Saturday, December 31, 2016

Ride To The Nightsky and Back


My Journey To The Stars

I Immaterialize
And Slowly Drift
Into the Unknown
With the Cold Winds with Soul
The Wintery Plains Lie Untouched
I Ride on My Elements
Towards the Stars Unseen
A Quest
For Knowledge
In the
Astral
Luminous
Stench Intensifies
As I
Near a Spectral Sphere
After a Hundred
Men's Lifetime
In Analyzing
I learn
To Consume
The Sphere
Of Immense Power
And To
Become Immortal
Darkness Hate and Winter
Rules the Earth when I Return
War
Between Races
A Goal Is Reached
Chaos, Hate

BURZUM January 1992

Monday, December 26, 2016

Signs of Endtimes





During 2016, and as far i can remember more than any other year before, I read, heard or saw somewhere about Ancient Hellenic archaeological excavations that oftenly turned into a very important discoveries. I found it quite remarkable how frequently I was receiving such news. From the archaelogical point of view 2016 in Hellas had a wide range of findings. 
To the majority of the modern men probably this means nothing. However to some others, this means a lot! Not only enriching our knowledge and view about our ancestral past, but it shows also that in this dark times where everything  (spiritually and physically) around falling apart, a deeper view into our past will strengthen our conviction that everything in nature is cyclical. What will follow after the decay of our times will remain to be seen....


After all, the graves, the temples, the monuments are here to remind it us more clearly than ever! 

If you have the same intrest as I do. Here I collected the links of the most, if not all archaeological discoveries for 2016.

JANUARY:

FEBRUARY:

MARCH:


APRIL:

MAY:

JUNE:


JULY:





AUGUST:



OCTOBER:



NOVEMBER:

DECEMBER:




Wednesday, December 21, 2016

High Night of Bright Stars


High Night of Bright Stars
Original : Hohe Nacht der Klaren Sterne by Hans Baumann
English translation by Monica Mainardi for THULE ITALIA

Sublime night of clear stars
That as far bridges
Connect our hearts
At the deepest immensity.
Sublime night of huge fires,
that shine on all the mountains,
because today the land must be renewed
like a newborn baby!

Mothers, for you are all fires
And all these stars;
Mothers, in the depths of your hearts
Beats the heart of the world to come!

 
See also:


Saturday, December 17, 2016

William Butler Yeats - Eκδόσεις Κλέος


ΝΕΕΣ ΕΚΔΟΣΕΙΣ ΑΠΟ ΤΗΝ


 "Οι εκδόσεις Κλέος αποτελούν την υλοποίηση μιας παλαιότερης ιδέας ορισμένων μελών της Φοιτητικής Λέσχης Φανταστικής Λογοτεχνίας προκειμένου η λέσχη μας, πέρα από το περιοδικό «Φανταστική Λογοτεχνία», την ραδιοφωνική εκπομπή και τα ηλεκτρονικά μέσα ενημέρωσης που διαθέτει, να προχωρήσει στην δημιουργία και ενός εκδοτικού σκέλους. Ο Σταμάτης Μαμούτος αποφάσισε να αναλάβει προσωπικά αυτό το εγχείρημα... και κάπως έτσι, οι εκδόσεις Κλέος έλαβαν υπόσταση τον Δεκέμβριο του 2016.

 Στόχος των εκδόσεών μας είναι η κυκλοφορία στην ελληνική γλώσσα λογοτεχνικών, θεωρητικών αλλά και επιστημονικών έργων με θεματικές που αφορούν το πεδίο του Ρομαντισμού. Ρομαντικοί και νεορομαντικοί συγγραφείς βρίσκονται στο επίκεντρο του ενδιαφέροντος της εκδοτικής μας προσπάθειας και είναι αναμφίβολο ότι σε αυτή την προσπάθεια η παλιά, αληθινή λογοτεχνία του φανταστικού έχει περίοπτη θέση.

Ελπίζουμε πως οι κυκλοφορίες των εκδόσεών μας θα τέρψουν τους αναγνώστες και θα συμβάλουν στην προβολή της ρομαντικής βιβλιογραφίας. Μιας ρομαντικής βιβλιογραφίας η οποία μέχρι σήμερα δεν έχει βρει την θέση που της αντιστοιχεί στο ελληνικό εκδοτικό στερέωμα.

