On the Other Side of Pink

Hoodoo and Conjure New Orleans 2014

Hoodoo and Conjure New Orleans 2014. Photograph Copyright 2013 Jeffrey Holmes , all rights reserved worldwide.



Only in New Orleans are the Dead given a city in which to reside. Because New Orleans is built on swampland, the Dead cannot be buried in the ground lest they re-surface and float away. Consequently, all but the poor and indigent are laid to rest above ground in elaborate crypts, wall ovens and mausoleums. The decorative ironwork and sculptures adorn the plots, making the cemeteries resemble little cities; hence the nickname, “Cities of the Dead.” The cemeteries in New Orleans attract a lot of visitors each year because of their unique, historic character.

St. Louis Cemetery #1 is the most famous City of the Dead. It is the oldest New Orleans cemetery, constructed to replace the older St. Peter Cemetery as the main burial ground when the city was rebuilt after the Great New Orleans Fire of 1788.

St. Louis Cemetery #1 is also the place where the infamous Voudou Queen Marie Laveaux was laid to rest. This cemetery tends to get the most visitors of all the Cities of the Dead in part because of its architecture and history, and in part because of Voudou. People from all walks of life want a glimpse of Marie Laveaux’s final resting place. Voudou adherents from all over the country make pilgrimages to the gravesite, a testament to its spiritual significance. Most visitors want an opportunity to make a wish at her tomb in hopes that their wishes will be granted by the Voudou Queen. It is said that Marie Laveaux’s grave is the second most visited grave site in the United States, falling second only to Elvis Presley. That’s saying something.

The tomb of Marie Laveaux is more than just a tourist attraction, however; it is at the heart of New Orleans’ sacred geography. It is the place that connects many sacred sites running the gamut from swamps to churches, shrines, cemeteries, Congo Square, St Louis Cathedral, Bayou St John, and every home where someone lights a candle or says a prayer. Just as the cross marks drawn on her tomb mark the place where the world of the physical and the world of the spiritual intersect, her tomb signifies the place where people from all over the world meet and interact with the spirits of the Dead, as well as with the spirit of the Voudou Queen herself.

In December 2013, the tomb that holds the remains of the Mother of New Orleans Voudou was painted a bright pink. Despite the fact that the tomb of the Widow Paris is both a huge tourist attraction and sacred pilgrimage site, it wasn’t until Dorothy Morrison posted a photo of it on Facebook and I wrote an article for the New Orleans Voodoo Examiner that it finally got the local attention it deserved.

After much back and forth about what to do with the Pepto Bismal pink tomb, the Cemeteries Archdiocesan office decided to pressure wash the paint off of the tomb, apparently a standard method of upkeep for cemetery tombs and believed to be the best method to remove the paint. For folks interested in preservation and restoration, however, pressure washing is not the best method and tends to inflict more damage than desired.

Unfortunately, the tomb did suffer some damage as a result of the pressure washing. However, the tomb has been steadily deteriorating for years and remains in dire need of repair. The cost for its restoration is estimated in excess of $10,000.00, so Save Our Cemeteries, The Archdiocese of New Orleans, and the local preservation company Bayou Preservation, LLC have formed a partnership to restore the tomb. Given the cost of repairs, however, it cannot be completed without fundraising efforts. Therefore, they have started a restoration fund that the general public can donate to help fray the expenses. If you would like to donate to the restoration fund, please visit the website and donate what you can. Every little bit helps.

Unfortunately, there isn’t an obvious link to the project on the Save Our Cemeteries website. But you can go to the “Get Involved” tab and then “donate” and make your donation or contact them at (504) 525-3377 or at membership@saveourcemeteries.org.

Read the whole story from the beginning in the latest issue of Hoodoo and Conjure New Orleans 2014.

American Horror Story Coven: Will the Real Papa Legba Please Stand Up?

Papa Legba

Since the beginning of the season, American Horror Story Coven’s presentation of New Orleans Voudou was a hot mess. From stereotypes of black folks and fried chicken, to the misogynistic treatment of women and mischaracterization of the Mother of New Orleans Voudou, the show took all the advantage at their disposal to cash in on “for entertainment only.” The general public saw no problem with portraying Papa Legba as a pimped out, red-eyed black man with dreadlocks who snorts cocaine, wears a top hat and escorts children and “innocents” to the other side of the veil. They wouldn’t know the difference anyway, right? And, we all know the devil is willing to do anything in exchange for a soul. There’s just one problem, however, Papa Legba is not the devil. In fact, there is no devil in New Orleans Voudou.

