Franco-German card. Ufa, Berlin/ Editions P.I., Paris. Unitalia Film Silvana Pampanini (1925) is an Italian actress who knew enormous popularity in the 1950s and 1960s. In the early 1950s, before Sophia Loren e Gina Lollobrigida reached stardom, Pampanini was one of the most well-known symbols of Italian beauty. Born in Rome from a family that had moved there from the Veneto some three centuries ago, Silvana Pampanini got her law degree during the war and visited the Conservatory of Santa Cecilia where she got a degree in piano and song. As a singer, the young Pampanini made career within entertainment music, not only were her songs widespread on unique records, she even got an audience with pope Pio XII. Over the years she also was a frequent visitor of the opera seasons. Her cousin was the soprano Rosetta Pampanini. When war was over, her singing master inscribed her for the Miss Italia contest in Stresa in September 1946 which she won ex aequo with Rossana Martini, thanks to a fierce audience reaction after Martin had originally been chosen by the jury. Her Miss Italia title was her introduction to a career in cinema and from the film L’Apocalisse (Giuseppe Maria Scottese 1946) Pampanini performed in various films, often musicals. She became also the toast of weeklies and film magazines. Her father, who originally had been against his daughter having a career as actress, became her agent. Even if she was dubbed in her first roles Pampanini became a star, performing with all the great actors of postwar cinema: Toto, Peppino De Filippo, Alberto Sordi, Vittorio De Sica, Marcello Mastroianni, Nino Manfredi, Vittorio Gassman, Walter Chiari, Amedeo Nazzari, Renato Rascel, Raf Vallone, Nino Taranto, Massimo Girotti, Ugo Tognazzi, Carlo Dapporto, Paolo Stoppa, Rossano Brazzi, Massimo Serato, Folco Lulli, Aroldo Tieri, Carlo Campanini. Among her foreign film partners were Jean Gabin, Henri Vidal, Jean-Pierre Aumont, Raymond Pellegrin, Pierre Brasseur, Curd Jurgens, Pedro Armendariz and even Buster Keaton. In the 1950s Pampanini played in one film after another and many of her films were distributed worldwide. Well known was for instance the Dino de Laurentiis production I pompieri di Viggiu (Mario Mattoli 1949), which Ennio Flaiano considered rather a series of vaudeville acts than a film, and thus preceding TV vaudeville. With Quo vadis? parody OK Nerone (Mario Soldati 1951), Pampanini had her first international success as Empress Poppea, opposite Gino Cervi as Nero, and Walter Chiari and Carlo Campanini as two American sailors who dream they are in Nero’s Rome. In the romantic comedy Bellezze in bicicletta (Carlo Campogalliani 1951) she formed a pair with Delia Scala and sang one of the most beloved songs of the time: Bellezza in bicicletta. In 1952 Pampanini performed in the much awarded Processo alla citta (Luigi Zampa), starring Amedeo Nazzari; La presidentessa (Pietro Germi), based on a French pochade; and La tratta delle bianche/White Slave Trade (Luigi Comencini). The latter also casted Eleonora Rossi-Drago, Tamara Lees and (in a smaller part) Sophia Loren, but the leading men Vittorio Gassman and Marc Lawrence both have set their eyes on Silvana. In 1953 Pampanini played in an episode of Un giorno in pretura (Steno) for which her makeup man transformed her in a lady 30 years older. That year she was also the title character Anna Zaccheo in Giuseppe de Santis’ Un marito per Anna Zaccheo, which costarred Nazzari and Massimo Girotti. In 1955 Pampanini performed in the comedy La bella di Roma by Luigi Comencini, which co-starred Alberto Sordi and Paolo Stoppa, and she played in the box office hit Racconti romani (Gianni Franciolini), based on a story by Alberto Moravia, and starring Franco Fabrizi. Finally Pampanini played in La strada lunga un anno (1958) by Giuseppe De Santis, an Italian-Yugoslavian coproduction, an Oscar candidate in 1959 and Golden Globe winner for best foreign picture. Even if she went to America, Pampanini refused to act in Hollywood, presumably as her English was not good enough, but she did play in France, where she was known as Nini Pampan. Examples are La tour de Nesle (Abel Gance 1955) in which she played Marguerite de Bourgogne opposite Pierre Brasseur as Jehan Buridan, and La loi des rues (Ralph Habib 1956), with Raymond Pellegrin. She also played in films in Spain, Germany, Greece, Yugoslavia, Egypt, Argentine, and in particular Mexico, where she played in some films that never were released in Italy, such as Sed de amor (Alfonso Corona Blake 1959) with Pedro Armendariz, and Napoleoncito (Gilberto Martinez Solares 1964). In the meantime the yellow press published flirts of Pampanini with prince Ahmad Shah Khan, Tyrone Power, William Holden, George DeWitt, Omar Sharif, Orson Welles, king Faruq of Egypt and others. Pampanini herself told how her one true love, a man ten years older than she, not involved in cinema and never identified, died of a disease one month be

On a practical level, Crowley's published instructions on the Abyss tell the reader to consider some philosophical problem without using magic or intuition, until the mind focuses on this problem of its own accord: "Then will all phenomena which present themselves to him appear meaningless and disconnected, and his own Ego will break up into a series of impressions having no relation one with the other, or with any other thing." This prepares the student for the mystical experience that Crowley elsewhere calls Shivadarshana. Crowley modeled these instructions on his own experiences in the year 1905.The Vision and the Voice describes two additional methods of entering the Abyss. The first of these "concerns things of which it (was) unlawful to speak openly under penalty of the most dreadful punishment,"namely receptive homosexual intercourse under the desert sun that went against Crowley's social habits of conduct or his conscious self-image. The second involves ceremonial magic and focuses more on the theory behind the Abyss.