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Snake women, dragons and other esoteric imagery from the alchemical manuscript ‘Clavis Artis’
06.27.2016
10:38 am

Topics:
Art
Books
Occult

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002Clavis-Artis.jpg
 
The renowned composer Nino Rota collected books and manuscripts on the occult. Rota was a child prodigy who went on to compose ten operas, five ballets and many, many choral and chamber pieces. He is now best known for his multi-award-winning film scores for The Godfather, Romeo and Juliet and Fellini’s and

When Rota died in 1979, a copy of a very strange occult manuscript Clavis Artis was discovered among his personal effects. Rota had purchased this illustrated text from a bookseller in Frankfurt. After his death it was donated to the Biblioteca dell’Accademia Nazionale dei Lincei where it can still be found today.

Rota’s copy of Clavis Artis is one of only three editions of the manuscript being currently held in Italy and Germany—only two of which are illustrated.

The Clavis Artis is an alchemical manuscript believed to have been produced in the late 17th or early 18th century—though the title page states the book was written in 1236 AD. The text is attributed to “Zoroaster (“Zarathustra”) the rabbi and Jew” who claimed to have written the book over “a dragon skin.”

R. et AC
Secret key for many covert operations
In the animal kingdom, the kingdom of metals
and minerals
CORPUS. SOUL. SPIRITUS.

Zoroaster
the rabbi and Jew
Clavis Artis
Part one
The original was written by the author
over a dragon skin
World Year
1996
Following text was translated
from Arabic into German
in the Year of Christ
1236
from
SVFR and AC

Zoroaster’s manuscript details various rites and practices relating to alchemy. It has been suggested the text may have been lifted from an earlier work, while its author “Zoroaster” may have been Abraham Eleazar—an occultist who wrote another alchemical text L’Uraltes Chymisches Werk in 1735. However both these manuscripts contain imagery to be found in an even earlier alchemical manuscripts by Nicolas Flamel—the man who allegedly found the Philosopher’s Stone.

Whatever the book’s provenance it is fair to say these illustrations from Clavis Artis are quite beautiful and strange.
 
001Clavis-Artis-words.jpg
 
003Clavis-Artis-2.jpg
 
More magical illustrations from the ‘Clavis Artis,’ after the jump…

Posted by Paul Gallagher | Leave a comment
FURR: Meet the band who tried to be like KISS and failed
06.27.2016
10:24 am

Topics:
Music

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The strange cover of the only album by the band FURR. Image by Vinyls Among Other Things
 
Reminding one of the sort of off-brand cologne that advertises itself as “If you like Calvin, you’ll love KEVIN!” very little is known about FURR, the curious creation of Jerry Kasenetz and Jeff Katz the dynamic “bubblegum” songwriting and producing duo who brought us The Ohio Express’ “Yummy, Yummy, Yummy” and Ram Jam’s “Black Betty.” And yet you may be familiar with the cover art from the band’s eponymously titled first (and last) album from 1977 in which the four members of FURR are all dolled up like low-budget knock-off versions of KISS.
 

The back cover of FURR’s only album.

Now that folks, is what you call originality. KISS, my ass, this is dangerously close to Sid and Marty Krofft territory…

Here’s what we do know about FURR—they do a pretty sweet cover of a 1966 hit by Louisville, KY band The Rugbys called “You, I” and the rest of the songs on the album (which sound like funkier versions of every song by Grand Funk Railroad) were written by the former bubblegum band hawkers themselves Kasenetz and Katz, as well as a person noted only as “G. Gouldman” otherwise known as the golden-penned songwriter Graham Gouldman of UK artrock band 10cc. The “band” (studio musicians Jeff Woods, George Bruce, Robert Sylvester and John Gunner) disappeared without so much as a trace after the release of the record—unless you count its appearances in various discount bins in record shops since the late 70s.

Keep reading after the jump…

Posted by Cherrybomb | Leave a comment
Chemtrail activists outraged over tacky hotel room artwork
06.27.2016
08:51 am

Topics:
Activism
Kooks

Tags:


 
A Change.org petition was recently created by an activist demanding that Marriott hotels remove artwork hanging in some rooms which normalizes and “promotes” the government’s secret use of “chemtrails.” Chemtrails are, according to theorists, “long-lasting trails left in the sky by high-flying aircraft consisting of chemical or biological agents deliberately sprayed for sinister purposes undisclosed to the general public.”

Conspiracy theorists, depending on which ones you ask, believe that chemtrails are used by the government for solar radiation management, biological warfare, or psychological, weather, or human population control.

The hotel room artwork in question is a photograph hanging over the bed’s headboard of a blue sky streaked with clouds and jet contrails.
 

