A Test Of Character

A common stereotype of young men is that they may be able to forge strong friendships out of confrontations with one another. Perhaps no group proves this more than the traditional fraternal organizations of German Universities.

The practice of dueling and training with swords is likely as old as the sword itself. During the 15th and 16th century, most well-to-do gentlemen would not leave their home unarmed. Weapons such as the rapier and smallsword were indispensable in a world populated by territorial political conflict and violent robberies while on the road. Young men attending college, who were invariably the descendants of wealth or nobility, would bring their weapons with them while traveling between campus and home. It does not take much imagination to see that young me, away from home, would come in to conflict with one another. The blood y and often lethal encounters were common enough to warrant multiple fencing schools forming in most major cities.

By the late 17th century, dueling was so common place that laws and customs were developed to attempt to set some restraint around this dangerous activity. By the end of the 18th century, most men of the aristocracy had been involved one or more duels, and laws eventually passed to outlaw this activity. This did not, however, change the fact that sword-play had become engrained into the cultural fabric of Europe. In France, blunted swords designed for thrusting (the forerunner of the modern Fencing Foil) were popular for men interested in sword training. The Germans, on the other hand, came to prefer a different sword for the “Gentlemanly Art.” This weapon, called a Schlager, was a heavy saber with a large bell or basket shaped hand guard, was used for slashing and cutting rather the thrusting weapons found elsewhere.

What separates Mensur, the Schlager Fencing art of German Student Unions, are three important facts. First, Mensur combat is not about winning or losing. While there are a number of traditions that surround this art, the purpose of Mensur is ultimately “character building.” Secondly, Mensur is a “static” art. Most people who are familiar with “traditional” Fencing are used to seeing the competitors moving and lunging at lightning speed across a platform. In Mensur, the combatants stand only a few feet apart, without dodging or feinting, and attack each other while standing in place. The largest distinction, however, that separate Mensur from other “sport” Fencing forms is that the blades of the Schlagers are razor sharp.



It is difficult to comprehend why seemingly intelligent young men (according to tradition, women are not supposed to join this activity) would engage in such a fool-hardy and dangerous activity. Viewed historically, however, Mensur dueling is not unique. The practice of young men and women training in formalized or ritualized combat as an educational experience is common across a multitude of cultures. The Nguni, a tribe within the Bantu language group of Central Africa, train young men in a form of staff fighting. Japanese school children, often times throughout High School and College, may study Judo (an aggressive form of wrestling emphasizing chokes holds and joint-breaking locks) Kendo (a form of Fencing that is rooted in the study of the Japanese Katana sword,) and Atarashii Naginata (Fencing with bamboo poles, based on a Samurai Polearm.) It could even be argued that American football could be seen as a form of ritualized group warfare.

Though made illegal by the Nazis in World War Two, Mensur has seen a slow return to practice since the 1950’s. While not every Fraternal organization on every campus takes part in this activity, groups who do take pride in being seen as “Fighting Fraternities.” Those individuals who participate in this sport now wear protection for the eyes, throat, sword-arm and chest, participants still stick to the tradition of striking for the face. In fact, a young man who has a Schmiss, or scar from a Mensur engagement, is considered to have a mark of distinction on his face.

It’s impossible to predict the future of Mensur. Provided that young men, loaded with a sense of invincibility and testosterone, the future of German Academic Fencing is likely bright, if not bloody and unpleasant.

Four Gods

The counterculture of the 1960's conjures a wide variety of reactions. Some look back with a charmed nostalgia. Others, mainly those who didn't "tune in, turn on, and drop out," view this time period as the end of a "golden era" of Western culture. Regardless of one's opinion, it is near-impossible to deny that the '60s created and unleashed a number of colorful and bizarre figures into pop consciousness. Some figures, such as "Gonzo" journalist Hunter S. Thompson continued to show influence well past the '60s. But what of the others, those brief and unusual flashes in the pan?
The Process Church of the Final Judgement, or simply The Process existed only briefly, but is an organization whose influences can still be felt at the fringes of modern subculture. The groups strange and often maligned story is similar to many other cults and radical religious movements but does not evoke the same reaction as groups such as the Waco, Texas Branch Davidians. Depending on which account you assume to be true, a mention of The Process is met with conspiratorial whispers or groans and rolled eyes.