The infamous legend of the “Black Man at the Crossroads” is one that ignites much curiosity across cultures and throughout time. References to folks making deals with devils and demons are found as early as the fifth century in the writings of St. Jerome, and in the sixth century, we find the legend of Theofilus. Numerous instructions for conjuring demons exist in the old grimoires, and of course, we cannot ignore the infamous deal with the devil made by legendary bluesman Robert Johnson. It is said Johnson went to a crossroads at midnight and summoned Satan who appeared as a large Black Man. Johnson gave his guitar to him, and the “Devil” tuned the guitar, played a few songs and gave the guitar back to him and with it, mastery of the instrument. In exchange for Johnson’s soul, it is said the Devil gave Johnson the skill to play the legendary blues for which he is famous.

Although Voudou is often associated with Satanism, Satan is an Abrahamic belief and is not found in the New Orleans Voudou religion. When Mississippi Delta folk songs mix references to Voudou and Hoodoo with Satan and the devil, it is suggested by some to be a metaphorical expression of social pain resulting from the oppressive environment of racism and poverty, couched in Christian terms and blamed on “the devil.” Other scholars suggest that it is not the devil at all who is referenced; rather, it is Legba, known as a trickster God of African origin (Hyatt, 1973; Sharma, 1997). Not unlike syncretism, which in this context is the cloaking of the Voudou spirits with Catholic saints, speaking of the devil is more acceptable than referencing an African deity. Syncretism functions to perpetuate African traditions on the downlow.

It really is not surprising that the depiction of the Marie Laveaux and Papa Legba characters were so one-dimensional in American Horror Story Coven; it’s the same old song and dance Hollywood and the media have been promoting since the inception of commercial film and media. Instead of acknowledging Voudou as the legitimate religion it is, it is portrayed as bad, akin to black magic at best and downright Satanic at worst. And, the Queen of this evil religion is depicted as the devil woman herself, capable of committing heinous acts against other human beings along the lines of Jeffrey Dahmer.

When a talented actress such as Angela Basset portrays the Queen of New Orleans Voudou, how-ever, there is a small glimmer of hope. Basset is undeniably a stunning and strong woman visually and looks believable as Marie Laveaux. In spite of the story line, it was possible for Basset to give viewers a look at Madame Laveaux’s gentler, nurturing side. After all, the Voudou Queen is known for her humanitarian efforts, spending time with people others wanted nothing to do with. She worked alongside Catholic priest Father Antoine tending to the sick and ministering to people in prison who were condemned to death. And yes, she embraced the traditions of her African ancestry. She was well-known as a practitioner of Voudou and equally known as a devout Catholic. She danced with the snake and prayed with the rosary. She successfully integrated the two traditions, greatly influencing the New Orleans Voudou religion we know today.

No one can deny the fact that character development in general was not among the strong suits of AHS Coven. Neither was the plot, which was all over the place and peppered with promising sub-plots that ultimately went no where. Sigh, as Maureen Ryan, TV critic for the Huffington Post wrote, “Even top-notch actresses can’t save shoddy material.” Never were truer words spoken.

Despite Voudou truth being much stranger and more interesting than fiction, AHS Coven’s Marie Laveaux was depicted as a mean, angry black woman who relished torturing people and hating witches. She sent her Minotaur lover to hunt down Madame LaLaurie and instead of hitting her target, he attacks Queenie, the human voodoo doll of the Coven. Not only did she behead Delphine LaLaurie, she hanged LaLaurie’s entire family. She sent a witch hunter to murder all of the witches in the Coven. She stole babies each year in order to have eternal life. To fulfill a deal she made with the devil—a devil called Papa Legba—she presented the newborns to him as payment for his favor.

Still, the Marie Laveaux character was not all bad. We like the idea of a powerful Black female leader getting justice for crimes against Black people. We root for her when she summons her army of zombies to exact revenge on a group of White men who had lynched a Black child in the 1960s. We like it when she buries Delphine for all eternity. Horror freaks probably even enjoy LaLaurie’s be-heading. And, we like seeing two powerful women, Marie Laveaux and Fiona Goode (played by Jessica Lang), align the Voodoos and the Witches and work towards the common good of eliminating their oppressors.

Just like the disappointing portrayal of Marie Laveaux, however, it wasn’t surprising to find that same, boring, stereotypical approach to Papa Legba (played by Lance Reddick), who was represented as ole Satan hisself. Announcements by the show’s producers prior to his first appearance on the show indicated their plan was to depict Papa Legba as a “Voodoo Satan.” Well, no one can say they didn’t live up to that intention.