 
The creators of the petition appear to be threatening a boycott over the “outrageous” artwork:

Marriott’s newly decorated “chemtrail rooms” promote chemtrails and geoengineering by making guests grow accustomed to the sight of chemtrails (as if this is a natural occurrence!) This is outrageous and they should not be promoting this government secret agenda. Please sign to boycott Marriott and raise awareness of the global issue of chemtrails. Whether intentional or unintentional, promotion by Marriott and corporate America will not be tolerated, or the public will hit where it hurts…in their wallets.

This petition is not a one-off. There are several anti-chemtrail websites that have expressed shock over the hotel chain’s use of this artwork. The website ChemtrailsMustStop.com has an open-letter to Marriott expressing similar intentions to boycott:

Because you now adorn your hotel rooms with pictures of chemtrails, we thought it was necessary to inform you [Marriott International] that you will now lose a LOT of business.  There are presently millions of Americans who are hip to the poisoning of the atmosphere via chemical engineering operations.  All of us detest this covert military operation.  As a matter of fact it is the single environmental advocacy that everyone joins once they hear about it.  That’s because it is very easy to see the chemtrails on any given day as they are forever right in your face.

I guess the question remains for conspiracy theorists: what is Marriott’s stake in normalizing chemtrails to their guests? How might they be colluding with the one-world government to promote weather and/or population and/or thought control?

The truth is out there if only we could have the front desk give the sheeple a wake-up call.

Posted by Christopher Bickel | Leave a comment
‘The Hound of Baskerville’: German pop duo cover Sabbath’s ‘Paranoid’ as a Sherlock Holmes tribute
06.27.2016
02:20 am

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Books
Music

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Jutta Gusenberger and Norbert Berger were a married couple from the western border of the BRD (West Germany) who were staples of the German pop scene in the 1970s. They went by Cindy und Bert, representing West Germany in the Eurovision Pop Contest in 1974 with “Die Sommermelodie.” In a strong year that included Olivia Newton-John and ABBA as competitors, Cindy und Bert finished 14th. Oh well.

They had a run of charting singles from 1972 to 1979 on the German Top 40 but before all that, in 1971, they turned in a delirious cover of “Paranoid” by Black Sabbath with completely different German lyrics that were all about the hellhound invented by Arthur Conan Doyle in one of his few long-form Sherlock Holmes narratives, The Hound of the Baskervilles.

More on the strange case of Cindy und Bert, after the jump…

Posted by Martin Schneider | Leave a comment
Incredible NEWLY UNCOVERED 1977 footage of UK punk bands: Damned! Generation X! Adverts! Rich Kids!
06.26.2016
07:15 am

Topics:
Punk
Television

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With the steady influx of punk rock documentaries, books, and all manner of info (and YouTube fare) coming in from all directions—thankfully eyes are opening to all the wild stuff from the 1920s to the 1950s as much as to 70s punk and other recent upheavals—something like this still truly amazes me, especially since this accidentally seldom-seen footage captures a couple of extra special treasures for the jaded and world-weary punk connoisseur/freak/snob.
 
drtfj
 
The footage is from an apparently unaired UK TV show called Impact and was filmed December 21st 1977 by one Mike Mansfield. Mansfield was a producer, most importantly to us of the UK TV show Supersonic which started in 1975 and was a much hipper version of Top Of The Pops. Supersonic featured great performances of glam rockers like T.Rex and others colliding with the punk movement.
 
gfnv
 
One of the great surprises here is the only known footage of the five-piece version of The Damned with second guitarist Lu (who is currently playing in PiL, strangely enough) and Jon Moss, later of Culture Club fame, on drums! Also featured are The Rich Kids, former Sex Pistol Glen Matlock’s post-Pistols band with Steve New, Midge Ure (Ultravox) and Rusty Egan (Visage); the amazing Adverts are here and so the great Generation X with vocalist Billy Idol, bassist Tony James (later of Sigue Sigue Sputnik) and Bob “Derwood” Andrews, considered by many (myself included) to be the single best guitarist to come out of the punk rock era.

No sense in waiting—watch this treat after the jump! Enjoy!

Posted by Howie Pyro | Leave a comment
Future Forward event brings 21st Century Futurism to Los Angeles: RSVP for free tickets here
06.24.2016
04:17 pm

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Advertorial

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The Creators Project, a global network dedicated to the celebration of creativity, arts and technology has partnered with the all-new Toyota Prius to present the Future Forward event series. To that end, they commissioned a set of original works—elaborate technological installations by internationally renowned studios—to premiere as part of a nationwide event series that launched in Spring 2016. Two events, one held in New York and another in Chicago have already taken place. Next comes the Los Angeles event which will be on display at NeueHouse Hollywood showcasing the work of forward thinkers, artists, architects, designers, engineers and inventors who take ideas of speed, change, and technology into their practice.

A futuristic chandelier that moves in response to heat.

