning, trading and arbitraging the effects of monetary expansion on the market as a whole. The more unstable the system, and the more estranged its inhabitants, the more it takes the form of degenerative gambling, like a drowning swimmer desperate to get his head up for another breath of air.

Homes, built to fulfill a specific utility (the need for shelter and security) are bought and sold like collector’s items, with a high level of monetary premium. Equities are traded at a spot value decades beyond projected earnings and fair valuations according to cash flows. Tax incentives are built around protecting the liquidity in these instruments and allowing the vampire to siphon off a continuous stream of fresh sustenance for itself.

Of course, the more leveraged the system becomes, the more it defies the natural economic order of liquidation, the more it pushes off risk into the future, the more unstable it becomes.




Source


A growing chorus of populism on both sides of the political theater (and yes, I use the term “theater” literally here) demands state intervention in the markets to protect what is deemed most urgent. That is, assets must continue to inflate because assets are the store of value medium through which man preserves himself into the future.

Gone are the days of trepidation and debate over public fiscal conservatism. Monetary policy is three sheets to the wind and legislators drool over the next allocation of pork to their aisle of special interests. As the risk increases by orders of magnitude, “troubled assets” are bought up in droves by the legal vampire which is drunk on the blood of its host.

The store of value proposition of assets must be upheld by the legal monopoly or else it might face certain destruction at the hands of a disenfranchised constituency.

And here we find ourselves in a most curious and unusual place.
THE VAMPIRE’S CURSE

Entrepreneurs (whether they know it or not) now find themselves in a crossroads of great societal importance. They no longer merely provide goods and services to the consumer at a profitable rate, but rather have taken on a role of a much greater import.

They control the levers of financial engineering of money-like assets. They satisfy the market demand for instruments in which man can preserve his capital — his lifeblood — into the future.


Only in a world where incentives have been so painfully and obviously distorted, because of the nature of the vampire’s grasp, do you see events like this:




Source

And this:


Source

As Rana Foroohar asks in her book “Makers And Takers”:

“How did finance, a sector that makes up 7 percent of the economy and creates only 4 percent of all jobs, come to generate a third of all corporate profits in America, at the height of the housing boom, up from some 10 percent it was taking 25 years ago?”

Because, you see, Apple no longer just provides fun and interesting electronic devices to its consumers and, likewise, the airlines no longer just provide transportation across land and sea. These businesses have mutated into mercurial public financial instruments which the whole of society depends upon to preserve its lifeblood into the future.

Corporate executives who can satisfy this most urgent market demand for a sound store of value are lauded as demigods. Gone are the days of the Henry Fords, whose entrepreneurial activities were grounded in building an empire of value for the consumer through sound business practices.

Soft money and artificially cheap credit (i.e., that which is redistributed by the state and its legal monopoly) promote financialization at the cannibalization of the entrepreneurial process. The vampire has taken complete dominion over the capital markets. By pulling his levers of interest manipulation, reserve ratios and asset purchases, he feeds himself at the expense of the productive capacities across society.

No other explanation can be used to justify a technology company like Apple borrowing billions of dollars to pump the price of its public financial instrument when it sits on more than $200 billion in cash.

No other explanation can be used to justify a transportation industry which allocates nearly every dime of its free cash flow for over a decade to protect the value of its equity.
KILLING A VAMPIRE

There is only one way to kill a vampire. Just as technology disrupts and revolutionizes countless industries across generations of men, human ingenuity for finding ways to solve complex problems seemingly knows no limit.

A new monetary medium that satisfies the most pressing demand for preserving lifeblood into the future is making its way onto the world stage. Over-engineered financial assets that have been used as stores of value and contain a great deal of monetary premium are like hyper-saturated solutions in desperate search for equilibrium.

The emergence of a global, self-clearing digital monetary network which emulates and improves upon the monetary properties of history’s best money (gold) will function like a vacuum that sucks up this premium like a black hole.

A deluge of ink has been spilled on the history of money, as well as the emergence and merits of this new technology known as Bitcoin, but the critical eye can discern that the paradigm shift is already in motion. While the mainstream parrots conventional wisdom and stands stunned in disbelief as the universe returns to a state of natural equilibrium (that is to say, a monetary premium in money, rather than in money-like assets), rest assured that the benefits to society will be immense.

A diffusion of the monetary premium away from hyper-saturated money alternatives like real estate, commodities and equities and into an accessible, digital hypo-saturated sound money will allow for a more productive satisfaction of the marginal utility of value of these goods and services. Instead of needing a money spigot of capital to artificially inflate assets and preserve wealth through space and time via complex and over-engineered financial instruments, entrepreneurs can return to solving less pressing issues. Homes can return to a more reasonable price in line with their utility value. Gold and other commodities can be made more cheaply available in industrial applications.