Nevertheless, in spite of being depicted as Voodoo’s Satan, Papa Legba was not all bad. In fact, his character was riveting in some respects. While he is a soul collector, he is not seen tormenting the souls he has taken, unless of course, they deserve it and he has escorted them to Hell. He is upfront and honest about his expectations and intentions with the deals he makes; albeit, at the same time delighting in the psychological torment caused by such deals on the individual. “Welcome to Hell!” he says to Delphine upon her death, and when Fiona dies and enters her personal Hell, he laughs at her suffering. Nonetheless, AHS Coven’s Papa Legba neither looks like the actual Papa Legba, nor is his depiction as the God of life and death accurate. But, the argument is not that Lance Reddick didn’t do a good job of acting; on the contrary, he did a fabulous job. Unfortunately, he was acting out the distorted legend and myth instead of the real Papa Legba of the New Orleans Voudou tradition. It is not his fault he looked a fool dressed up like Baron Samedi and acting like a cocaine-snorting soul pimp from the hood.

A sloppy story line and lack of character development notwithstanding, the utter bastardization of an African-derived religion and not-so-subtle racist depictions of black men and women was couched in extreme violence against women—domestic and otherwise. Invariably, the women, who at the onset were hyped up as strong and empowered, perpetrated violence upon each other, burned each other at the stake and ultimately succumbed to violence at the hands of men. Madison, the witch played by Emma Roberts, was gang-raped by a bunch of frat boys in the first episode; but, she got immediate revenge through her magickal skills, killing all of her perpetrators with a wave of her hand. Throughout the series, Madison was portrayed as an extremely powerful witch bitch who perpetrated against her coven sisters, and was consumed by a predictable cat fight with Misty Day, played by Lily Rabe. Despite seeming impervious to the magick of others and being raised from the Dead, Madison was killed by a sorry excuse for a zombie, the reanimated frat boy named Kyle played by Evan Peters. Suddenly, her awesome powers of teleportation and telekinesis didn’t work—all of her superhuman witchy abilities were lost and she laid helpless while being strangled to death. Madison’s ultimate fate fell into the hands of the butler Spalding, played by Dennis O’Hare, who kept her corpse as a plaything, reducing her to a doll in his collection. In addition, Fiona, the Supreme Witch with unlimited abilities, ended up a victim of the Axe Man in more ways than one. She was ultimately chopped to death and sent to her own private Hell, doomed to live the life of the Axe Man’s dreams as a stay-at-home wife who cannot escape and someone he can smack around at will. Finally, Marie Laveaux, who, despite selling her soul to the nonexistent devil in real Voudou, stood helpless in front of the witch hunter who killed her. When the strongest women in the series end up being victims of violence in the most demeaning of ways, we move beyond mere violence into the realm of misogyny.


AHS Coven’s Papa Legba was both a confused and confusing character to those in the know. He looked like a completely different Voudou Spirit, Baron Samedi, and was even given the same role as the spirit of life and death. He is shown snorting cocaine, like all black men wearing top hats stereotypically do. He delights in the pain and suffering of others. He takes souls before their time. Knowing there were actual New Orleans Voudou practitioners on set who appeared several times in ritual scenes, as well as an actual Voudou/spiritual consultant present, and given the short promotional video produced to promote the show where several New Orleans practitioners were interviewed about real New Orleans Voudou, the fact that Papa Legba was so incorrectly portrayed doesn’t make sense. In fact, it is inexcusable.

If we start with the general appearance of Papa Legba, we can say the entire AHS depiction should be scratched. The character looked more like Baron Samedi, Guardian of the Cemetery and head of the family of Ghede spirits. It is the Baron who wears a top hat, paints his face white, and who is associated with skulls. It is he who determines who lives and who dies. The Baron fights black magic and loves children. But, he doesn’t love children for their innocent souls as is suggested in AHS Coven, nor does he snort cocaine (though he loves to party). Baron Samedi protects children, and does not allow children to die before their time.

On the other hand, Papa Legba is commonly depicted in Voudou iconography as an old black man who wears a straw hat, smokes a corn cob pipe and sports a crooked cane. He can also take the form of a young child who is fascinated with toys, or a strong young man who can guide the way. He is associated with keys, not skulls, and is likened to St. Peter of Catholicism. Just as St. Peter holds the keys to the gates of Heaven, Papa Legba holds the keys to the Spirit World; he is the Gatekeeper to the World of Invisibles. He likes rum and coffee, not cocaine, and does not make deals with anyone for their souls. He is among the first to be called in Voudou ceremonies because it is he who opens the roads through which the other Voudou Spirits (loas) must travel in order to communicate and interact with humans.

