TANK GIRL ANDRASI: The Sixty-Third Spirit is Andrasi or Andras, She is a Great Marchioness, appearing in the form of a Dominatrix Tank-Girl Angel with a Familiar of a Black Night Raven flying over her Tiger Tank while she to ride upon a strong Dog, which will be seen copulating with a young Girl that be her own self of abused youth. Captured Tommy guns will be perceived to be flourishing aloft in both hands while she to espouse the philosophy of Nietzsche that she to teach and argue vehemently about until her sharp Sword tongue becomes all tied up to thence speak clearly in Welsh. (Her name of 'Andras' is of Welsh etymology, which means Warrior, while the ancient Keltic Britons to have known her as the Warrior Goddess 'Andraste', whose name means Invincible.) Her nature is wild and most wanton of rebellious anarchistic attitude whereupon her Master must totally dominate her as her abusing Superior, which she greatly delights in to become as his pink flowered Bitch to mount whereupon she to consider her Master as her Sweetest All-Father; her primary office is to thoroughly sow discords amidst her Masters Enemies, who she to tear apart utterly as his most loving Daughter; such Enemies can either be Corporeal or otherwise Discarnate of malign Spirit to that of afflicting Illnesses! If the Exorcist has not a care to give over what she sexually desires via those most dark erotic Dreams she to bring, she will slay both him and his fellow practitioners. She governs over 30 Legions of Martial Female Spirits like unto her self of Tiger Tank Girl Army.

ANDRASI TANK WAR BITCH VYAGHRAMUKHI DRUDEN DAKINI

The Sixty-Third Goetic Spirit 'Andras' is probaly associated with the Warrior Goddess 'Andraste;' according to Dio Cassius, Andraste was a Celtic war Goddess invoked by Boudica while fighting against the Roman occupation of Britain in AD 61:

"I thank thee, Andraste, and call upon thee as woman speaking to woman... those over whom I rule are Britons, men that know not how to till the soil or ply a trade, but are thoroughly versed in the art of war and hold all things in common, even children and wives, so that the latter possess the same valour as the men. As the Queen, then, of such men and of such women, I supplicate and pray thee for victory, preservation of life, and liberty against men insolent, unjust, insatiable, impious."

Andraste is only mentioned by Dio Cassius; she may be the same as Andate, mentioned later by the same source, and described as ‘their name for Victory; i.e. the Goddess Victoria. Thayer asserts that she may be related to Andarta also. The Goddess Victoria is related to Nike, Bellona, Magna Mater, Cybele, and Vacuna, Goddesses who are often depicted upon chariots. As for the Goddess Cybele whom is equitable with the Babylonian Goddess Ishtar who presided over War and Sex one has a continuous theme of connection. Ishtar was often depicted riding the back of a Lion, not so much that of a male Lion but that of a Lioness; one also had the ancient Norse Goddess Freyja who was known as Freo by the Saxon’s whom rode the back of a predatory Cat while the Hindu Goddess Durga is often depicted riding a Tiger. In Tibetan Buddhist practice one has a group of fierce, animal-headed and flesh-eating Dakinis appearing together with other guardian-deities whom manifest during the 12th day of the Bardo visions. These terrifying Dakinis represent the fierce aspects of the eight more gentle and peaceful Bodhisattva Dakinis. One of these terrifying Dakinis is called Vyaghramukhi whom manifests as a naked Tiger-headed woman with red skin who has her hands crossed, which one could equate with Andraste for there is a continuous Feline theme of connection linking Goddesses across the ancient world who presided over warfare let alone that of unabashed wild and wanton sexuality. Such Goddesses also had links with Wolves and Dogs, which were their animals of war as well as that of being psychopomps into their uterine underworld realms.

The Classical version of Andras often depicts the Spirit as having a head of an Owl, or sometimes that of a Raven whom holds a sabre while riding a black Wolf. Raven's and Wolves were often seen to be animals associated with battlefields whom feasted upon the slain, which in the Norse and Celtic myths are usually seen to be familiars of battle Spirits such as the Valkyries or the Morrigan; although one also has the Norse God Odin who has Raven and Wolf familiars. However, the Owl was usually seen to be associated with the feminine principle such as Witches or in the ancient Greek to be associated with the warrior Goddess Athena who is very much akin to Andraste. However, Athena is not only a warrior Goddess, but also a Goddess of Culture and the Arts in all its forms, which she protects; whereby Andraste may have had the same orientation. The name origin of Andras is from the Greek, which means, Man and Warrior whereby one has the association with the Warrior Goddess Andraste, while in the Welsh Andras means ‘Grace.’ The feminine form of Andras is Andrea or Andreana. Apparently Andras is a very popular name in Hungary.