The strange story of The Process begins in England where Robert DeGrimston met Mary-Anne McClean. Both DeGrimston and McClean were heavily involved in Scientology, training at the Fitzroy Street church to become auditors. In a short period of time the two became extremely skilled at Scientology's unusual psycho-spiritual counseling techniques and began breaking away for the organization's guidelines. Going under the name "Compulsion Analysis," DeGrimston and McClean went in to business for themselves. After being excommunicated from Scientology, the two were married.

The combination of Robert DeGrimston's peaceful, hippie-handsome public presentation and Mary-Anne DeGrimston's head-strong personlity was magnetic. The pairing of attraction and authority is common to most cult groups, and for the DeGrimston's, it quickly turned out to be a profitable crowd pleaser.

In 1966, the DeGrimston's and 25 devotees of "Compulsion Analysis" leased and moved to a property of Mexican coastline called Xtul. By all accounts, the property caused them $150 a year and was far from luxurious. It was in this communal lifestyle that the group began to transform. According to legend, the group weathered a massive tropical storm, where they met Jehovah (a Hebrew name used to describe the God of the Old Testament.) It was at this point that Robert and Mary-Anne DeGrimston took the group in a new direction.

Now known as The Process Church of the Final Judgement, Mary-Anne and Robert DeGrimston preached an unusual blend of Apocalyptic proto-Gnostic Christianity. The very term, "Process," was an abbreviation for the term "Pro-Cessation," denoting a desire for a Biblical Armageddon. Also, The Process viewed Divinity as divided into four deities. Jehovah, a strong and authoritarian deity of self-restraint. Satan was the God of unrestrained aggression and animalistic violence. Lucifer, the "Morning Star" of Judeo-Christian belief, represented lust, playfulness, and sensuality. Finally, "Processeans," as they called themselves, view Christ as a being of peace and mercy, intent on unifying all of the deities together and thus leading to the end of the world. As a symbol, The Process used a sort of skewed cross, vaguely resembling a swastika, representing this four-corned mythos.

Given their unusual theology and striking public appearance (members were prone to wear gray or blue suits, black hooded robes, Satanic pendants and large crucifixes in public,) The Process was easily misunderstood. But for it's worth, they did make attempts, perhaps misguided, at charity and assisting Church members. Assistance with finances food and personal issues were offered, however it's also been said that most members would easily be tithing 10% of monthly income to Church leadership, while the DeGrimston's and other leaders would live it relative luxury.

A combination of factors led to the demise of The Process. Ed Sanders, a Beat and Psychedelic era musician wrote a book called The Family. In his book, Sanders wrote at length about Charles Manson and the Tate-LaBianca murders. But in a cynical twist, Sanders makes a dubious connection to "The Manson Family" and The Process. While a layman might take The Process' sensational imagery and written materials as "evil," perhaps the worst charge that can be levelled at them is is that they did publish and article written by Charles Manson (while incarcerated) in their infamous "War" magazine. For less accepting members of society, already suspicious of any form of alternative faith, any reference of violence or darkness, especially on the tail-end of the "Manson Family Murders, was too much.

With rumors of Church leadership fleecing it's "flock" out of money beginning to surface, public hostility was enough to drive people and popularity against coffee shops and worship spaces owned by The Process. Internal strife turned out to be the ultimate nail in The Process' coffin. While details of this event are sketchy, it is widely believed that Robert DeGrimston, who identified as a devotee of Lucifer, wanted to bring other women into bed with his wife. Mary-Anne DeGrimston, who strongly followed Jehovah, was extremely displeased by this development. The divorce of The DeGrimston's broke the back of organization, which officially ceased activity in 1974. Mary-Anne DeGrimston is purported to have passed away in 2004. Little has been seen or written of Robert DeGrimston since that point. It is believed that he may have found success in the Telecommunications industry but no one is ultimately certain.

So what ultimately can be said of The Process Church of The Final Judgement? Reference to London, Boston, and San Francisco would be incomplete without mention of them. Alternative music, especially Experimental and Industrial sub-genres have used the group for subject matter. While they may, in the end, be a brief blip on the cultural radar, the shadow of that blip still rears it's head to cast a chill.