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Thanks to: Brooklyn Street Art, r/stencils, Stencil Art FB group, r/streetart
Spinning vinyl: Ween, Talking Heads, Zappa
Photo: Zombie Pelosi by Xsacto
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Medieval Graffiti to Repel Witches and Evil Spirits Found In Britain
21 OCTOBER, 2020 - 17:52 ED WHELAN
In Britain, a mysterious discovery has been made in the ruins of a church in an abandoned medieval village. On some stones, archaeologists have found graffiti and some enigmatic marking. It is believed that the markings were made to ward off evil spirits or witches. This discovery is a timely one as we approach Halloween.
Currently, there is a major infrastructure project being carried out in Stoke Mandeville, Buckinghamshire, England. It involves the construction of rail lines and a highway. This project will totally destroy a long-abandoned medieval village. ‘The deserted village site stands among fields half a mile south of today's Stoke Mandeville’, according to the Buckingham Archaeological Society . Archaeologists from Fusion JV are currently working to excavate as much of the village as they can.
Deserted medieval village
The focus of their work is on the ruins of the 12 th-century church of St Mary’s now little more than rubble. This was demolished many centuries ago, however, archaeologists were stunned to find beneath a heap of stones, the walls and floors of the place of worship. Andrew Harris, a manager with Fusion JV stated that ‘The levels of preservation of some of the features of the church are surprising given its age’ reports the HS2 Media Centre .
On the stones, of the demolished church they have found some graffiti. They have also discovered some curious markings. According to The Bucks Herald , ‘Two stones with a central drilled hole from which a series of lines radiate in a circle have been uncovered at the site of St Mary’s’. These engravings were of great interest to the team of archaeologists.
Witches marks or medieval graffiti?
One possibility was that the markings are medieval sundials that were used to tell the time and indicate the time for mass and prayers to the faithful. However, the engravings were found on a stone that was close to the ground. This would seem to indicate that they were not sundials.
Echoes Are All I See
By marcella faustini, for Art Practical
September 10, 2015
“No one lives but me, shadows are my only friends, and ghosts are all I see.”
—Minimal Man, “Loneliness,” from The Shroud Of, 1981.
Despite the gentrifying pressure of high real-estate prices, the history of San Francisco’s underground culture and some of its notorious characters still haunts the city. Such is the case with Minimal Man, an early ’80s band fronted by Patrick Miller. The band, with a blend of post-punk, noise, and industrial music, produced six albums and numerous singles with a rotating cast of members. Although its output remains semi-obscure, the band has a cult following among enthusiasts of genre-bending music. Great interest is also derived from Miller’s erratic life, which took him to a handful of cities in the United States and Europe, leaving a trail of stories that are recounted and mythologized as part of the subculture of the cities he inhabited.
The documentation of the band’s existence while in San Francisco is scattered. Between previously published articles, phone calls, and email exchanges with members from different incarnations of the band, a semblance of the band’s trajectory can be pieced together.
Minimal Man’s sound is often grouped with industrial music and bands like Chrome, Suicide, and NON, although Miller claimed to have eschewed style categories when making the music. His musical premise was to rely upon synthesizers rather than guitars for the sound.
The first album, The Shroud Of (1981), sounds as if someone is singing from a far room. The lyrics touch on uneasy subjects such as alienation and despair, and the combination of synths and noise creates an ominous atmosphere. The music’s influences of punk and noise gave way to industrial sounds and hints of electronic body music (EBM, a danceable combination of postindustrial music and synth-punk); this last development came about during Miller’s time in Belgium, where EBM first developed.
The course of the band’s musical development is uneven. There are backward nods to arena rock in Safari (1984) and a disparate choice of more conventional instruments for Hunger is All She Has Ever Known (1988). But Minimal Man reached its highest point when it merged noise, industrial, punk, and cold wave, creating dark and powerful moments conducive to solitary dancing with shut eyes and clenched fists. Both The Shroud Of and Sex with God (1985) are examples of this successful intersection of musical styles.
Thanks to: Eleni, s/stencils, Brooklyn Street Art (Jaime Rojo), and only_stencil_archive (IG)
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