Ο Ιρλανδός νομπελίστας Γουίλιαμ Μπάτλερ Γέητς είναι ο πρώτος συγγραφέας τον οποίο επιλέξαμε να παρουσιάσουμε στους αναγνώστες μας. Ο Γέητς συγκαταλέγεται ανάμεσα στους κορυφαίους λογοτέχνες του 20ου αιώνα, έχοντας γράψει ποιητικές συλλογές, διηγήματα, θεατρικά έργα αλλά και δοκίμια. Το βιβλίο του Ιρλανδού συγγραφέα που κυκλοφόρησε από τις εκδόσεις Κλέος είναι «Το Μυστικό Ρόδο». 

  
Πρόκειται για μια συλλογή διηγημάτων ρομαντικής φανταστικής λογοτεχνίας, που ξεκινά με ένα ποίημα. Πρωτοκυκλοφόρησε το 1897 όταν ο Γέητς βρισκόταν στην ωρίμανση της πρώτης λογοτεχνικής του εποχής.  Ήταν τότε που οι ρομαντικές του καταβολές είχαν αρχίσει να μπολιάζονται με επιρροές του Συμβολισμού ενώ και τα υπόλοιπα κεντρικά γνωρίσματα της πνευματικής του συγκρότησης, όπως το ενδιαφέρον για τον αποκρυφισμό και για την ιδεολογία του ιρλανδικού εθνικισμού, αναδύονταν στο επίκεντρο των ενδιαφερόντων του. Αναμφίβολα «Το Μυστικό Ρόδο» αποτελεί ένα δείγμα της παλιάς, καλής λογοτεχνίας του φανταστικού. Μιας λογοτεχνίας του φανταστικού που τείνει να ξεχαστεί κάτω από τους ογκώδεις τόμους των «νεοfantasy» γραφιάδων, με τους οποίους γεμίζουν ράφια και τηλεοπτικούς χρόνους οι διαχειριστές της αντιρομαντικής αγοραίας ελίτ των καιρών μας.

Όπως μαρτυρά κι ο ίδιος ο Γέητς, στον φιλοσοφικό πυρήνα του «Μυστικού Ρόδου» υφίσταται η ιδέα της σύγκρουσης μιας ιδεαλιστικής πνευματικής τάξης με τις βάρβαρες δυνάμεις του κόσμου της υλικής εμπειρίας. Μια αντιπαράθεση, δηλαδή, του ιδεαλισμού με τον υλισμό. Οι εκδηλώσεις του ιδεαλισμού μπορούν να ανιχνευτούν εντός αυτών των διηγημάτων σε ποικίλες και διαφορετικές περιπτώσεις της ιρλανδικής παράδοσης. Ο ιππότης που θυσιάζεται για το κοινό καλό, ο απαγορευμένος έρωτας ενός γενναίου παλαιστή με μια λογοδοσμένη αρχοντοπούλα, ο αγιασμένος αλαφροΐσκιωτος που κάνει θαύματα, ο πάμφτωχος και απόκληρος βάρδος. Σ’ αυτές και σ’ άλλες ακόμη περιπτώσεις η πέννα του Γέητς αναδεικνύει την αύρα των δυνάμεων του ουρανού και των αρχετύπων.

Το μυστικό Ρόδο συμβολίζει την ουσία του Θείου. Το εξομολογείται εξάλλου και ο ηλικιωμένος ιππότης του δεύτερου διηγήματος αυτής της συλλογής, που φέρει τον τίτλο «Αφήνοντας το Ρόδο». Πολλοί, βέβαια, είναι εκείνοι που θεωρούν ότι ο συμβολισμός είναι τριπλός και πέρα από τον Θεό συμπεριλαμβάνει την αγαπημένη του Μαντ Γκον και την πατρίδα του την Ιρλανδία. Και μάλλον έχουν δίκιο καθώς ο Γέητς σε όλη την διάρκεια της ζωής του περιέβαλε με θεία αφοσίωση τόσο την αγαπημένη του όσο και την πατρίδα του.


Ευελπιστούμε ότι οι αναγνώστες μας, ακροβατώντας ανάμεσα στα βελούδινα πέταλα και στον αγκαθωτό κορμό του «Μυστικού Ρόδου», θα απολαύσουν ένα λογοτεχνικό ταξίδι στα μυθικά πεδία της ιρλανδικής παράδοσης και θα γνωρίσουν την «σκηνή» των Ιρλανδών νεορομαντικών των τελών του 19ου αιώνα.  

