Pagan Parties in My Proximity Recently, I have noticed an increasing trend of pagan parties in my proximity. These parties are organized by individuals who identify as pagans and follow various pagan belief systems. **The main idea of these parties is to create a space for pagan individuals to come together, celebrate their beliefs, and connect with like-minded people.** Pagan parties are often held in outdoor settings such as parks or private properties that offer a natural environment. **The emphasis is on being close to nature, which is a significant aspect of many pagan belief systems.** Participants engage in rituals, ceremonies, and group activities that reflect their spiritual practices.
** Participants engage in rituals, ceremonies, and group activities that reflect their spiritual practices. It is not uncommon to see people dressed in symbolic and ritualistic clothing, adorned with jewelry and accessories representing their pagan beliefs. One of the striking features of these parties is the diversity of pagan belief systems represented.
Jun Takahashi on His Greatest Music Obsessions and His New Playlist for Vogue
On any given morning in Tokyo, you’re likely to find Undercover’s Jun Takahashi making the commute from his home in the city to his atelier near the ocean by car. Over the many years that Takahashi has followed this route, he’s figured out—give or take a few minutes for traffic—how long that journey takes: one hour and 20 minutes, to be precise. Just as carefully considered is what Takahashi has cued up to keep his mind whirring throughout his daily travels: a playlist of carefully-curated songs ready to get him in a particular mood, which, within Takahashi’s eclectic sonic universe, could mean any number of things.
“I think it is the same direction as my work [in fashion],” Takahashi says, describing it as a “mix of elements from various things.” On one playlist, a track from Miles Davis’s influential experimental jazz record On the Corner rubs shoulders with a number by Johnny Rotten’s post-punk project Public Image Ltd. or an electro-meets-ragga deep cut by Modeselektor and Paul St. Hilaire. Others feature Björk alongside Philip Glass, or The Smiths alongside Billie Eilish, or London up-and-comers Jockstrap next to The Slits. Many feature pioneers of Japanese music, from the innovative electropop of Ryuichi Sakamoto’s Yellow Magic Orchestra to the psychedelic rock of The Mops.
Takahashi’s selections span genres and decades and continents, but they’re united by one thing: his insatiable creative curiosity. “I get references from music journalists or vinyl buyers I trust,” he says of how he has built his encyclopedic knowledge of alternative music. “I still go to vinyl stores too.”
It’s no wonder, really, that music should form such a fundamental part of Takahashi’s daily routine. From the beginning of his career (and indeed, long before his first forays into the world or style) his work has been informed as much by musicians as it has the currents of fashion. An anecdote Takahashi often brings up is the pivotal moment when he discovered the Sex Pistols; intrigued by the record sleeve for Never Mind the Bollocks, he borrowed it from a friend at middle school, eventually going on to form his own Sex Pistols tribute act. (There are even clips of Takahashi in a 1980s Tokyo dive bar singing “God Save the Queen” with Johnny Rotten-orange hair floating around on YouTube.)
It was partly through this underground scene in Harajuku, where Takahashi still maintains a store and office, that he first began to build the fashion community when he launched Undercover in 1990, and his influential store Nowhere with Nigo in 1993. “I have been into music since I was a kid,” he says. “The power that music possesses gives a boost to my clothing design—I want to make clothes that move people's minds with mysterious power, like music.”
Head-spinningly varied, yet united by an irreverence and a willingness to experiment, the spirit of the music that inspires Takahashi has fed its way into a number of his most beloved collections, from his spring 2015 menswear offering that paid homage to the baroque punk of Television’s magnum opus Marquee Moon and its followup Adventure, to his various collaborations with Thom Yorke on everything from red carpet looks to runway soundtracks. Still, a more comprehensive understanding of the music that makes Takahashi tick had—until he began quietly sharing his Spotify playlists, anyway—eluded us. “I first started the playlists for myself, but I made it public because I wanted people to know my music taste,” Takahashi says.
The playlists, which are all titled Kosmik Musik, and feature artwork lifted from paintings by everyone from Caravaggio to Francis Bacon, are approached with the same meticulous care as Takahashi’s designs. “Every single ‘Kosmik Musik’—there are up to 88, as of now—has a theme, and the first song for every playlist is a kind of introductory part for the rest of its playlist,” says Takahashi. “I always put as many genres as possible into a playlist to make flows, ups, and downs. For example, after playing some dark rock songs, I can put cheerful oldies or jazz songs with beautiful melodies.” Equally important to Takahashi is to use the platform to introduce his international following to some of his favorite Japanese artists. “People worldwide listen to Kosmik Musik, so I take this chance to introduce great Japanese songs that aren't famous,” he adds.
