Quetzalcoatl is a deity in Mesoamerican culture and literature whose name comes from the Nahuatl language and means "feathered serpent" or "Quetzal-feathered Serpent". The earliest known documentation of the worship of a Feathered Serpent occurs in Teotihuacan in the first century BC or first century AD; that period lies within the Late Preclassic to Early Classic period of Mesoamerican chronology. In the Postclassic period, the worship of the feathered-serpent deity centred in the primary Mexican religious center of Cholula. In this period the deity is known to have been named "Quetzalcoatl" by his Nahua followers. In the Maya area he was equivalent to Kukulkan and Gukumatz, names that roughly translate as "feathered serpent" in different Mayan languages. Quetzalcoatl, the Aztec god of wind and learning, wears around his neck the "wind breastplate" ehecailacocozcatl, "the spirally voluted wind jewel" made of a conch shell; this talisman was a conch shell cut at the cross-section and was worn as a necklace by religious rulers, as such objects have been discovered in burials in archaeological sites throughout Mesoamerica, symbolized patterns witnessed in hurricanes, dust devils and whirlpools, which were elemental forces that had significance in Aztec mythology.
Codex drawings pictured both Xolotl wearing an ehecailacocozcatl around the neck. Additionally, at least one major cache of offerings includes knives and idols adorned with the symbols of more than one god, some of which were adorned with wind jewels. In the era following the 16th-century Spanish conquest of the Aztec Empire, a number of records conflated Quetzalcoatl with Ce Acatl Topiltzin, a ruler of the mythico-historic city of Tollan. Historians debate to what degree, or whether at all, these narratives about this legendary Toltec ruler describe historical events. Furthermore, early Spanish sources written by clerics tend to identify the god-ruler Quetzalcoatl of these narratives with either Hernán Cortés or Thomas the Apostle— identifications which have become sources of a diversity of opinions about the nature of Quetzalcoatl. Among the Aztecs, whose beliefs are the best-documented in the historical sources, Quetzalcoatl was related to gods of the wind, of the planet Venus, of the dawn, of merchants and of arts and knowledge.
He was the patron god of the Aztec priesthood, of learning and knowledge. Quetzalcoatl was one of several important gods in the Aztec pantheon, along with the gods Tlaloc and Huitzilopochtli. Two other gods represented by the planet Venus are Quetzalcoatl's ally Tlaloc, Quetzalcoatl's twin and psychopomp, Xolotl. Animals thought to represent Quetzalcoatl include resplendent quetzals, rattlesnakes and macaws. In his form as Ehecatl he is the wind, is represented by spider monkeys and the wind itself. In his form as the morning star, Venus, he is depicted as a harpy eagle. In Mazatec legends the astrologer deity Tlahuizcalpantecuhtli, represented by Venus, bears a close relationship with Quetzalcoatl. A feathered serpent deity has been worshiped by many different ethnopolitical groups in Mesoamerican history; the existence of such worship can be seen through studies of the iconography of different Mesoamerican cultures, in which serpent motifs are frequent. On the basis of the different symbolic systems used in portrayals of the feathered serpent deity in different cultures and periods, scholars have interpreted the religious and symbolic meaning of the feathered serpent deity in Mesoamerican cultures.
The earliest iconographic depiction of the deity is believed to be found on Stela 19 at the Olmec site of La Venta, depicting a serpent rising up behind a person engaged in a shamanic ritual. This depiction is believed to have been made around 900 BC. Although not a depiction of the same feathered serpent deity worshipped in classic and post-classic periods, it shows the continuity of symbolism of feathered snakes in Mesoamerica from the formative period and on, for example in comparison to the Maya Vision Serpent shown below; the first culture to use the symbol of a feathered serpent as an important religious and political symbol was Teotihuacan. At temples such as the aptly named "Quetzalcoatl temple" in the Ciudadela complex, feathered serpents figure prominently and alternate with a different kind of serpent head; the earliest depictions of the feathered serpent deity were zoomorphic, depicting the serpent as an actual snake, but among the Classic Maya, the deity began acquiring human features.
In the iconography of the classic period, Maya serpent imagery is prevalent: a snake is seen as the embodiment of the sky itself, a vision serpent is a shamanic helper presenting Maya kings with visions of the underworld. The archaeological record shows that after the fall of Teotihuacan that marked the beginning of the epi-classic period in Mesoamerican chronology around 600 AD, the cult of the feathered serpent spread to the new religious and political centers in central Mexico, centers such as Xochicalco and Cholula. Feathered serpent iconography is prominent at all of these sites. Cholula is known to have remained the most important center of worship to Quetzalcoatl, the Aztec/Nahua version of the feathered serpent deity, in the post-classic period. During the epi-classic period, a dramatic spread of feathered serpent iconography is eviden
Astron-6 is a Canadian film production and directing company founded in 2007 by Adam Brooks and Jeremy Gillespie. The company expanded to include Matt Kennedy, Conor Sweeney and Steven Kostanski, who are now equal partners in the company. Astron-6 is known for producing low-budget, 80's-centric, independent movies that combine horror with comedy. A planned 2012 documentary No Sleep, No Surrender, which detailed the making and production of their 2011 film Father's Day, was never completed, though a teaser trailer was released; the follow-up to Father's Day, a Giallo-inspired horror comedy, The Editor, was directed by Adam Brooks and Matthew Kennedy in 2014. In 2016, Astron-6 produced the web series Divorced Dad; the series was described by the filmmakers as'a love letter to the endearingly incompetent cable access television shows created by far from screen-ready small town celebrities during the 1980s and 90s'. Gillespie and Kostanski directed the 2016 horror film The Void, intended as a departure from Astron-6's more comedic work.