Entrepreneurial capital will free itself from its tether to malinvestment in the form of artificial inflation via financial instruments, and will be put to use in the profitable and productive satisfaction of man’s desire.

This curse can be lifted.


For the first time in history, the world will know monetary security without the drawbacks of a commodity-based money. We have a scalable, base layer bearer asset set upon a distributed and global peer-to-peer network that settles in real time.

Bitcoin is the stake through the heart of a most terrible beast.


Source

Author’s note: A big thank you to Robert Breedlove, Parker Lewis, Ben Prentice, Ben Kaufman and Rollo Mcfloogle, who helped me sort through and proof read these thoughts.

This is a guest post by Heavily Armed Clown. Opinions expressed are entirely their own and do not necessarily reflect those of BTC Inc or Bitcoin Magazine.

Psychology: the rise of the social vampire, and how to handle the one in your life

3 months ago
Written by Kayleigh Dray



Psychologists say that, if you don’t know who the social vampire is in your friendship group, there’s a very high chance it’s you…

Vampires are everywhere at the moment, aren’t they? We’ve seen them in American Horror Story’s 10th season, and in Netflix’s Midnight Mass. The upcoming adaptation of Stephen King’s classic novel, Salem’s Lot, is packed to the brim with bloodsuckers, too, and they’re set to bare their fangs once again in upcoming horror film, Night Teeth.

Throw in that reported True Blood reboot, and you have a merrily rolling vampiric bandwagon to jump upon. However, the vampires we see onscreen are very different to the ones we spend time with in real life – because, yes, they do walk among us, although they’re far less easy to spot in a crowd, and much harder to deal with, too. Unless, of course, they have a particular aversion to garlic.

Don’t believe me? Well, let me explain.

We all know, deep down, the kind of people we should be surrounding ourselves with on a daily basis. It’s those friends, colleagues, and family members who make us feel good about ourselves. Who generate warmth and positivity. Who energise us simply by being there. And who, above all else, actively listen to what we have to say.

Like I say, we know this. We know it in our bones. And yet, somehow, more and more of us are finding ourselves in the company of social vampires – particularly as we continue to venture out of lockdown and spend time with one another IRL again.

“Social vampires are those people who suck the energy out of us when we hang out together,” explains Beingwell life coach Grace McMahon, adding that “this might be emotionally draining, physically draining or socially draining.”

“You’ll know this feeling if you’ve ever felt totally exhausted after meeting up with a social vampire,” she says.

“Social vampirism can take a toll on our relationships and wellbeing”

Essentially, then, social vampires are those people who are forever waiting to talk about themselves. Who derail entire conversations with unrelated anecdotes, who don’t listen to anything anyone else is saying, and who talk and talk and talk without drawing breath. And they are, too, those people who tend to overstay their welcome – which can be as literal as, yes, being the last one to leave the party.

So, setting all talk of Buffy and pointy wooden stakes aside, what can we do about the social vampires in our life?

Well, here’s what we’ve learned…

How does social vampirism impact us?


“Social vampirism can take a toll on our relationships and wellbeing,” says McMahon. “Feeling socially or emotionally drained after hanging out with someone doesn’t exactly leave us feeling eager for the next time so it can push people away.

“It can also be quite tricky to manage how we feel after such meetups. We can become exhausted after just a couple of hours, and, when our social capacity is filled to the brim, we might start to withdraw from company – and this, in the long term, can leave us feeling lonely and potentially quite low.”


Who is the social vampire in your friendship group?

McMahon continues: “Becoming socially drained can feel as if our brain has just switched off; we don’t have the power to contribute to or make conversation, we feel distant and maybe bored. This, of course, can appear rude to those around us, when in fact we’ve simply had enough for now.

“And this in turn can make us feel more irritable and even anxious, especially if we start overthinking.”
What sort of people engage in social vampirism?

While McMahon says that many social vampires are “quite self-centred” (by which, of course, she means that they tend to focus on themselves and what they’ve been doing, forget to ask about you, and don’t seem to notice you in the conversation at all at times, which can feel utterly rubbish and be quite frustrating), she stresses that this is not true of everyone.

Psychology: ‘success bombing’ is the awkward friendship issue that no one talks about

“Not all social vampires are aware of how their behaviour is being received, so it’s not necessarily malicious or ill-intended,” she says.

“It might be that they have simply become carried away with their own stories, or a sign that they struggle to relate with others so find it easier to talk about their own experiences. And lockdown has left many of us starved of human interaction, too, so it could be that they’re nervous and babbling as they relearn how to navigate social situations properly.”
How can we let people know – gently – when they’ve overstayed their welcome?