Most importantly, there is no devil in Voudou. True, there are spirits with less than stellar attributes in the Voudou pantheon, but there is no Satan with legions of demons under his command whose sole purpose in life is the downfall of humanity. On the contrary, Papa Legba—as is the case with all the loas—is there to assist people with matters of daily living, to help when help is needed, to clear away obstacles in our path, and to provide opportunities for improving our lives. That’s a far cry from the cocaine-crazed baby snatcher portrayed in AHS Coven.


Papa Legba is an African God whose origins are with the Fon people of Dahomey (Benin) Africa. He came to the Americas with the slave trade and has a prominent and essential place in New Orleans Voudou. In fact, he is arguably the most important loa in the New Orleans Voudou pantheon. All ceremonies begin and end with Papa Legba, and there can be no communication with any of the other loas without consulting him first. Papa Legba is the master linguist, the trickster, warrior, guardian of crossroads and entrances, and the personal messenger of destiny. His gift for linguistics enables him to translate the requests of humans into the languages of the Spirits. He goes by several names in New Orleans: Papa Legba, Papa Alegba, Papa Labas, Papa Limba and Papa Lebat. During Mardi Gras season, a popular shout by revelers is “A Labas!” Papa Legba is one of the most loved and revered of the Voudou loas.

In Africa, Legba is often depicted as a fertility God with a huge, erect penis. Sometimes, Legba is depicted as male and female, sometimes as a healer, and sometimes as a protector. In one form, he is depicted as an “apologetic Legba,” petitioned for forgiveness when a person has insulted the gods through awful behaviors like rape and burglary.

According to one legend, Papa Legba is the youngest son of Mawu and Liza, the creators of the world. Mawu and Liza are portrayed as twins but are one in Spirit. Mawu is the female aspect, and is associated with the East, the night moon, fertility, motherhood and night. Liza is the male aspect, and is associated with the West, the daytime sun, heat, work and strength. In another legend, Legba is the son of Oshun.


For folks interested in developing a relationship with Papa Legba, you can start with learning about who he is and getting familiar with his characteristics. Papa Legba is the one loa that anyone can serve; initiation is not necessary. He is accessible to all, the kind Father who is happy with a cup of black coffee and a handful of peanuts in exchange for his help and wisdom.

Papa Legba is also the master trickster. A trickster’s primary objective is to teach; it is not malevolence. Thus, many times when he is petitioned for something he has fun with the manner in which he helps it manifest. He is a happy loa, and brings humor and unexpected blessings into the lives of those who serve him.

Areas of influence. This refers to the domains of human life that Legba is best suited to help: removing obstacles, providing opportunities, communicating, opening and closing doorways (physical and spiritual), opening roads, children, protection, and finding lost things.

Colors. All of the Voudou Spirits have colors associated with them. In New Orleans Voudou, Legba’s colors are red, black and sometimes white.

Number. As with colors, each Spirit has a particular number or numbers that corresponds to them. These numbers are important for knowing how many of a particular item or object is placed on an altar, how many times something may be repeat-ed, and has significance in magickal workings, as well. Papa Legba’s number is 3.

Day of the week. As with colors and numbers, each Spirit has a day of the week that is dedicated to them. This is the best day for you to show your devotion; although, serving the Spirits can be done at any time. Papa Legba’s days are Monday and the third day of each month.

Saints. When the slaves were brought to the New World and subsequently exposed to Catholicism, they identified the Voudou Spirits with Catholic saints who shared similar characteristics. Images of Catholic saints and a variety of artwork and statues are common on Voudou altars. Saints associated with Papa Legba include St. Peter, St. Lazarus , Holy Child of Atoche, St. Michael the Archangel and St. Anthony of Padua.

Feast days. At least once a year, the Voudou Spirits are honored with a huge feast and celebration. Each Spirit has a specific day when the celebration occurs. Sometimes, people opt to celebrate the feast days of the associated patron saint as an additional way of honoring and serving them.

New Year’s Day – Feast day of the Holy Child of Atoche

June 13 -Feast day of St. Anthony of Padua

June 21st & December 17th – Feast days of St. Lazarus

June 29th – Legba petro (feast day of St. Peter) bonfire lit in his honor

September 29 – Feast day of St. Michael the Archangel

November 1st – Bonfire lit in his honor for the coming New Year

Favorite place. Each Spirit resides in a particular place or places. For Papa Leg-ba, these places include crossroads, cemetery gates, doorways, entryways, thresholds of homes, 4 corners, and any place where two roads intersect.