The film showcases more of Kostanski's creature and practical effects as seen in Astron-6's earlier films. Astron-6 Manborg Father's Day The Editor W is for Wish Chowboys Official website
Subway Sect were one of the first British punk bands. Although their commercial success was limited by the small amount of recorded material they released, they have been credited as influential on the Postcard Records scene and the indie pop genre which followed; the core of the band was singer-songwriter, Vic Godard, plus assorted soul fans, who congregated around early gigs by the Sex Pistols until Malcolm McLaren suggested they form their own band. Subway Sect were among the performers at the 100 Club Punk Festival on Monday, 21 September 1976 - sharing the bill with Siouxsie and the Banshees, The Clash and the Sex Pistols; the first line-up of Godard on vocals, Paul Packham on drums, Paul Myers on bass and Rob Symmons on guitar lasted for four gigs before Mark Laff replaced Packham. Laff himself left for fellow punk group Generation X after the White Riot tour. A third drummer, Bob Ward, was recruited, it is this line-up that can be heard on the band's first John Peel session and on the single "Nobody's Scared".
This was the first and only release on Braik Records, a label owned by Bernie Rhodes, who managed both Subway Sect and The Clash. Rhodes subsequently supervised the recording of their debut album at Gooseberry Studios in London, with Clash sound man and producer Mickey Foote at the production helm. At that time the band toured intensively with others. Number One for me at the moment are the Subway Sect. They've got some good ideas; the Slits are good, too. Palmolive on drums! She's the female Jerry Nolan, but like everyone, they need to do thirty gigs in thirty days and they would be a different group. They'd be great; the same with us. However, just as their first album was ready for release, for reasons that remain obscure, Rhodes sacked all the band and Subway Sect mark 1 ceased to exist; the album was never released, although a single from the sessions "Ambition" was remixed and released on Rough Trade Records, with the B-side "Different Story" taken from the same sessions. "Ambition" was ranked at No. 15 among the top "Tracks of the Year" for 1978 by NME.
A further track "Parallel Lines" was released as a track on the C81 cassette produced by NME magazine. Since some monitor copies of tracks from the lost album have come to light on various Subway Sect compilations, including a Motion Records' 20 Odd Years double album anthology, a CD and CD/EP set We Oppose All Rock And Roll on Overground Records. Any copies of the actual album tapes appear to no longer exist; as a result of 1977 appearances at The Roxy club in London, live recordings were made of Subway Sect performances by Don Letts, the club's disc jockey. Subway Sect appears in Letts' Punk Rock Movie. Godard reformed the band and as'Vic Godard and Subway Sect' released their debut album What's the Matter, Boy? in 1980, following a period of shifting group personnel. The album features many songs written during the previous incarnation of the band, but performed with radically altered arrangements. By this time, Godard had become influenced by early rockabilly, the "first wave" of rock and roll.
This was just before the rockabilly revival, the album was ignored as being'retro'. Ignoring this, Godard went further back in time, subsequent releases showed the influence of the "rat pack", 1940s swing, many years before these sounds became fashionable again. Faced by dwindling sales and following a solo album backed by Working Week, Godard left the music business and became a postman. In 1982, former Subway Sect members – guitarist Rob Marche, keyboardist Dave Collard, bassist Chris Bostock and drummer Sean McLusky – teamed up with American singer, Dig Wayne and formed the band Jo Boxers. In the 1990s a slow Godard revival began. Backed by the re-release of his work on CD and numerous compilation albums, Godard returned to recording under his own name. In 2002, a CD was issued credited purely to Subway Sect, thus reviving the name, if not the original band. Named Sansend, it was a sample and beats heavy collection of new songs, it was followed three years by Motion's Singles Anthology, which collected single A and B sides.
Original Subway Sect guitarist and bass player, Rob Symmons and Paul Myers resurfaced as The Fallen Leaves in 2004, although Myers has since quit the band. Rob Symmons still records with the band. In 2007, a new Subway Sect released 1978 Now, a re-make of the original 1978 album as, Godard indicated, it had sounded. In 2011, Myers rejoined Vic Subway Sect permanently. Further vintage material was recorded in 2012 – again with Paul Cook on drums – and released in 2014 as 1979 Now; as of 2019, the current Subway Sect line-up of Godard and Johnny Britton with a returned Chris Bostock and Sean McLusky has a new album All These Moments due for release in 2020, produced by Mick Jones and previewed by single How High The Walls out on 25th December. What's the Matter Boy?, Oddball/MCA Songs For Sale, London The End Of The Surrey People, Postcard Sansend, Motion 1978 Now, Overground Long Term Side Effect Rough Trade We Come As Aliens, Overground 1979 Now, AED All These Moments, GNU A Retrospective, Rough Trade We Oppose All Rock'n' Roll, Overground Twenty Odd Years - The Story O