“It’s important to communicate our boundaries, in any circumstance, but especially with relationships,” advises McMahon.

“We’re not mind readers, unfortunately, so we do need to find effective ways to communicate our needs with others. Many of us can feel hesitant about using boundaries because we fear we’ll upset another person, but in reality we need them to protect ourselves, which in turn helps to maintain relationships.”

Social vampires can be draining, but it is important to acknowledge the good that they have brought into our lives when we have needed it.

She continues: “You could try letting these people know that you have a limited social capacity today so can’t stay too long. Or offer a time limit; invite them to coffee, perhaps for an hour or two, so they know when you’ll be wanting to get off and they won’t feel stunted mid conversation or like you’re eager to ditch them.

“Remember, the person hanging around might not be great at reading social cues, and may even be worried that they look like they’re dashing off too soon, which explains why they stay longer than most. Communicating is important.”
How can we tell when we need a break from someone? And how can we achieve this without breaking a friendship?

McMahon says that we need to become consciously aware of the impact that the social vampires in our lives are having on us. Once we have done so, we can take the time to remember the good they have previously brought into our lives, as well as re-energise ourselves after such encounters.

Doing this successfully will empower us to maintain the relationship in a manner that doesn’t continually affect us negatively.

However, “if your wellbeing or relationships are being impacted by the social vampire in your life, then it’s time for a break.”


“When our relationships become less satisfying, we can start to feel the impact on our wellbeing”

As McMahon puts it: “If a social vampire is draining your social cup every single time you meet, without noticing the effect it has on you or acknowledging your feelings at all, then it’s time for a break.

“It doesn’t have to be forever – although it can or might be – but, when our relationships become less satisfying, we can start to feel the impact on our wellbeing. Try to avoid sticking with someone if they have this effect on you.

“You will thank yourself for it later.”

Kayleigh Dray is Stylist’s digital editor-at-large. Her specialist topics include comic books, films, TV and feminism. On a weekend, you can usually find her drinking copious amounts of tea and playing boardgames with her friends.
Prince Charles is a descendant of Dracula and owns properties in Transylvania

The Prince of Wales is the heir to Vlad the Impaler's bloodline


By Charlotte Becquart
Senior reporter
 2 MAY 2021
Prince Charles, Prince of Wales (Image: Chris Jackson - WPA Pool / Getty Images)

The Royal Family has links to several countries across Europe, including Romania, and it turns out that Prince Charles is the descendant of the real-life Dracula.

The Prince of Wales, who actually owns several properties in Transylvania, is the heir to Vlad the Impaler's bloodline.

The ruthless prince, also known as Vlad Tepes and Vlad III Dracula, is known for his cruelty towards his enemies and impaling them on stakes. He lived in the 15th century and is said to have inspired Bram Stoker for his famous Count Dracula.

In 1462, following a battle, Vlad left a field filled with thousands of impaled victims.

More than 530 years later, in 1998, Prince Charles found out about his links to the Romanian ruler.

You can stay up to date on the top news and events near you with CornwallLive’s FREE newsletters – enter your email address at the top of the page.

He is, in fact, his great-grandson 16 times removed, through the consort of George V, Queen Mary, Romania Tour Store reports.

A genealogical tree in The British Chronicles written by David Hughes supports this claim.

The website adds: "It’s also no secret that Prince Charles is very fond of Romania, especially of the Transylvania region. It was after his first visit to Transylvania in 1998 that he found out about his connection to Vlad the Impaler, a connection that he is apparently very proud of.

"Through the Prince of Wales Foundation, Prince Charles has done plenty of charity work in Transylvania, especially in the fields of sustainable development, conservation, and farming systems. Because of his strong involvement in the region, the mayor of the city of Alba Iulia has proposed to grant Prince Charles the title of Prince of Transylvania as recognition for being a prominent ambassador of the Transylvania region all over the world."

A great-great grandmother of Prince Charles' mother Queen Elizabeth II, Hungarian Countess Klaudia Rhedey, was also born and raised in Transylvania in the 19th century.

(Image: Romain Chassagne / Getty Images)

Prince Charles now owns several properties in the Romanian region - in Viscri, in the Zalanului Valley, in Malancrav and in Breb.

These villages have now become popular with tourists.

Viscri is known for its pastel-coloured houses and its UNESCO World Heritage fortified church.

It is said that Zalán Valley used to belong to one of Charles' ancestors.

"The tiny hamlet of Zalán Valley (Zalánpatak in Hungarian, Valea Zălanului in Romanian) was first documented in the 16th century as belonging to Bálint (Valentin) Kálnoky of Kőröspatak, one of the Transylvanian ancestors of H.R.H. The Prince of Wales.