Favorite animals. Each Spirit has their favorite animals. You can place images or figures of these animals on your altars as a way of acknowledging their preferences. Papa Legba is partial to roosters, dogs, possums, and mice.

Favorite things. Three stones, crooked stick, pipe, keys, doors, marbles, small toys, straw bag, playing cards, red flowers, mixed flower bouquet, pictures of crossroads, cigars.

Sacrificial foods/offerings. Corn (toasted), candy, rum, palm oil, black coffee (you can add sugar but no cream), anything sweet, coconut, plantains, red beans and rice, smoked fish, Louisiana hot sauce, cakes, yams, sugar cane, fruits, green grapes when asking for money, bananas and honey when asking for help with love. His food can be doused liberally with corojo butter and his water should be standing water.

Planet. Mercury, the Sun

Herbs. Each Voudou spirit has herbs associated with them that are used when preparing healing baths, oils, powders, creating wangas, and other ritual and healing items. These herbs will vary ac-cording to tradition. Herbs associated with Papa Legba include anise, star anise, rue, sweet basil, tobacco, guava, avocado, Alligator pear, red pep-per, camphor leaves, corn, wild peppergrass, peppermint, yellow thistle, Mexican thistle, Abre camino, Cuban spurge, Sargasso, wild convolvulus, foxtail, nettles, crowfoot, neat’s tongue, white pine nuts, jack bean, spiny blite, nightshade, black eyed peas, ateje, (cordia collocea), heliotrope, pigeon peas, mastic tree, chili peppers, corn stalks, corn leaves, corn silk, avocado leaves, avocado roots, coconut husk, coconut palm stem, corojo, wild croton, cowage, dried rose buds, senna, soapberry tree and bitter bush.

Symbols. These are the abstract and concrete representations of the particular loa. Papa Legba has many veve s or ritual symbols. Here is one:

Altar placement. This is the ideal place in the home where you can build your altar to the particular Spirit. Voudou practitioners place representations of Papa Legba behind the front door of their homes in order to clear the path, accomplish goals, and to bring his protection.


In New Orleans Voudou, ritual baths are commonly used as prescriptive measures for a variety of conditions. The following ritual bath is a purification bath, and can be done whenever a cleansing is needed or when obstacles to your progress need to be removed.
Bath ingredients:

  • 3 cans of coconut milk
  • A handful of anise
  • A handful of sweet basil
  • A handful of peppermint
  • 1 white candle

Directions: Light the candle. Put all of the others items into a warm bath. Soak 15 minutes, turn to the left 3 times and say “I am clean”. Dress in white and sleep on white sheets. In the morning, gather up all the seed stuffs and herbs from the bath along with the candle remains and discard at a crossroads along with three pennies. Thank Papa Legba for attending to your needs.


To create a basic altar to Papa Legba, you will need the following:

  • A small table or place on the floor
  • Red and black cloth
  • An image of Papa Legba (if you have a doll or statue, good, if not use a picture of him, one of his associated saints and/or his vévé )
  • 3 red or white candles
  • Three stones
  • Some of his favorite things
  • Fresh basil or sage
  • Palm oil
  • Maraca or bell
  • Three pennies

Place the black cloth over the table and the red cloth diagonally across the black cloth. Place the glass bowl in the center of the altar and fill it with water. You can add a splash of coconut rum if you have any on hand. Place the three stones around the bowl. Take the other objects and arrange them on your altar on a manner that is pleasing to you. Pin a photo of Papa Legba’s vévé or patron saint to the front of your altar, or frame it and stand it up at the back. To bless the altar, take your sprig of basil or sage and dip it into the water and splash the items. Alternate ways to bless your altar would be to anoint it with palm oil, or burn some sage, cedar, frankincense, or sandalwood incense, and smudge it with the smoke.


Petition Papa Legba when you have people in your life who are sabotaging your relationships or efforts to get ahead, when you are facing an inordinate number of obstacles, when you are trying to accomplish a task or when you need new opportunities.

Make a coconut cake with fruit as an offering. Ideally, the cake should be made from scratch not purchased from a store. When you have the batter made, add a can of drained fruit cocktail and mix it into the batter and bake. Frost the cake and top with toasted shredded coconut. Set the cake on his altar.

