Los Angeles Times
WWR Article Summary (tl;dr) As Deborah Netburn reports, “For 50 years, Zsuzsanna Budapest dedicated much of her life to creating and disseminating Dianic Wicca, a feminist, Goddess-centered spirituality she originated in Los Angeles in the 1970s.”
In a small stucco house in a retirement community near Santa Cruz, an 81-year-old witch is writing a television series.
She calls it “Baba Boogie and the Berkeley Broads.”
The premise goes like this: Baba Boogie is a reluctant immortal — old and tired. All her friends have passed on, but she herself cannot die until she finds a new generation of women to receive her superpowers.
When a quartet of granny peace activists from Berkeley winds up in jail, Baba Boogie comes to their aid and finds the perfect group to teach her secrets.
Fun, adventure and magic ensue.
Fiction, yes, but it’s easy to see parallels between Baba Boogie and the screenwriter, Zsuzsanna Budapest. For 50 years, Budapest dedicated much of her life to creating and disseminating Dianic Wicca, a feminist, Goddess-centered spirituality she originated in Los Angeles in the 1970s.
She founded the all-women Susan B. Anthony Coven No. 1 and was arrested for reading tarot cards in Venice when divination was still illegal across most of California.
She publicly hexed murderers and rapists, wrote 13 books on ritual and witchcraft and founded the long-running International Goddess Festival, a biennial gathering of women in the California redwoods that continues to this day.
Outside witchy circles, Budapest remains relatively unknown, but she has been a pioneering, though sometimes divisive, force in a state famous for fostering unorthodox forms of spirituality and belief.
“I don’t agree with all her views, but in the history of the craft, she is an important person,” said Sabina Magliocco, professor of anthropology and religion at the University of British Columbia. “When you look at all of the witchcraft as feminist resistance that flowered in the Trump era, none of that would have existed if it hadn’t been for what Z and others like her did in the 1970s.”
Budapest believes her work as a public witch was essential, but like Baba Boogie, she is ready for a respite. She also believes there’s a wide audience for the Baba Boogie story, and she’s looking for an agent (if you happen to know anyone).
And she’s confident of something else: that her feminist brand of Goddess worship will live on.
She was born Zsuzsanna Emese Mokcsay in Hungary in 1940 under the sign of Aquarius. To those who believe in the zodiac, Aquarians are independent, rule breakers, free spirits.
Her mother was a psychic and sculptor who worked almost exclusively with images of the Goddess. Her grandmother traveled the country advocating for the education of women and girls.
“That was their feminism,” Budapest said. “As long as the women were uneducated and couldn’t read or write, the vote meant nothing to them. The Hungarian feminists were pursuing education.”
When food was scarce, her parents sent her to a nunnery where she would have enough to eat.
“My mother said eat the food, and don’t listen to what they say,” Budapest said. “That was the prime directive.”
After participating in the Hungarian Revolution of 1956, she fled her homeland, finished high school in Austria and eventually moved to the United States in 1959, where she married an old boyfriend from Hungary who had resettled in Chicago. She enrolled at the University of Chicago and later studied improv at Second City.
In 1961 the family moved to Brooklyn and then to Port Washington, Long Island, where Budapest spent the next nine years raising her two young boys. “I think it was important I was a mommy,” she said. “Had I not had sons, I would have been much more strident against men.”
But she never believed that living as a Long Island housewife was her destiny.
“I told the boys, I’ll always be your mother, but I won’t be your mother here because I’m dying here,” she said. “I was so bored.”
In 1970, when her children were 9 and 11, her husband took them on a vacation with his mistress. Budapest seized the opportunity. She took a bus to Toronto and then hitchhiked to Los Angeles to remake herself again.
“I just felt like California, kiss me,” she said. “Everything was possible.”
A year after arriving in Los Angeles, Budapest was working as a gardener, falling in love with women and spending most of her free time at the Women’s Center, a small volunteer organization on Crenshaw near Pico. The center supported women in myriad ways: giving referrals for divorce lawyers and doctors, hosting classes like feminist mechanics and self-defense, and offering abortions, which were illegal at the time.
“Every Wednesday a doctor pulled up in a big van that was completely equipped, like a rolling hospital,” she said. “We helped him by preparing the women — giving them counseling, holding their hands and absorbing their stories. They were never good stories.”
It was at the center that Budapest first coined the name Z Budapest.
“Zsuzsanna is too confusing to Americans, but Z they can handle,” she said.
Budapest was a reference to the name she used when she escaped Hungary and sent a message to her parents to let them know she survived. It was originally supposed to be a pen name, but it stuck.
“Z Budapest became me,” she said.
Budapest loved the woman-centered life she was building, but when she attended feminist marches and gatherings, she felt something missing.
“I decided that without mythology, spirituality and a real serious examination of what kind of religion had been fed to us, we would never get out of this mire,” she said. “And that’s when I decided we should have a coven.”
The Susan B. Anthony Coven No. 1 met in her apartment on Whitley Avenue for the first time on the winter solstice of 1971.
“We chose her name because Susan B. Anthony was a suffragist we all respected,” Budapest wrote years later. “She had her limitations. She was not perfect. And neither are we.”
Seven women attended the first meeting, including a PhD student at Berkeley and a taxi driver.
That first night they held hands in a circle and hummed to create energy. They started chanting, and when there was enough energy in the room Budapest told the women to call in departed loved ones from the other side. Once the ancestors had been summoned, she told them to drop their mouths and let sound rush out.
“I had all this theater in me,” she said, “and that’s what I relied on — theater and my improv instincts.”
With Budapest serving as high priestess, the coven grew. She found a wide flat space big enough for hundreds of women to gather in the mountains above Malibu, with a perfect view of the moon hanging over the sea. The gatherings took place every six weeks and included ritual invocations of the Goddess, poetry, music, dancing, food and homemade acid.
“The word got out that the witches had the best parties,” she said. “And it was all women, always, always. I was creating something that didn’t exist for women before, at least not since the 4th century when the Christians wiped it out.”
On Sunday mornings, coven members met at Mama’s Cafe and wrote down the rituals and spells they’d invented for rites of passage: naming newborns, healing after surgery, finding a home, finding a lover, regaining psychic balance after rape. Budapest collected these in her first book, “The Feminist Book of Lights and Shadows.”
“Women studied with Z and then went on to form covens of their own,” Magliocco said. “Because there was no internet, it didn’t spread as quickly as it would today, or to as many people, but it spread.”