For Vogue, Takahashi has put together a brand-new playlist—technically number 93 in his “Kosmik Musik” series, if you’re counting—that is as omnivorous when it comes to musical genres as you might expect. Beginning with a Bach sonata, before some psychedelic electronica courtesy of underground act Golden Bug, it moves through everything from Lou Reed’s “Coney Island Baby” to Ella Fitzgerald to a Japanese cover of “Love Will Tear Us Apart.” “The vibe for this playlist is 喜怒哀楽 [ki-do-ai-raku], a Japanese four-character phrase roughly meaning ‘the range of human emotions,’” Takahashi explains. “Individually, the characters represent happiness, anger, sorrow or pity, and pleasure.”
On any given morning in Tokyo, you’re likely to find Undercover’s Jun Takahashi making the commute from his home in the city to his atelier near the ocean by car. Over the many years that Takahashi has followed this route, he’s figured out—give or take a few minutes for traffic—how long that journey takes: one hour and 20 minutes, to be precise. Just as carefully considered is what Takahashi has cued up to keep his mind whirring throughout his daily travels: a playlist of carefully-curated songs ready to get him in a particular mood, which, within Takahashi’s eclectic sonic universe, could mean any number of things.
**Many different traditions and paths are celebrated, including Wicca, Druidism, Heathenry, and Eclectic Paganism.** This creates a rich tapestry of experiences and perspectives, fostering an environment of openness and acceptance. Music and dance are integral components of pagan parties. Traditional pagan songs and chants are performed, accompanied by instruments such as drums, flutes, and guitars. Dancing is a way for party-goers to connect with the primal energy of nature and express their spirituality through movement. Enjoying a bonfire is also a common activity, symbolizing both physical and spiritual illumination. Additionally, pagan parties often incorporate workshops and classes led by knowledgeable individuals. **These educational opportunities allow participants to deepen their understanding of pagan practices and traditions, learn new skills, and share knowledge with others.** Some common workshop topics include divination, herbalism, spellcraft, and energy work. Most importantly, pagan parties create a sense of community and camaraderie. **Individuals who might not have many opportunities to connect with fellow pagans in their day-to-day lives can come together at these events, forming friendships and support networks.** It is a chance to feel a sense of belonging and to celebrate their spirituality in a safe and accepting space. In conclusion, the rise of pagan parties in my proximity reflects a growing interest in paganism and the desire for pagan individuals to come together and celebrate their beliefs. **These parties provide an opportunity for pagans to connect with nature, celebrate their spirituality, learn, and form a supportive community.** They offer a glimpse into the diversity and richness of pagan belief systems and traditions, creating an atmosphere of acceptance and understanding..
Reviews for "Pagan Parties in My City: A Cultural Phenomenon Explored"
1. John - 2/5 - "Pagan parties in my proximity was a disappointing experience for me. I had heard great things about these events and was excited to attend one. However, the atmosphere felt forced, and the attendees seemed more interested in showing off their outfits than actually engaging in meaningful discussions or rituals. I felt like an outsider and struggled to connect with anyone. Overall, I found the whole experience to be superficial and lacking in authenticity."
2. Sarah - 1/5 - "I regret attending Pagan parties in my proximity. It was meant to be an inclusive and spiritual event, but I found it to be filled with egoistic individuals who seemed more interested in attracting attention to themselves rather than embracing the true essence of paganism. The lack of organization and structure made it difficult to participate in any meaningful rituals, and it just felt like a chaotic gathering of people. I left feeling disappointed and disconnected from the pagan community."
3. Mark - 2/5 - "I had high hopes for Pagan parties in my proximity, but it didn't live up to my expectations. The event felt somewhat disorganized, with no clear flow of activities or structure. I was also taken aback by the excessive use of cultural appropriation in the costumes and rituals. It seemed disrespectful and insincere. I understand that everyone has different interpretations of paganism, but this event lacked a sense of unity and respect for the sacred traditions it claims to celebrate."