Start by saying the Lord’s Prayer and Hail Mary three times each. If you prefer, you may address the Creator in a prayer appropriate for you. Then light your candles and begin shaking the maraca or ringing the bell to get Legba’s attention. Invoke Papa Legba by saying:

Hey Papa Legba,
Hear me and Open the door!
Open the door and come through, Papa!

Pour a little rum or water on the ground in front of your altar. Play some music with a lot of drumming or songs that are about the crossroads. Wide-spread Panic, Elton John and the Talking Heads all have songs called or about Papa Legba that can be used. Let the music move you into dance. When you are tired, sit quietly and meditate on the task you wish to accomplish. Acknowledge the barriers that get in your way. Once this is clear, ask Legba to exert his influence over the matter at hand. Make your request by simply talking to him as if he were a person in the room with you. When you are finished, take the cake and other offerings to a crossroads or leave by a nearby tree, if possible. Call to Legba, out loud if you can; if not, call him in your heart. Take the pennies and make a sign of the cross with each and leave with the offerings. Tell Legba he is paid. If you can’t get to a cross-roads, you can toss his offerings in the garbage as garbage is sacred to him.

In the days and weeks following, pay attention to the stories that come your way through your dreams, other people, books, or the media. Con-template on the truth inherent in each. In this way, you will gain wisdom from Papa Legba on an ongoing basis in your everyday life. By doing so, you are allowing the doors to open and obstacles to vanish.


Alvarado, D. (n.d.). PAPA LEGBA, EXU, ELLEGUA AND CORRESPONDING SAINTLY … Retrieved from http://www.squidoo.com/papalegba

Hyatt, H. (1973). Hoodoo—Conjuration—Witchcraft—Rootwork, Beliefs Accepted By Many Negroes and White Persons, Western Publications.

Sharma, B. S. (1997). Poetic devices in the Songs of Robert Johnson, King of the Delta Blues, Transcultural Music Review, No 3.

The above article is excerpted from Hoodoo and Conjure New Orleans #2. Copyright 2014 Denise Alvarado, All rights reserved.

What’s Inside Hoodoo and Conjure Issue #2

If you were wondering what is inside Hoodoo and Conjure Quarterly Issue #2, this blog will answer that question. It is over 50 pages longer than the premiere issue and chock full of good and interesting information. I hope you have a minute or two because we have a lot to cover including our new contributors and some fabulous new artwork to go with their incredible articles.


For those of you interested in the Native American influence on Hoodoo and conjure, I have written an article Indian Spirit Hoodoo that discusses some of the various Native American herbs and curios that can be found in New Orleans Hoodoo.

Indian Spirit Hoodoo

Indian Spirit Hoodoo by Denise Alvarado

Appalachian Hoodoo practitioner Byron Ballard, also known as Asheville’s Village Witch, reminds us of the benefits of DIY Hoodoo in her article Homegrown and Homemade: How to Grow a Botannica in Your Backyard.

Homegrown and Homemade

Homegrown and Homemade by H. Byron Ballard

A fascinating look into the journey of Doc Miller and his legendary Hoodoo Drugstore is presented in Issue #2. Who knew that it would be a mess of cobwebs that would make a believer out of Doc Miller?

Doc Miller’s 21st Century Hoodoo Drugstore

Doc Miller’s 21st Century Hoodoo Drugstore by Denise Alvarado


Of course we have a nice selection of charms and formularies for those applied folk magic practitioners out there. The illustrious Dorothy Morrison brings us her Sex Magic Formulary with artwork by our new artist Inga Kimberly Brown.

Sex Magic Formulary

Sex Magic Formulary by Dorothy Morrison

For our readers interested in GLBTQ issues in the ATRs, Chiron Armand brings us his article The Lavender Passage. Armand is a magickal practitioner for almost a decade, he is an initiate in the Unnamed Path shamanic tradition.

The Lavender Passage

The Lavender Passage by Chiron Armand


We have a new column brought to you by Koz Mraz called Myth, Magick, and Motorcycle and he takes us along his journey to Joshua Tree. You may be interested in knowing that it is Koz’s band Studio Voodoo that provides the music for our video trailer.

Myth, Magic and Motorcycle


Contributed by Alyne Pustanio is our featured conjure artist profile on The Slow Poisoner (alias Andrew Goldfarb). According to Pustanio, Andrew Goldfarb “is a one man surrealistic-rock-and-roll- band from San Francisco. He strums a guitar shaped like a dying swan and sings about swamp women, weeping willows, furtive rituals, cosmic paranoia, creeping fungi, forgotten diseases and witches in the woods. He keeps time by thumping on a kick drum rigged with sleigh bells, and while performing displays elaborately painted signs that bear the title of each song being sung…” (Pustanio, 2011, p. 109).