  Ενημερωθείτε για τις εκδόσεις Κλέος στο ιστολόγιο www.kleospublications.blogspot.gr

Μπορείτε να αγοράσετε «Το Μυστικό Ρόδο» ζητώντας το στα mail flefalo@gmail.com και kleospublications@gmail.com


Previous Related Post:

Tuesday, December 13, 2016

Et in Arcadia Ego part II - Lovecraft's Tree

 
By 
Howard Phillips Lovecraft
 
 
“Fata viam invenient.”

On a verdant slope of Mount Maenalus, in Arcadia, there stands an olive grove about the ruins of a villa. Close by is a tomb, once beautiful with the sublimest sculptures, but now fallen into as great decay as the house. At one end of that tomb, its curious roots displacing the time-stained blocks of Pentelic marble, grows an unnaturally large olive tree of oddly repellent shape; so like to some grotesque man, or death-distorted body of a man, that the country folk fear to pass it at night when the moon shines faintly through the crooked boughs. Mount Maenalus is a chosen haunt of dreaded Pan, whose queer companions are many, and simple swains believe that the tree must have some hideous kinship to these weird Panisci; but an old bee-keeper who lives in the neighbouring cottage told me a different story.
 
 
Many years ago, when the hillside villa was new and resplendent, there dwelt within it the two sculptors Kalos and Musides. From Lydia to Neapolis the beauty of their work was praised, and none dared say that the one excelled the other in skill. The Hermes of Kalos stood in a marble shrine in Corinth, and the Pallas of Musides surmounted a pillar in Athens, near the Parthenon. All men paid homage to Kalos and Musides, and marvelled that no shadow of artistic jealousy cooled the warmth of their brotherly friendship.
 
 
 
But though Kalos and Musides dwelt in unbroken harmony, their natures were not alike. Whilst Musides revelled by night amidst the urban gaieties of Tegea, Kalos would remain at home; stealing away from the sight of his slaves into the cool recesses of the olive grove. There he would meditate upon the visions that filled his mind, and there devise the forms of beauty which later became immortal in breathing marble. Idle folk, indeed, said that Kalos conversed with the spirits of the grove, and that his statues were but images of the fauns and dryads he met there—for he patterned his work after no living model.
So famous were Kalos and Musides, that none wondered when the Tyrant of Syracuse sent to them deputies to speak of the costly statue of Tyché which he had planned for his city. Of great size and cunning workmanship must the statue be, for it was to form a wonder of nations and a goal of travellers. Exalted beyond thought would be he whose work should gain acceptance, and for this honour Kalos and Musides were invited to compete. Their brotherly love was well known, and the crafty Tyrant surmised that each, instead of concealing his work from the other, would offer aid and advice; this charity producing two images of unheard-of beauty, the lovelier of which would eclipse even the dreams of poets.
 
 
With joy the sculptors hailed the Tyrant’s offer, so that in the days that followed their slaves heard the ceaseless blows of chisels. Not from each other did Kalos and Musides conceal their work, but the sight was for them alone. Saving theirs, no eyes beheld the two divine figures released by skilful blows from the rough blocks that had imprisoned them since the world began.
At night, as of yore, Musides sought the banquet halls of Tegea whilst Kalos wandered alone in the olive grove. But as time passed, men observed a want of gaiety in the once sparkling Musides. It was strange, they said amongst themselves, that depression should thus seize one with so great a chance to win art’s loftiest reward. Many months passed, yet in the sour face of Musides came nothing of the sharp expectancy which the situation should arouse.
Then one day Musides spoke of the illness of Kalos, after which none marvelled again at his sadness, since the sculptors’ attachment was known to be deep and sacred. Subsequently many went to visit Kalos, and indeed noticed the pallor of his face; but there was about him a happy serenity which made his glance more magical than the glance of Musides—who was clearly distracted with anxiety, and who pushed aside all the slaves in his eagerness to feed and wait upon his friend with his own hands. Hidden behind heavy curtains stood the two unfinished figures of Tyché, little touched of late by the sick man and his faithful attendant.
 
