Malkavian's pretty pictures

This large figurative bronze spoon, measuring twenty-five centimeters in length, is a rare example of a Galgenmann, the figure of the hanged man as it appears in German-speaking Alpine traditions of the 18th century. Entirely sculpted from a single piece, it depicts a suspended man with his arms bound behind his back, an emblematic posture of hanged figures in rural Tyrol and the Alemannic regions of Switzerland. In the folklore of these areas, the Galgenmann was not merely a macabre image: it embodied a liminal presence, a being situated at the threshold of the visible world, to whom protective powers against misfortune, dark forces, and occult influences were attributed. Such figures were hung inside homes, near the hearth or in outbuildings, as Schutzamulette, protective amulets believed to ward off bad luck and to pacify the invisible tensions of a place.

Lestat: “It isn’t 1979. Bela Lugosi is not dead. You don’t need to finger her for five bars! You’re hurting her!”

Love that Lestat is up on his goth culture! For anyone curious about the reference to “Bela Lugosi’s Dead”, post-punk band Bauhaus released this hit in ‘79 which features, yes, a signature droning guitar riff that drives you mad in the best of ways.

It was also used in the iconic opening of The Hunger, an erotic vampire movie from 1983 where vamp queen Catherine Deneuve and her consort David Bowie seduce and kill a goth couple. It’s so good, and so original TVL vibes. (Clip above)

The historic "Frog House" (Kamienica Pod Żabami) in Bielsko-Biała, Poland.

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From the fairy tale "Skinnpåsen" (The Leathern Sack), by Anna Wahlenberg. Published in the Swedish folklore and fairy tale anthology series "Bland tomtar och troll" (Among Gnomes and Trolls).