A star-shaped space that envelopes you in metal, mirrors and light.

An organic, living wall that reacts to your motions.

If you’d like to experience these innovations that redefine futurism for yourself, the June 25 event in Los Angeles is open to the public. RSVP here.

NeueHouse Hollywood 6121 W Sunset Blvd, Los Angeles, California 90028

@ToyotaUSA
@TheCreatorsProject
 

Posted by Sponsored Post | Leave a comment
Outsider: Meet David ‘Rock’ Nelson, the new Ed Wood
06.24.2016
02:30 pm

Topics:
Kooks
Movies
Television

Tags:


 
David “Rock” Nelson is a manic former Marine and aspiring boxer and he just might be the new Ed Wood. Although it’s hard to tell just how much of an effect getting hit in the head repeatedly had on him creatively, the former Golden Glover has been making his amateurish DIY camcorder monster movies since the early 90s. His insane films often star himself, his off-again/on-again girlfriend and his barely indulgent (now deceased) elderly parents who seemed more perturbed, if not totally disinterested at what their weird adult son was getting up to. His baffling and inept work makes almost no sense to anyone except for (maybe) David himself, and therein lies the charm of his peculiar “school” of no budget cinema, a genre in his case, where he resides most assuredly alone. People have been making bad monster movies for decades, but nothing like this.

If you’re the sort of cultural miscreant who goes in for, say, Andy Milligan films or the music of Jandek, then maybe the cinema of David “Rock” Nelson is for you?
 

 
More after the jump…

Posted by Richard Metzger | Leave a comment
‘Ouija board, ouija board would you work for me?’: Morrissey-themed ouija board
06.24.2016
01:55 pm

Topics:
Amusing
Belief
Music

Tags:


Image via Little Lost Robot on Flickr
 
Here’s another one of those, “WHY didn’t I think of this!” ideas. Seems like an obvious thing to make, yet no one really has except for artist Mike Maas. It appears Maas made these glorious limited-edition ouija boards a few years back. Whether or not any are still available or can be purchased, remains unseen. I couldn’t find any on his website. Perhaps they’re all gone. Boo!

If you’re interested in owning one, there is a contact section on Maas’ website. You never know!


 

Previously on Dangerous Minds:
Awesome vintage ouija boards
Don’t Mess with My Mind! Christian magician warns children of evil Ouija boards, Dungeons & Dragons
Ouija board coffee table and rug
Sexy Ouija board platform heels

Posted by Tara McGinley | Leave a comment
Exiles in Düsseldorf: Austrian TV special on Kraftwerk, 1981
06.24.2016
01:51 pm

Topics:
Music
Science/Tech
Television

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This documentary appeared on the Austrian TV station ORF in 1981, pretty clearly to coincide with the release of Computer World.

The special mixes Kraftwerk performing in front of an audience, what we would today call “music videos” that use some excellent documentary footage of missile launches and things like that, and footage of Ralf Hütter being interviewed by someone off-camera.

In pure technological mode, Ralf emphasizes the isolation of working so hard on Kraftwerk material in the studio for years on the new album, and is prompted to say a few things about the future of technology, most of which are a bit silly. The interviewer has an Austrian accent.

I’ve supplied a translation below. It’s rough but should give an accurate impression of what was said. I unfortunately couldn’t quite make out the intriguing final question, which has something to do with Kraftwerk entering people’s bloodstreams(?) or something like that. If there are any native German speakers out there reading this, I’d love it if you would chime in below and clarify what he was saying there (or make any other suggestions to the translation).
 

Ralf: “We are playing the entire Kling Klang Studio in concert. We have all of our instruments, some of which we invented ourselves and built music machines. You can’t just go into a shop and just say, “this thing or that thing.” We had to make it ourselves, and that took a long time. We construct them always ourselves, with the help of another friend, who is a sound engineer or a music engineer, he helps us and we make the whole thing ourselves. It took three years before we were able to play again. In part it is pre-programmed, but on the other hand we have access to the memory of the computer, and we can change it while it’s running. Mostly we make rhythmic programs or also melodic things that run throughout, automated.

Ralf: We feel, for example, lots of streams of energy, that come back to us from people. We are always in the studio, so are concentrating on ourselves more.

Question: Is “Radio-Aktivitat” actually an atomic-power song?
Ralf: Yes, you could definitely say that.

Ralf: Yes, for us it was more a problem of how to make music at all in the Federal Republic of Germany, or so, after the war, where the living music, everyday music had disappeared, had been extinguished. And our generation had to start from scratch, to live somehow in this purely quiet situation, to make music not so much from natural things in the countryside but were influenced more by cities and machines, and reflected those things, and maybe some time passed, the time of so-called pop music, where we had more free time, we took up certain things, more about work processes and big-city situations, display windows and robots.