The Slow Poisoner

The Slow Poisoner by Alyne Pustanio


And as the infomercials say “But wait, that’s not all!” We also have a couple of new contributors that offer their experiences with conjure from an international perspective. Witchdoctor Utu gives us a unique glimpse into working with Mama Moses (Harriet Tubman) and the ancestral spirits of the underground railroad in Canada. Utu discusses the historical background of Harriet Tubman and the Underground Railroad and shares with the reader how to build a cairn to honor Mama Moses and the ancestors. He is the founder of the Dragon Ritual Drummers, the Niagara Voodoo Shrine, and is a member and drummer for the New Orleans Voodoo Spiritual Temple.

Mama Moses and the Conjure Tradition of the Underground Railroad by Witchdoctor Utu

And then we are proud to have African-born Winsom Winsom from Belize, a very wise woman I am honored to call my friend and soul sister. Yes, that is her real name and it means “Covering of the Ocean.” She shares with us her experiences with the death rites of Belize. Winsom holds multiple initiations including initiation into the West African fetish healing tradition and initiation in Matanzas, Cuba as a Priestess into Santeria. Winsom studied and worked with healers such as Sobonfu Some, and Malidome Patrice Some and has taken part in Rituals in New Orleans Priestess Miriam and others. According to Winsom, “I continue to bring about the synchronization of my art and spirituality and believe “true power originates internal spiritual enlightenment, and that we must use this power to reach our higher selves: creating harmony”. Yeah, now that’s what I’m talking about!

Cry a Bucket of Tears for My Daughter by Winsom Winsom

Continuing with our international contributors, we have with us Doktor Snake, legendary bluesman, cult author, and Voodoo conjurer from England. He shares with us the story of how his Hoodoo mentor Earl Marlowe first taught him How to Your Soul to the Devil at the Crossroads. Doktor Snake also wrote the kick-ass forward for my new book the Voodoo Hoodoo Spellbook.

How to Sell Your Soul to the Devil at the Crossroads

How to Sell Your Soul to the Devil at the Crossroads by Doktor Snake


No magazine about Hoodoo, conjure and the indigenous traditions would be true to the cause without the inclusion of folklore. Oral tradition is the cornerstone of indigenous knowledge. It is the means by which our ancestors pass on their wisdom and ways of life so that we may benefit and carry them to generations to come (Alvarado, 2011). Following this train of thought, we have included not only the article by Doktor Snake, How to Sell Your Soul to the Devil at the Crossroads, we also bring to you How Br’er Rabbit Lost his Foot or The Rabbit in Magic and Folklore by Matthew Venus and the Plate Eye by Carolina Dean.

How Br'er Rabbit Lost His Foot or The Rabbit in Magic and Folklore

How Br’er Rabbit Lost His Foot or The Rabbit in Magic and Folklore by Matthew Venus

Of course, our resident New Orleans folklorist  and my homegirl Alyne Pustanio  presents a fabulous article on The Gree Gree Men: Voodoo Doctors of New Orleans as only she can tell it.

The Gree Gree Men of New Orleans

The Gree Gree Men of New Orleans by Alyne Pustanio


We have gotten some very good feedback about the tutorials we offered in the first issue and so we have continued to meet the needs of our readers by providing some very unique tutorials in this issue, as well. For example, Aaron Leitch, author of Secrets of the Magickal Grimoires, and The Angelical Language: Vols.I and II brings us an Offering Ritual for Archangel Iophiel  where he not only tells how to petition this angel for assistance but also provides a tutorial for making Jupiter Cakes.

Offering Ritual for Iophiel

Among my personal contributions to this issue of Hoodoo and Conjure Quarterly is the very New Orleans Voodoo tradition of How to Make Red Brick Dust that follows my Curio Spotlight on Red Brick Dust.

How to Make Red Brick Dust

I also provide a tutorial for making Ant bed Conjure Dolls to go with my article on Mississppi Death Conjure or Killing Hurts. Don’t let the title scare you off –  this is a class of works that goes way back in the Hoodoo tradition before Hoodoo even arrived on these shores. There are also a couple of video tutorials that go along with the article and tutorial that can be found on our YouTube channel hoodooconjurejournal.