As Kalos grew inexplicably weaker and weaker despite the ministrations of puzzled physicians and of his assiduous friend, he desired to be carried often to the grove which he so loved. There he would ask to be left alone, as if wishing to speak with unseen things. Musides ever granted his requests, though his eyes filled with visible tears at the thought that Kalos should care more for the fauns and the dryads than for him. At last the end drew near, and Kalos discoursed of things beyond this life. Musides, weeping, promised him a sepulchre more lovely than the tomb of Mausolus; but Kalos bade him speak no more of marble glories. Only one wish now haunted the mind of the dying man; that twigs from certain olive trees in the grove be buried by his resting-place—close to his head. And one night, sitting alone in the darkness of the olive grove, Kalos died.
Beautiful beyond words was the marble sepulchre which stricken Musides carved for his beloved friend. None but Kalos himself could have fashioned such bas-reliefs, wherein were displayed all the splendours of Elysium. Nor did Musides fail to bury close to Kalos’ head the olive twigs from the grove.
As the first violence of Musides’ grief gave place to resignation, he laboured with diligence upon his figure of Tyché. All honour was now his, since the Tyrant of Syracuse would have the work of none save him or Kalos. His task proved a vent for his emotion, and he toiled more steadily each day, shunning the gaieties he once had relished. Meanwhile his evenings were spent beside the tomb of his friend, where a young olive tree had sprung up near the sleeper’s head. So swift was the growth of this tree, and so strange was its form, that all who beheld it exclaimed in surprise; and Musides seemed at once fascinated and repelled.
 
 
 
Three years after the death of Kalos, Musides despatched a messenger to the Tyrant, and it was whispered in the agora at Tegea that the mighty statue was finished. By this time the tree by the tomb had attained amazing proportions, exceeding all other trees of its kind, and sending out a singularly heavy branch above the apartment in which Musides laboured. As many visitors came to view the prodigious tree, as to admire the art of the sculptor, so that Musides was seldom alone. But he did not mind his multitude of guests; indeed, he seemed to dread being alone now that his absorbing work was done. The bleak mountain wind, sighing through the olive grove and the tomb-tree, had an uncanny way of forming vaguely articulate sounds.
 
 
 
 
The sky was dark on the evening that the Tyrant’s emissaries came to Tegea. It was definitely known that they had come to bear away the great image of Tyché and bring eternal honour to Musides, so their reception by the proxenoi was of great warmth. As the night wore on, a violent storm of wind broke over the crest of Maenalus, and the men from far Syracuse were glad that they rested snugly in the town. They talked of their illustrious Tyrant, and of the splendour of his capital; and exulted in the glory of the statue which Musides had wrought for him. And then the men of Tegea spoke of the goodness of Musides, and of his heavy grief for his friend; and how not even the coming laurels of art could console him in the absence of Kalos, who might have worn those laurels instead. Of the tree which grew by the tomb, near the head of Kalos, they also spoke. The wind shrieked more horribly, and both the Syracusans and the Arcadians prayed to Aiolos.
 
 
In the sunshine of the morning the proxenoi led the Tyrant’s messengers up the slope to the abode of the sculptor, but the night-wind had done strange things. Slaves’ cries ascended from a scene of desolation, and no more amidst the olive grove rose the gleaming colonnades of that vast hall wherein Musides had dreamed and toiled. Lone and shaken mourned the humble courts and the lower walls, for upon the sumptuous greater peristyle had fallen squarely the heavy overhanging bough of the strange new tree, reducing the stately poem in marble with odd completeness to a mound of unsightly ruins. Strangers and Tegeans stood aghast, looking from the wreckage to the great, sinister tree whose aspect was so weirdly human and whose roots reached so queerly into the sculptured sepulchre of Kalos. And their fear and dismay increased when they searched the fallen apartment; for of the gentle Musides, and of the marvellously fashioned image of Tyché, no trace could be discovered. Amidst such stupendous ruin only chaos dwelt, and the representatives of two cities left disappointed; Syracusans that they had no statue to bear home, Tegeans that they had no artist to crown. However, the Syracusans obtained after a while a very splendid statue in Athens, and the Tegeans consoled themselves by erecting in the agora a marble temple commemorating the gifts, virtues, and brotherly piety of Musides.
But the olive grove still stands, as does the tree growing out of the tomb of Kalos, and the old bee-keeper told me that sometimes the boughs whisper to one another in the night-wind, saying over and over again, “Οἶδα! Οἶδα!—I know! I know!”
 
 
 
Previous Related Post:
 
 

Friday, December 9, 2016

1933 - 1945 The NOW & THEN Series




 
"Ruiter Productons is a creative video production company based in The Netherlands that creates digital video content.

In 2007 Ruiter Productions has been founded by Jeroen Ruiter. In 1999 Jeroen started to create video productions as a hobby. In early years he simply edited the raw footage without music and only a few titles. Later on music and enhanced titles where added.