Question: Is that a form of interpretation, that showroom dummies speak?
Ralf: It’s a part of our existence. We stand around and we put ourselves on display. We are showroom dummies. That is a part of our reality.

Question: How do you see yourselves when you are at work, as musicians or as technicians? 
Ralf: We are music workers. We call ourselves music workers.

Ralf: For ten years we’ve been working together, with this group in Düsseldorf, and outsiders can’t even work with us or speak our language — let’s say, our thoughts, they can’t implement our world of thoughts. So it’s more like an encounter or friendship.

Question: Do you feel yourselves to be somewhat isolated?
Ralf: Yes, we are exiles in Düsseldorf on the Rhine.

More after the jump…

Posted by Martin Schneider | Leave a comment
File under ‘Russian mystic recipes’: How to make Gurdjieff’s special salad
06.24.2016
11:42 am

Topics:
Food
Occult

Tags:


 
It’s hot. It’s miserable. If you wash down a triple cheeseburger and a bucket of fries with a milkshake in this weather, you could die.

Why not whip up a batch of Mr. Gurdjieff’s special salad instead?

Gurdjieff’s teaching is very strange and doesn’t lend itself to summarization, but one of the fundamental ideas is that people are asleep and need to wake up. (Colin Wilson named his book on Gurdjieff The War Against Sleep.) Approached with care and full attention, all sorts of everyday tasks can aid in waking up, especially preparing and eating food. As Dushka and Jessmin Howarth—Gurdjieff’s daughter and her mother, respectively—explain in It’s Up To Ourselves:

Of all the examples Gurdjieff might have used to illustrate the essential aspect of his teaching, “quality of attention,” he chose the one experience that all human beings share: “When you do a thing, do it with the whole self, one thing at a time. Now I sit here and I eat. For me nothing exists in the world except this food, this table. I eat with the whole attention. So you must do—in everything. To be able to do one thing at a time—this is the property of man, not man in quotation marks.”

So if you eat this salad with the right kind of attention, maybe you’ll learn something. And if you believe John Shirley, Gurdjieff’s salad cured Frank Lloyd Wright’s gallbladder trouble, so maybe it will mend your aunt’s dyspeptic gut, too.
 

Gurdjieff at the dining table with his student, Lord Pentland
 
Gurdjieff’s niece, Luba, describes the preparation of the special salad in her Memoir with Recipes but does not give measurements or step-by-step instructions, presumably because Gurdjieff never made the salad the same way twice. She warns that preparing the dish takes all day and “costs the earth,” since you “put anything you can find” in it:

Chopped tomatoes, cucumbers, radishes, celery, any vegetables you can find — only raw vegetables. Not lettuce, because lettuce gets very soft. It used to have nuts in it; it used to have green olives you cut in pieces away from the stone; it used to have sometimes prunes in small pieces — it was like a dustbin. Chutney — he used to put lots of chutney. Sweet chutney that must be cut in small pieces, because chutney generally comes in nice big pieces. And he used to like those little green things in vinegar — capers. Twenty, thirty things used to go in that salad. Sometimes he would even put apples — any kind apples. I think he would put anything he could find in there.

There was always put in some tomato ketchup. I remember they used to bring it from England because we couldn’t find any in Paris. And dressing he just put on a little bit vinegar and then some oil.

The Howarths’ book gives its own recipe for the special salad, which you can find here, but this recipe from the Gurdjieff Foundation of Del Mar is the least intimidating of the bunch and certainly does not “cost the earth”:

1 large sweet onion, finely chopped
4 very red tomatoes, diced in half inch pieces
2 cucumbers, diced in half inch pieces (pickling or goutas with the smaller seeds)
3-4 pickled cucumbers diced small
¾ cup freshly squeezed grapefruit juice
1 cup pickle juice
¾ cup apple cider
¾ cup tomato juice
1 Tbsp tomato paste
3-4 Tbsp Dijon mustard
1 Tbsp white sugar
1 pint apple chutney, diced into ½” pieces
1 handful finely chopped parsley
1 handful finely chopped fresh dill
Salt, pepper, cayenne, paprika and curry powder to taste.
Tarragon

This recipe will serve twelve to fifteen people depending on the size of the portions. Since this is such a special dish (and it is also time consuming to dice all the vegetables), you will want to prepare this for company. However it does keep well for three or four days after it marinates, and I love having leftovers as the flavors get a bit stronger each day.

As you dice the vegetables add each of them to a large mixing bowl and mix. Add the juices, the tomato paste, the mustard, the sugar and the chutney and mix again. Add the parsley, dill and the seasonings. It should be pleasantly hot and spicy. Cover and marinate in a cool place for two days before serving. Add a bit of tarragon before serving.

More Gurdjieff after the jump…

Posted by Oliver Hall | Leave a comment
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