"The family had originally founded a glass factory in this part of the hills, which has since ceased to exist. Today, around 120 inhabitants live in the village.

"Prince Charles owns the property that had been built for the former ‘judge’ who was overseeing the glassworks and the village. It is composed of several buildings, and has a patch of forest and extensive flower meadows, with mineral springs and small brooks belonging to it."

The properties are now holiday cottages and can be booked by tourists.

Dracula: examining the characters of the original book on screen

12th October 2021 | by Sarah Cook |
FILM STORIES UK

Bram Stoker’s novel Dracula has found its way to the screen many times – we take a look at the finest performances to bring Stoker’s characters to life.

The Prince of Darkness has been stalking our media since Bram Stoker released him from his coffin back in 1897. The story of the original vampire travelling across the world, feeding on the flesh of humanity, has been so popular that he is the second literary figure to have the most scree nadaptations with 200 (the first being Sherlock Holmes with over 250!)

Across these articles, the plan now is to breakdown the main characters and some of the great performances and films to add to your list. It’s not a guide to every one of those hundreds of films, but instead suggestions of where to get started.

For the purpose of this written journey, I am focusing on the main characters that feature prominently across most of the Dracula films so, regretfully, I am skipping Quincey Morris and Arthur Holmwood. I am omitting Dr John Seward as well whose appearances shrink across the course of the movie adaptations, and after Patti LuPone played the role in television series Penny Dreadful, you can’t really best her.

Also, any other blood-sucking features such as Interview With The Vampire won’t get a shout out unless they feature Dracula. You could say, they don’t…count….



Abraham Van Helsing
Best Performance: Peter Cushing in Dracula (1958)

Before Van Helsing became somewhat his own entity, especially in spin-off Van Helsing which starred a long-haired Hugh Jackman, he was the smart man in pursuit of vampires. He has had many forms including Academy Award-winning Anthony Hopkins in a very campy version of the character and, famously, Edward Von Sloan in the classic Universal series.

However, Peter Cushing – who funnily enough is most famed for his portrayal of Sherlock Holmes – takes on the role opposite the brilliant Christopher Lee in the Hammer Horror series. Cushing has portrayed Van Helsing in five different films – always in the same calm and collected way who is happy to burn or nearly die to save wretched souls from Dracula’s grasp.

Lucy Westenra
Best Performance: Sadie Frost in Bram Stoker’s Dracula (1992)


The ill-fated best friend of Mina has a tough time in the early adaptations of the novel. Across a lot of the movies, poor Lucy Westenra has a handful of lines before she is killed by Dracula, and subsequently staked off-screen. She usually to do nothing more than be rich, scream loudly, and then suddenly she is gone with Van Helsing and Jonathan Harker wiping her dead dust from their hands. Worse still, sometimes her character gets rolled into Mina’s and it becomes a sorry mesh of writing.

However, in Francis Ford Coppola’s 1992 movie, Lucy gets to do so much more, and Sadie Frost is clearly having the best time. Lucy here is sexually explicit and hopefully romantic. However, as the first person turned when Dracula hits English shores, Lucy is bitten by Dracula and becomes one of his loyal brides. Whilst scared at first, in this adaptation Lucy’s vampiric state is relished as she teases her three suitors and Mina with death, destruction, and utter depravity. Frost also gets to wear the best outfits anyone has worn across the Dracula screen adaptations.








R.M. Renfield
Best Performance: Dwight Frye in Dracula (English, 1931)

I am going to say it: Renfield is a much more interesting character than Jonathan Harker. In nearly every faithful version of the original novel, Renfield steals the show.

In the original book, Renfield is an asylum inmate who was driven crazy by his fanged master and sent insects to feast upon as a reward. In the early adaptations, however, he kicks off the action. Renfield is an accountant sent to Dracula’s house to complete his bidding (on a house in Whitby,) and subsequently warns all who will listen (who is promptly no one,) that the Count is coming to feast on everyone’s blood.


He has been immortalised on screen, greatly, I might add, by Tom Waits (1991) and Pablo Alvarez Rubio (Spanish, 1931) but no one holds a candle to Dwight Frye. The actor is best known for playing horror sidekicks but, my god, does he perfect it in Tod Browning’s Dracula film. Those intense eyes and back of the throat laugh sends chills down your spine. Frye’s performance will stick with you eternally.

Jonathan Harker
Best Performance: Bruno Ganz in Nosferatu the Vampyre (1979)

I’ve never been a huge fan of Jonathan Harker. For the most part, he does more damage than good. He spends a lot of time moping over Mina, then gets to Dracula’s castle where he immediately insults the count and then practically hands his fiancé over to the villain on a silver platter (okay, maybe not silver.) It’s no wonder he becomes quick prey to the brides of Dracula rolling around in the castle.