The most impressive achievements are the Now & Then series in which Ruiter Productions goes back to specific places playing an important role before, during and shortly after World War 2. Photo images of that period are used to let the viewer experience the time difference. The current series involve Nürnberg, Obersalzberg, München and Graz. Future release are planned."


Official Website:  http://www.ruiterproductions.nl/


THE SERIES

München - The Political Capital of Adolf Hitler


Nürnberg -The Reichsparteitage of Adolf Hitler


Graz -Stadt der Volkserhebung


Obersalzberg -The Mountain Retreat of Adolf Hitler


Previous Related Posts:
Hitler in Seinen Bergen

Tuesday, November 29, 2016

L'Inverno



Allegro non molto

To tremble from cold in the icy snow,
In the harsh breath of a horrid wind;
To run, stamping one's feet every moment,
Our teeth chattering in the extreme cold


Largo
 
Before the fire to pass peaceful,
Contented days while the rain outside pours down.


Allegro
 
We tread the icy path slowly and cautiously,
for fear of tripping and falling.
Then turn abruptly, slip, crash on the ground and,
rising, hasten on across the ice lest it cracks up.
We feel the chill north winds course through the home
despite the locked and bolted doors...
this is winter, which nonetheless
brings its own delights.


Wednesday, November 16, 2016

Et in Arcadia Ego part I - The Arcadian Shepherds


Arcadia is place located in the south Hellas. Its mountains and rivers, the forest and wilderness that God Pan roams make it so unique that since the antiquity has been the inspiration of poets, artists, wanderers, painters and heroes. 

"Et in Arcadia Ego" means in latin something like "I`m also in Arcadia" and I choosed this as a title in a number of posts dedicated to this great mythical place.

Part I - The Arcadian Shepherds 

"Les bergers d'Arcadie" (1637-1638) 
by 
Nicolas Poussin

 The Arcadian Shepherds Story / Theme

 The Arcadian Shepherds (also known as Les bergers d'Arcadie or Et in Arcadia Ego) is without a doubt the most famous and most widely discussed of any of Poussin's paintings.

This image depicts three shepherds and a monumental, statue-like woman grouped around a large stone tomb. The idyllic natural setting, the antique robes and sandals of the figures, and, of course, the painting's title all situate this in the mythical realm of Arcadia.

Arcadia was a real region in Greece: isolated, surrounded by mountains, and sparsely populated by shepherds, already in antiquity the region was romanticized as a kind of terrestrial paradise, a place of unspoiled nature whose inhabitants still lived in the blissful harmony (and ignorance) of the Golden Age.

The myth of Arcadia has inspired poets and artists alike through the millennia, notably the Roman poet Virgil, whose Eclogues (a series of poems which take place in Arcadia) were one of the major inspirations for this painting.

In the midst of this paradise, however, these shepherds look somewhat concerned. What is it that they are examining with such perplexed intensity? A tomb, with the phrase Et in Arcadia Ego inscribed in the center. This Latin phrase roughly translates into English as "Even in Arcadia I exist," referring to the contents of the tomb: death. These shepherds are thus discovering their own mortality.

 The Arcadian Shepherds Analysis


The woman:
The female figure has been transformed from a sexy, windblown nymph in the background of the painting to a fully-clothed, monumental, statue-like figure who almost dominates the composition. Her pale, grayish skin and sharp, heavily contoured profile reveal the classical inspiration for this personage.

The mysterious woman still provides a beautiful contrast to the discovery of death, but in this version of the painting she is also the only figure who fully understands the meaning of the tomb's inscription, thus investing her with a far higher purpose than in the earlier painting. Art historians have waged fierce battles as to how to interpret this figure: does she represent Reason? The goddess Athena? Or is this Death herself?


The shepherds: 
 This composition is far more classical, rational and carefully ordered than Poussin's earlier painting. Here, the shepherds are arranged around the tomb in a careful balance, each with a different posture and attitude. The kneeling shepherd in the center is still trying to make out the inscription on the tomb, while the shepherd to the right seems to have already understood and looks questioningly towards the woman to his right.


 The landscape:
 Like the landscapes that Poussin would be painting in the coming decade, this depiction of the countryside is idyllic and lovely, creating another contrast with the horror of the discovery of death. Along with Annibale Carracci and Claude Lorrain, Poussin was a pioneer in the development of landscape painting.

 Et in Arcadia Ego:
 Poussin places the all-important inscription in the very center of the painting and the correct interpretation of this inscription is a matter of great debate in the world of art history.