Part 1 of Mississippi Death Conjure is based on a class of hoodoo spells referred to as “death conjure” or “killing hurts”. Part 1 illustrates the creation of two conjure doll babies and their preparation for the ant bed spell.

Part 2 of Mississippi Death Conjure documents the “Ant Bed Spell”, based on a class of hoodoo spells referred to as “death conjure” or “killing hurts”. Part 1 illustrated the creation of two conjure doll babies and their preparation for the ant bed spell.

Now, its no secret that I am a lover of doll conjure, having authored two books that focus exclusively on that subject, Voodoo Dolls in Magick and Ritual and The Voodoo Doll Spellbook. Another of our contributors is also a well-versed doll conjurer in his own right, Carolina Dean. Between the two of us, you can be sure to find something on doll conjure in every issue of Hoodoo and Conjure Quarterly. Dean gives us a slightly more palatable tutorial than mine in his article Spirit Dolls. He tells how to prepare the doll, how to call a spirit into the doll and how to work with it for any practical magical purpose.

Spirit Dolls

Spirit Dolls by Carolina Dean

Then we have for you another type of fetish tutorial brought to you by Madrina Angelique. This is How to Make a Business Elegba specifically for the layperson. For those who may need a little help with their businesses and finances, try making one of these powerful fetishes and see what happens.

Making Elegba

Making Elegba by Madrina Angelique


Finally, if you thought the artwork was off the hook in the premier issue, wait til you see this issue! The screenshots I have posted for this blog gives you a good idea of what to expect but there is so much more I am NOT showing and that you will only find in the magazine itself. I have created some powerful pieces to complement our contributor’s articles, and Karen Miranda Augustine has provided us with her take on Pomba Gira while Ricky Pustanio gives us his interpretation of the gree gree men. We also have two new artists, Inga Kimberly Brown and the Slow poisoner, aka Andrew Goldfarb. And we cannot forget the fantastic photography provided for us by Matthew Venus. I’m telling y’all, you won’t want to miss this issue!

There is much more to this issue than I have presented here, but this will give those of you who have yet to see the magazine a good preview of what you will find within its pages. No go forth and get your own copy of Hoodoo and Conjure Quarterly #2, the magazine that looks, feels, and reads like a book!

Find it on Amazon.com.

2011 in review

The WordPress.com stats helper monkeys prepared a 2011 annual report for this blog.

Here’s an excerpt:

The concert hall at the Syndey Opera House holds 2,700 people. This blog was viewed about 13,000 times in 2011. If it were a concert at Sydney Opera House, it would take about 5 sold-out performances for that many people to see it.

Click here to see the complete report.

Hoodoo & Conjure Quarterly Trailer

At long last, Issue #2 has arrived! And it is even better than the first! Over 150 pages of authentic hoodoo and conjure from a variety of traditions, not to mention we have jam-packed it with information about New Orleans Voodoo and Hoodoo. Read about Louisiana superstitions, New Orleans Gris Gris, how to grow a botanica in your backyard, and home protections and wards. We’ve got information on the Voodoo Doctors of New Orleans, Pomba Gira, red brick dust, Indian Spirit Hoodoo and St. Anthony. Learn how to invoke Archangel Iophiel, make a business Elegba, and feast your eyes on Altars, Crossroads of Power.

This issue features our very first international submissions, one about Belizean indigenous death rites by Winsom Winsom and our featured cover story about Mama Moses and the conjure tradition of the underground railroad by Witchdoctor Utu. These articles will NOT disappoint you.

As far as charms and formularies, we’ve got a whole section on sex and love magic, protection charms, a Lavender Lust bottle for same sex couples,  how to make Jupiter Cakes and more!

As for folklore, read the very informative and entertaining How Br’er Rabbit Lost his Foot, the Dreaded Plate Eye, snake lore in conjure and more.

And that’s not all!

We’ve got book reviews and a contest to win a jar of crossroads dirt and a Papa Legba talisman.

Believe it or not, there is even more than this. And well, to find out everything that’s in it, you’ll just have to pick up a copy!

Book bound, full color bleed, 156 pages of pure, fabulous conjure!

Hoodoo and Conjure Quarterly is the only printed popular magazine to have ever been published with a focus on New Orleans Voodoo and hoodoo. Forever the subject of horror movies, Voodoo dolls, zombies, and novels with supernatural themes, New Orleans is a culture with a serious history behind its story of magick and religion that should be understood, appreciated, and remembered, as opposed to simply exploited and misappropriated. While Hoodoo & Conjure Quarterly aims to be entertaining and practical, it also strives to be informative and educational.