In the books, he is much more of a heroic character but in the films, he’s a sap. Sometimes he does climb castle walls and try to escape the villainous castle but, in the end, he never really feels like the main protagonist. Especially when Keanu Reeves plays him with that infamous English accent. However, Bruno Ganz does play him very well in Werner Herzog’s adaptation of the silent film. He’s my choice here.



Mina Murray (Harker)
Best Performance: Greta Schröder (as Ellen Hutter) in Nosferatu (1922)

Mina has been played many times. For the most part of the stories, especially the Universal Monster series, she is there to be wed to Jonathan and then fall into the clutches of Dracula. Some stories paint her differently such as making her Dracula’s long-lost love from many moons ago, or perhaps her own beast such as Mina Harker in The League of Extraordinary Gentleman (2003.)

Yet in F W Murnau’s Nosferatu, she becomes an interesting figurehead. Before Dracula has even entered the scene, this morose and mindful Ellen is already haunted by him. As her fiancé heads to Romania to do the Count’s deals, Ellen starts having visions of the evil fanged beast which causes her to walk desperately at night. She is allured to him but frightened by that temptation to stroll throughout the shadows. Orleck is similarly bound to this version’s Mina and comes crawling from his castle, across countless shores, to find her.

As the counts shadowed hand grabs at Ellen’s heart, Ellen becomes prey to his clutches. It is a grim ending but a poetic one. Distracted by her beauty, Orleck feasts until sunlight, and whilst her blood is the sacrifice, she is ultimately the one to kill him.

Do check the film out if you’ve not had the chance. Greta Schröder is really quite something in it.
OPINION

LITERARY SCANDALS: WHO WAS THE REAL-LIFE DRACULA?

My friends, let us begin drawing up some lines of conspiracy and scandal. From the outset, I am absolving myself of journalistic integrity and the usual need to provide evidence of my claims, or — more importantly in many cases — evidence that outweighs my claims. Everyone involved in this scandal is long-dead, and real, actual scholars have written about and studied this subject. In the sense of a person dedicated to finding truth, I am neither a journalist nor a scholar in this moment, but merely a literary gossip, and I dearly love a good scandal.

Let’s get something out of the way immediately: vampires — the blood-sucking, immortal, turning-into-bats, sparkling-in-the-sunlight, “I-vant-to-saaaahck-your-blooood” vampires, are not real. At least, not on our plane of reality. That I know of. And to be honest, I’d rather not know if they’re really real. But if you happen to come across one, please ask him (it’s always a “him”) why his kind seem drawn to young, impressionable women who haven’t yet formed their sense of autonomous self. On second thought, scratch that. I think I just answered my own question.

ANYWAY. We are here, denizens of the grapevine, to discuss that most infamous of literary characters: Dracula.

A black and white image of Bela Lugosi as Dracula in the 1931 movie of the same name. He wears a white tie tuxedo and a dark cape, extending his hand in a creepy claw.

Any quick internet search will tell you that Bram Stoker’s character Dracula was based on Vlad Dracula, Vlad III of Romania, Vlad the Impaler. However, Stoker’s depiction of Vlad Dracula is entirely fantastical, barely based on the broad outlines of his life. It is obvious to any internet armchair historian — such as I — that someone else must have served as a much more immediate and personal reference for such an iconic villain.

I present to you, fellow scuttlebutt enthusiasts, the one and only Oscar Fingal O’Flahertie Wills Wilde, famous author, playwright, and aesthete.

A sepia photograph of Oscar Wilde from 1882, at age 28. He is seated, leaning forward onto his knee, holding a cane. He wears a suit and a jacket with fur-trimmed collar and sleeves.
Oscar Wilde, age 28 (1882)

“What?” you may be thinking. “What on earth has a vampire to do with Oscar Wilde, author of The Picture of Dorian Gray and The Importance of Being Earnest?” I’m getting there. It turns out that one Abraham Stoker, Irishman, and one Oscar Wilde, also an Irishman, were part of the same circle growing up. Their parents were friends, and they were at Trinity College at the same time, where they were friends.

 Very close friends.

That is, until they both met Florence Balcombe, celebrated beauty. Wilde courted her first, and she accepted his suit, although the pairing was eventually broken off and Florence took the name of Mrs. Bram Stoker. Stoker’s proposal was something of a scandal in and of itself, considering that Wilde was still her foremost suitor. And, rumor has it that while Stoker was the eventual victor of the young Miss Balcombe’s heart, he never quite recovered from the discrepancy of Florence’s love for Wilde’s flamboyant, outsized dandy character. His character, in contrast, was more solid and determined, with a steady job as theater manager for Henry Irving.