 The tone:
 Poussin himself seems to have been a firm believer in the ancient Stoic philosophy, which was quite popular amongst the Roman intelligentsia in the 17th century. The philosophy holds that material possessions are essentially valueless, and that man must learn to tame his animal emotions and face his mortality with quiet resignation. Art historians believe that this philosophy was a fundamental inspiration for many of Poussin's paintings.

Article taken from: http://www.artble.com/
Full biography of Nicolas Poussin HERE

Wednesday, November 9, 2016

The Samurai of The Skies

Saburo Sakai was a legendary flying pilot (of Samurai ancestry) of the Japanese Imperial Navy during WWII. His full biography HERE

Below are two videos describing in full details two of his many air battles. Both taken from his classic autobiography SAMURAI!


Battle of Guadalcanal - Sakai Saburo vs James "Pug" Southerland
 In the first battle of Guadalcanal, IJN Ace Saburo Sakai faces off against an assault of F4F Wildcats. Among the American pilots was Navy veteran James "Pug" Southerland

Saburo Sakai vs 15 Hellcats




Sunday, October 30, 2016

Oscar Schindler - Heavy Drinker, Womanizing Crook, Gambler




Oscar Schilder is another modern times "hero", sanctified by the hollywood jewry in the famous film "Schindler`s List". Recently there has been a huge controversy because some (we know who) want to turn his factory into a kind of museum. You see the holocaust industry is a quite profitable activity but as it seems it needs to add some new sight-seeing. 


However, in the place that the factory is located, this plan met an opposition as the local population (who knows beter than hollywood wants you to believe) has a different opinion on Oscar Schindler.

More info on this article HERE

Some intresting parts:

"Jaroslav Novak is also head of the Shoah and Oskar Schindler Memorial Endowment Memorial Foundation which is bidding to convert it into a museum.
But he is being met with staunch opposition because many locals in the tiny Bohemian village of Brněnec in Czech Republic think of Schindler - immortalised in Steven Spielberg's 1993 film - as a crook synonymous with gambling, womanising and heavy drinking."

 "I have been fighting for this for 20 years. But people are just not interested in it."

 "And despite Mr Novak, who is a native of the nearby town of Svitavy where Schindler was born, being close to persuading the Czech culture ministry to put a protection notice on the factory, perhaps the biggest issue he is facing is converting some of the locals."

 "Such is the opposition in the area, the present owner refuses to allow the house in which Schindler was born to be adorned with a plaque and a memorial in a park across the street was defaced with a swastika just days after its unveiling in 1994. "




And now something that not many has noticed. "Schindler`s list" the book that the film that "based on true story",  won the LOS ANGELES TIMES award in category "FICTION"

Click HERE 

(Click category "fiction" and then check the year 1983)



Wednesday, October 19, 2016

Strength & Spirit




"Strength is the morality of the man who stand out from the rest, and it is mine"

"Such men alone are my readers, my proper readers, my preordained readers. Of what account are the rest? The rest are simply....humanity. One must be superior to humanity in power, in loftiness of soul - in contempt"

Friedrich Wilhelm Nietzsche

Tuesday, October 4, 2016

Steel Romanticism in The Steel Rose


DREADFUL RELIC Steel Romanticism in The Steel Rose RADIO INTERVIEW

DREADFUL RELIC Radio Interview in STEEL ROSE broadcast of ROCKMACHINE Radio. With English Subs.

An indepth 2-hour discussion drenched in cursed sounds,  odes of black spells, echoes of nostalgia and Traditional Metal hymns!

On the 24th of January 2016, celebrating the 110 years from Robert E. Howard`s birth, STEEL ROSE hosted two members of DREADFUL RELIC, Commando Wolf & Hjarulv Henker.
Discussing themes such as the Metal upbringing in Hellas during the late '80s & early '90s, the introduction to the Black Metal Cult and the early days of the Hellenic scene, the birth and the musical/lyrical influences of DREADFUL RELIC, Heroic and Horror Fantasy literature, Romanticism and Traditionalism vs Modernity and more!

http://dreadfulrelic.com
http://hellasromantics.blogspot.gr/
http://flefalo.blogspot.com/




Monday, September 26, 2016

True Metal for White Heterosexual Males EXCLUSIVELY!



Finally after several years and endless delays the debut album of True American band THE RAUNCHOUS BROTHERS is out now!!!