In 1897, Oscar Wilde was sentenced to two years of hard labor for “gross indecency” regarding acts of sodomy, and Bram Stoker began what was to be his masterwork. In it, he describes the titular villain using the same words that the contemporary press used to describe Wilde: as an “overfed leech” and a living personification of all that is dilettante and wrong with late Victorian society.

Stoker’s revenge was entirely Pyrrhic. Journals discovered in his attic (how is it that this kind of discovery is still happening??), printed in 2012 as The Lost Journal of Bram Stoker, talk in coded language about Stoker’s own sexual preferences and predilections. What is less coded is the text of his letter to Walt Whitman:

I would like to call YOU Comrade and to talk to you as men who are not poets do not often talk. I think that at first a man would be ashamed, for a man cannot in a moment break the habit of comparative reticence that has become second nature to him; but I know I would not long be ashamed to be natural before you. You are a true man, and I would like to be one myself, and so I would be towards you as a brother and as a pupil to his master.

Bram Stoker to Walt Whitman.

This letter is printed in full, for the first time, in Something in the Blood by David J. Skal. In Victorian times, admiration for Whitman was akin to a declaration of homosexuality, almost as damning as a relationship with Oscar Wilde himself.

Stoker famously kept to himself, editing his public image ruthlessly. In contrast to Wilde, and perhaps in reaction to what he perceived to be Wilde’s recklessness regarding his sexual exploits, he retreated farther and farther into the closet, going so far as to say in 1912 that all homosexuals should be locked up — a group that definitely, in retrospect, included himself.

In the end, this literary scandal ends up being less lascivious and more a tale to tug at the heart. Two friends, rivals, lovers, and authors; Stoker put them at odds in Dracula, casting Mina as the love interest, but in the end, it is the tension between the steady, dependable Harker and the deadly, mesmerizing Dracula that compels us.

 Comics Studies: DRACULA And The Changing Face Of The Comic Industry

By Darryll Robson

April 18, 2021

“His face was a strong – a very strong – aquiline, with high bridge of the thin nose and peculiarly arched nostrils; with lofty domed forehead, and hair growing scantily round the temples, but profusely elsewhere. His eyebrows were very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion. The mouth, so far as I could see it under the heavy moustache, was fixed and rather cruel-looking, with peculiarly sharp white teeth; these protruded over the lips, whose remarkable ruddiness showed astonishing vitality in a man of his years. For the rest, his ears were pale, and at the tops extremely pointed. The chin was broad and strong, and the cheeks firm though thin. The general effect was one of extraordinary pallor.”

(Bram, Stoker. Dracula Oxford : Oxford University Press, 2011)

The range of representations of Dracula: Prince of Darkness throughout comic book history is not just at the mercy of the creators’ whim but, in essence, reflects the trends of the larger industry. As the moods of the readers changed, swayed from one genre to another, the adaptation of a classic like Dracula moved with the audience. This is a phenomenon that can be seen in cinema as well as on the pages of comic books. From metaphor to monster and back again, Dracula embraces his historic legends and modern sensibilities in equal measure.

The following is an extract from The (Un)Official Handbook of the Universal Monster* that tracks the Prince of Darkness’ comic book legacy:

DraculaDraculaDraculaDracula

Conclusion

In the last 30 years, comics have featured a string of vampires. Whether in the mainstream or in self published work, the Vampire is still an allure for creators who want to use violence and bloodlust as a metaphor for elements of modern life. And Dracula often features as a character within these stories as the epitome of evil, love, or other emotional allegory. Whether this is in Buffy the Vampire SlayerMarvel’s superhero comics, or one-shots like Dracula Motherf**cker, Alex De Campi’s psychedelic retelling published by Image Comics, the character still has the ability to be adapted to fit the need of the story.

With each new adaptation the character is changed with different aspects seeping into the audience’s subconscious, growing the legend. It is ironic that elements of Francis Ford Coppola’s movie that were ridiculed, such as Dracula walking during daylight, were taken directly from the original novel, however the strength of the movie and comic adaptations over the years have altered the audience’s perception of what the character is and can do. Vampires are instantly killed by sunlight. This has become the accepted truth.

Living in the shadows and on the fringes of popular culture, Dracula, as a character in comics, has never reached the literary heights of Stoker’s original striking figure. Used as a foil for modern superheroes to emphasize their modernity, or as a way to interject an inflated sense of importance into a horror comic, the Prince of Darkness is a fan favourite colloquialism for the horror genre. His appearances over the years have ranged from a hunched, goblin-esq creature to a sophisticated gentleman, but none of his visual representations have lifted him from the gutter. And maybe this is why Dracula will always have a home in comics, because Comics (with a capital C) is also struggling with this breakthrough from the gutter into the light; from mere entertainment into high art.


*A totally fictitious guide


Darryll Robsonhttp://www.comiccutdown.com
Comic book reader, reviewer and critic. Currently studying Comics Studies and still patiently waiting for the day they announce 'Doctor Who on The Planet of the Apes'.




Dracula of Transylvania Reimagines the Iconic Vampire as 'A Complete Horror'

Less brooding, more wholesale slaughter.

By Jesse Schedeen
Updated: 22 Feb 2021 1

Dracula is no doubt one of the most iconic villains in pop culture. But where most modern takes on that classic story tend to paint this undead villain as a figure of tragedy, designer and artist Ricardo Delgado has a very different take in mind. His new illustrated novel Dracula of Transylvania aims to explore a more terrifying side of Vlad Dracula, portraying him as nothing short of "a complete horror."

While timed to the 90th anniversary of Universal Pictures' seminal Dracula movie, Dracula of Transylvania is specifically a re-imagining of the original Bram Stoker novel. In this version of the story, published by Clover Press, Dracula is a terrifying, inhuman threat to all of mankind. In fact, he's depicted as the literal son of Satan. Opposing him, as ever, is heroic solicitor Jonathan Harker, who in this version of the story is an Indiana Jones-like adventurer whose travels take him from the Catacombs of Paris to the Roman Colosseum and into the heart of Dracula's native Transylvania.

To get a better idea of how this new story is transforming such a familiar villain, check out our exclusive first look at Delgado's character designs and other artwork from Dracula of Transylvania:

Dracula of Transylvania Reimagines the Iconic Vampire as 'A Complete Horror'




10 IMAGES




“DRACULA OF TRANSYLVANIA supports and builds upon Stoker’s classic, haunting original story, but this is most certainly not your parents' Dracula or your grandparents’ Dracula,” said Delgado in Clover Press' press release. “This personification of the Nosferatu king is dark and powerful, a malevolent antagonist who suffers no fools, accepts no failure and crushes anyone in his path. This Dracula is not a romantic. He’s a complete horror. Just the way I always wanted him to be.”

“Dracula is vileness incarnate, a pure thing of Hell,” added Delgado. “He’s spent the past thousand years putting sword to flesh and tearing at the tapestry of history as the son of Satan himself. Kings, Popes and armies fear Dracula. And so should you.”

Delgado has worked as a storyboard artist and character designer for a number of film and TV projects, including Apollo 13, Avatar: The Last Airbender, The Incredibles, The Matrix: Reloaded, Men in Black and Wall-E. Comic book fans will also recognize him as the creator of the long-running Dark Horse Comics series Age of Reptiles.

Dracula of Transylvania is currently being offered through Kickstarter, with the campaign running until March 25, 2021. The campaign includes a number of different pledge tiers, with bonuses including everything from signed, leatherbound copies of the book to art prints to original sketches.

Bram Stoker's Dracula - What's the Difference?  10:15

This isn't the only drastically new take on Dracula to be announced in 2021. Marvel's Eternals director Chloe Zhao is writing, directing and producing a new Dracula movie with "futuristic, sci-fi western" trappings. Not to be outdone, Blumhouse Productions is developing a new Dracula movie inspired by the success of 2020's The Invisible Man reboot.

For more Dracula goodness, find out what we thought of The BBC's quirky but enjoyable Dracula series.

Jesse is a mild-mannered staff writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on Twitter.




DRACULA OF TRANSYLVANIA

Artist Ricardo Delgado offers his own take on the classic Dracula story, depicting him as a terrifying and major threat to all of mankind.
Publishers  Clover Press
Release DateJune 2021

Bram Stoker – ‘Dracula’ The Folio Society Edition Review

The Gothic Victorian horror classic in new edition in time for Halloween.

By Greg Jameson
Published October 19, 2021
Illustration ©Angela Barrett from The Folio Society edition of Dracula

Childhood nostalgia is a precious thing. Often long-fossilised thoughts don’t withstand the scrutiny of fresh adult eyes. My fortieth birthday was spent in Whitby, where Dracula famously came ashore during Irish novelist Bram Stoker’s late Victorian Gothic horror novel of the same name. I wandered the grounds of the Abbey and the graveyard at St. Mary’s Church, which feature as prominent locations in the story. Stoker had stayed on the Royal Crescent, and the beautiful town was an inspiration to the author in putting together his masterpiece. I even bought a copy of the novel from a local bookseller, but I avoided returning to it for fear that it would diminish the memories of how completely entranced I was when reading it as a fifteen (or was it sixteen?) year-old.