Copies available from the web-store of RESISTANCE RECORDS

Their message is clear: HAIL METAL...DESTROY FAGGOTRY

You can listen the track "Faggot Bolshevik" here:


Sunday, September 11, 2016

Edmund Blair Leighton - Master Artist of The Victorian Era

Edmund Blair Leighton (1852 –1922)

OBITUARY:

The death of Mr Edmund Blair Leighton, on September 1, removed from our midst a painter who, though he did not attain to the higher flights of art, yet played a distinguished part in aiding the public mind to an appreciation of the romance attaching to antiquity, and to a realisation of the fellowship of mankind throughout the ages.

Mr Blair Leighton was born in London, on September 1, 1853, his father being that Charles Blair Leighton, portrait and subject painter, whose exhibits at the Royal Academy and other London galleries covered the period between 1843 and 1855. The son was educated at University College School, before taking a position in an office in the city, but entered the Royal Academy Schools after a course of evening study at South Kensington and Heatherley's.

He commenced exhibiting in 1874, and succeeded, four years later, in securing the verdict of the Hanging Committee of the Royal Academy in favour of two works, entitled respectively ‘
Witness My Act and Seal,’ and ‘A Flaw in the Title.’ Since then his highly wrought style was regularly represented at Burlington House until two years prior to his decease. Among the better known of his pictures, many of which were published, may be named ‘The Dying Copernicus (1880), To Arms (1888), Lay thy sweet hand in mine and trust in me ( 1891), Lady Godiva (1892), Two Strings (1893), Launched in Life (1894), The Accolade (1901), Tristan and Isolde (1907), The Dedication (1908), The Shadow (1909), ‘To the Unknown Land (1911),’ and ‘The Boyhood of Alfred The Great,’ 1913. For the past dozen years or so, Mr E Blair Leighton had been a member of the Royal Institute of Oil Painters. He had married in 1885, Miss Katherine Nash, by whom he had, with a daughter, one son, Mr E J Blair Leighton, who has also adopted painting as a profession.

SELECTED WORKS:


Tristan and Isolde (1902)

Godspeed! (1900)
Accolade (1901)
Stitching The Standard (1911)
My Fair Lady (1914)
The Dedication (1908)
The Conquest (1884)
For full biography and more paintings click HERE 

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Sunday, September 4, 2016

Sunday, August 28, 2016

The Real Bosses of Hollywood


 
Few days before the official premiere of "Denial". A film which its easy to figure out how accurate on the real facts its plot will be. As it looks , we are before another libel sponsored by the well-known international gang. No way to ever see this film ofcourse. Just grabbed the chance to remember for one more time who are the real bosses of hollywood. 

Here is some intresting parts from an interview taken from Rachel Weisz (who is the main actress in "Denial"). This will be another proof, to keep us in mind when we are watching a film who is the sponsor behind it.

Interview parts (the underlines are mine) taken from INDEX MAGAZINE (2001

EMMA: But, you see, you're holding back from saying what you said at the store, which was that you thought you looked too Jewish. Is it limiting as an actress to be perceived as being too ethnic in any way?
 
RACHEL: Well, I think you and I have always felt the same way — that we're Jewish but we can get away with just being exotic. We're kind of Jews in disguise. Those cultural stereotypes about the Jew with the big hooky nose and the fleshy face rub off on you. That's terrible to admit, isn't it.

 EMMA: Well, it's that Jackie Mason joke about how no Jewish woman wants to look Jewish: "'You think I look maybe a little Italian, I look a little Russian, perhaps I can be Spanish?' … 'You look Jewish!'"
 
RACHEL: Hollywood's run by Jews. I was advised by an American agent when I was about 19 to change my surname. And I said "Why? Jews run Hollywood." He said "Exactly." He had a theory that all the executives think acting's a job for shiksas.

 EMMA: Of all the self-loathing Jews in the world, the most self-loathing are the Hollywood Jews. They don't want to see images of themselves on screen. That's why Lauren Bacall had to hide her identity, and Winona Ryder changed her name from Horowitz.
 
RACHEL: In some way acting is prostitution, and Hollywood Jews don't want their own women to participate. Also, there's an element of Portnoy's Complaint — they all fancy Aryan blondes.




Check also this intresting links:
The official David Irving website (with daily updates) 

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Sunday, August 21, 2016

The Cross and The Dragon: The Pagan Roots of Irish Crosses





 
Article & Interview taken from:



Venceslas Kruta, an expert on Celtic art and civilization, explains the symbolism that underpins the Celtic cross

  When Celtic art is mentioned today, the term evokes the art that characterised those peoples now known as the ancient Celts – the peoples documented in the fifth century BC to the north of the Alps and recorded by classical historians during the following centuries as they expanded their territory towards the south and south-east. This art movement extended into Britain and Ireland once they had been Christianised in the first half of the fifth century.