Credit: The Folio Society

Three years on from my fortieth, and the chance to read a luxurious new edition of Bram Stoker’s ‘Dracula’ from The Folio Society was an offer I could not refuse. Turning the pages, I was delighted to discover that the quality and power of the writing is undiminished by maturity. The prose surely resonates with readers now as much as it did in 1897 when it was first published.

We are thrown into the world of Jonathan Harker, a young solicitor charged with visiting his client, one Count Dracula, at his castle in Transylvania. There he is to oversee the purchase of a property in London. Told in first person narration through Harker’s diary entries, the opening chapters give readers a visceral account and land us directly in the horrifying world of the vampire. Wolves howling, an absence of a reflection in mirrors, seductive undead women in closed-off parts of the castle, invitations to cross over the threshold – many now-familiar tropes of vampire legend are quickly introduced. Stoker ratchets up the tension with each passing page, as readers begin to wonder how on earth Harker will escape from Castle Dracula with his life, let alone sanity. The description of the Count scaling the sheer castle walls with his fingernails, face down, still makes my skin crawl. The prose may be lurid, but it’s effective, and the first fifty pages are surely some of the most memorable in English literature.

Once the self-contained preface of Harker’s trip to Transylvania is finished, Stoker changes the point of view of the narrator, bringing in multiple sources to tell the story once we relocate to England. The first time I read it, I remember taking a while to settle to this new approach, having been so deeply invested in Jonathan Harker’s fate. I hadn’t appreciated just how cleverly structured the rest of the book is. It is told chronologically, alternating between several main sources. There are letters between the heroines Mina Murray and Lucy Westenra; the diary of Dr Seward, custodian of a lunatic asylum; Mina’s journal and return trips to Jonathan Harker’s journal. Interspersed within these multiple sources are newspaper cuttings and other supporting documents that give the text a sense of historical veracity. Most memorably, there is the captain’s log from the Demeter, the ship that bears Dracula and his crates of earth from the continent to England. That section of the book is perhaps the creepiest and most terrifying…


Illustration ©Angela Barrett from The Folio Society edition of Dracula

Reading ‘Dracula’ for a second time, many years after the first experience made such a vivid impression on me, I didn’t mind the multiple viewpoints of the narrator. In adopting different tones and linguistic affectations, Stoker showcases his talent at crafting believable characters. The women in particular are satisfyingly developed. It’s the raw sensuality of the ill-fated Lucy, but only after she is bitten, that is so notably provocative. It must have been even more shocking and unsettling for the more sexually reserved times in which the book first appeared.

The secondary characters have plenty of life breathed into them too. Quincey Morris, the American, is dependable and used to firearms and a way of life closer to nature. But Dr Seward’s old mentor Abraham Van Helsing is the real stand-out. Straight-talking and lacking in the British sense of irony and delicacy, Van Helsing is what would become the archetypal vampire hunter, sharpening his stakes as he drives the story in the second half of the book, once the hunted become the hunters. But in order to do that, Van Helsing has to convince the others of the evil they are up against. Cue one of the greatest sequences in the horror genre, as they desecrate the tomb of a dead friend, only to find the occupant stalking the town looking for fresh children’s blood!


Credit: The Folio Society

‘Dracula’ remains an exciting page-turner and a deeply satisfying horror novel. Stoker’s ingenious narrative technique raises it to the level of a literary classic, but even some moments of purple prose can be enjoyed for the vividness of the descriptions. Its themes played on the contemporary panic about Jack the Ripper, the serial killer who was at large in London only a decade before the book was published. Darkness, death and the unknown are eternal human fears, and be warned, Stoker exploits all of them with the skill of a master craftsman. Incident-packed and scary, ‘Dracula’ is the perfect Halloween reading material. Keep the lights low and surround yourself with silence for maximum effect. Maybe have some garlic flowers to hand, just in case. Bram Stoker’s ‘Dracula’ isn’t still a popular book over a century after its publication just for a few entertaining characters, but as I was delighted to confirm, because it’s a triumph of horror fiction in its own right. My teenage self was quite correct to be blown away by the book, and my adult self fell hopelessly in love with the characters and the story all over again. Now I want to return to Whitby…

The Folio Society’s new edition of the book is crafted to their customary meticulous standards. It has a striking black hardback with silver embossed bat silhouetted against a full moon slipping into a swirling blood-red case. The top edges of the pages are coloured deep red, too. Interspersed within the leaves are fifteen full-page colour illustrations by Angela Barrett. They evoke the late Victorian era by framing the paintings with intricate, stylish and detailed borders. Smaller, simpler ink drawings, such as of a crucifix, appear at the ends of chapters. An introduction by contemporary Irish novelist John Banville provides a modern context for the book within.


The Folio Society edition of Bram Stoker’s Dracula, introduced by John Banville and illustrated by Angela Barrett, is available exclusively from The Folio Society.