So Celtic art can give the impression of being the artistic expression of all the peoples speaking the Celtic language. But the art of the ancient Celts was the result of a very long search for image-based expression, and the ideas common to the Celts since their origins vary according to the context. Venceslas Kruta, author of a new book, Celtic Art, explains its origins.


- We see a lot of crosses and dragons in Celtic art – what do they have in common?

 At first glance, very little. However, the Celts believed they were fundamental elements of a system, complex but consistent, which expressed their understanding of the universal order. The starting point is the notion of centre, a crucial concept for ancient Celts. It is here that the cosmic axis is supposedly found, imagined as a tree, preferably oak carrying mistletoe, whose branches support the canopy of heaven and the roots joining the underground world. It thus linked together three superimposed worlds: the Heavens, the Earth of the humans and the Underground world.

  - The representation of a world defined as four parts linked by a centre is one of the most frequent themes in Celtic art, isn’t it?

Yes, since the fifth century BC. Its simplest shape, a circle and a cross superimposed, is thus depicted on flat spoons most probably used for a ritual purpose, many of which have been found in Ireland. Their midpoint is sometimes pierced, suggesting their use during libations. This association of a cross, indicating the four major directions, and a circle, symbolising the limits of the territory that surrounds the central point, not only has a spatial value, but also a temporal one. The space defined by the journey of the sun and time can indeed not be separated: the four arms of the cross refer to the four daily events of the sun: from sunrise to sunset, including zenith and its equivalent underneath the horizon, but also the yearly events: solstices and equinoxes.





  - And what’s with the dragons?

The emblem of the pair of dragons, present on the Continent since the sixth century BC, decorated mostly weapons, especially sword scabbards of warriors in the fourth and third century BC. According to an account of the Welsh Mabinogi, such dragons would have been found on Excalibur, the legendary sword of King Arthur. The fight between the two dragons is figured in a most meaningful way on the cover/top of a remarkable artefact, the ceremonial jug from Brno, a masterpiece of Celtic art associated with the beginning of the bright season, the Beltane festival. It represents in a suggestive way most of the constellations that dominated in about 280BC the night sky on the day of this festival, as well as the one for both solstices and the Samain feast, beginning of the dark season.


  - What other images were there?

Several monuments have been discovered which marked the supposed place of the world axis, different for each community. This type of monument, known as their Greek name omphalos (umbilicus), has the shape of a pillar with decoration on each of its four faces. The most ancient one – the Pfalzfeld pillar in Rhineland, from the fifth century BC – and the most recent one – the Irish pillar of Turoe (Co Galway), probably from the first century BC – illustrate the evolution of this concept: from the representation of the divinity face wearing the mistletoe leaves, repeated on each side, to different images on each side, even maybe evocations of areas of the canopy of heaven that correspond to the four cardinal directions.

  - So this was about the Celts trying to impose some kind of order on their world?

The ancient Celts’ artworks are not made of borrowings or fortuitous inventions but are the expression of an extremely structured system of their idea of a universal order and its spatial and temporal understanding. Its dynamical aspect is fundamental. Its roots are ancient ones and its general elements are common to both continental and insular Celtic people. Those elements are one of the basis of their cultural unity.



  - And, finally, where does the Irish Christian cross come into all this?

The ultimate step of its symbolic representation is the Irish Christian cross, on which the pattern is arranged vertically. The Christ figure is in the centre – it has thus become the axis that links the heavenly, terrestrial and infernal worlds. However, on some of the crosses, solar patterns are depicted in place of the Christ. Even the pair of dragons can be found on some of them, which are supposed to have their annual fight. Such is the case of a cross of Gallen Priory (Co Offaly), where dragons coil up around a giratory pattern, a sort of curvilinear swastika, or on a Dromiskin cross (Co Louth). This confirms that the specific shape of the Irish cross is the result of a reuse of the old Image of the World in the Christian iconography. None of this is unusual, since the meaning of origin was fully compatible with the Christian doctrine. In Ireland, the image has thus been treated the same way texts from the traditional literature have been, turned away from their most obvious pagan aspects, and customised with a Christian aspect to best serve the new religion.

 Venceslas Kruta is one of the world’s leading experts on Celtic art and civilisation and author of Celtic Art (Phaidon)