ENTARTETE KUNST SUCCUBUS OF A DEGENERATE ART MUSE

"Our patience with all those who have not been able to fall in line
is at an end. ... What you are seeing here are the crippled products
of madness, impertinence, and lack of talent. ... I would need
several freight trains to clear our galleries of this rubbish. ...
This will happen soon"

Adolf Ziegler,1937
President of the Reich Culture Chamber

Andrasi is an Artist's Goetic Succubus of a Muse whom inspires the Entartete Kunst Movement, whose primary intention is to make a mockery of the Nazi regime in WWII Germany, which attempted to eradicate all Modern Art, this in turn feeds into the present concerning those individuals or Politicians whom seek to control the Arts. The English translation of Entartete Kunst is Degenerate Art; such Art was banned by the Nazi regime on the grounds that it was un-German or Jewish Bolshevist in nature, and those identified as Degenerate Artists were subjected to sanctions. These included being dismissed from teaching positions, being forbidden to exhibit or to sell their Art, and in some cases being forbidden to produce Art entirely let alone that of being sent to the concentration camps.

The Artist's of the Entartete Kunst movement see themselves as being at war with the Politically Correct mindset influencing public perceptions, which the Entartete Kunst Artist's see as being essentially Fascist of orientation and no different of temperament to that of the Nazi regime in WWII Germany. The Politically-Correct mindset, which was engineered by the Nazi Regime invariably led to the public perceiving other human beings as being but beasts, which thereby led to the Holocaust; whereby the Artists of the Entartete Kunst Art Movement are totally at war with the so called moral majority of the Political Correct, which they perceive as being none other than that of Theocratic New-World-Order Mind-Control Viral Meme whose insidious Fascist tendencies influenced the Nazis in the first place; hence their Art is usually designed to shock public sensibilities in order to wake them up. For example, the mode of dress, which Andrasi of an Enartete Kunst Artist's Muse will tend to wear will be that of a fetish Nazi uniform whose symbolism will have been re-orientated towards that of a symbolic expression of the erotic Nigredo of the black, whereby having a close affinity with the Goth and Punk scene, although some will see her as being more of a Hippie Emo-Goth due to her Psychadelic philosophy to merge with Death Metal Nietzsche. The term of the Nigredo is derived from Alchemy, which describes the breaking down of form as well as that of Sex and Death, all three of which equates with Orgasm; whereby the Degenerate Art, which Andrasi inspires will reflect such themes like that of H.R Giger's erotic Artistic creations or that of Anarchistic underground Comic Art and everything else in between. The symbol, which this Degenerate Artist’s Muse will use to symbolise her office is that of the Deaths Head, Skull and Cross-Bones whose symbolism she associates with Trance induction whereby leading to a connection and heavy involvement with Automatic Art and Surrealism whose perceptual tools are utilised of Occult orchestration in order to break through the collective Brainwash of the Subconscious Mind.

Andrasi's Skull and Cross-Bone Society of Degenerate Artist's will no doubt utlilise the date of 322BC when Aristotle was born to reverse and thereby change into Runes whose summation leads to another Rune of an 'X' at whose midst of Cross-Bones they will place a Skull while playing a game of Exquisite Cadaver in a graveyard; of course, such a midnight meeting of an underground Society would not be complete without a Cannibal banquet whose cuisine is that of sculpted sweets in the bodily forms of famous Hollywood Starlets.

One of the reasons why many of the Degenerate Artist's of the Entartete Kunst Movement have a fixation on pre-WWII Germany of the Weimer period is because it was the then leading centre of the Avant-Garde, the birthplace of Expressionism in Painting and Sculpture, of the atonal Musical compositions of Arnold Schoenberg, and the Jazz-influenced work of Paul Hindemith and Kurt Weill; it was also a leader in modern film with the likes of Robert Wiene's, The Cabinet of Dr. Caligari (1920), and F.W. Murnau's Nosferatu (1922), which brought Expressionism to the cinema; whereby the Entartete Kunst Movement seeks to build upon such an Artistic influence to take further.

The Nazis viewed the culture of the Weimar period with utter disgust. Their response stemmed partly from a Conservative aesthetic taste, and partly from their determination to use culture as a propaganda tool. On both counts, a Painting such as Otto Dix's War Cripples (1920) was anathema to them. It unsparingly depicts four badly disfigured veterans of the First World War, then a familiar sight on Berlin's streets, rendered in caricatured style. Featured in the Degenerate Art exhibition, it would hang next to a label accusing Dix, himself a volunteer in World War I, of "an insult to the German heroes of the Great War".

   As dictator, Hitler gave his personal taste in Art the force of law to a degree never before seen. Only in Stalin's Soviet Union, where Socialist Realism was the mandatory style, had a state shown such concern with regulation of the Arts. In the case of Germany, the model was to be classical Greek and Roman Art, seen by Hitler as an Art whose exterior form embodied an inner racial ideal.

The Entartete Kunst Artists often celebrate as an anniversary the first opening of the official Nazi exhibition of Entartete Kunst in order to remember all those Artists whom were persecuted by the Nazis, which first opened in Munich on the 19th July 1937. The original Entartete Kunst exhibition opened one day after the first "Great German Art Exhibition" premiered. The Entartete Kunst exhibition was a culmination of Hitler and Goebbels' purge of all remaining Modern Art held in both public and private collections in the Reich, the exhibit was designed to ridicule creative works not upholding "correct" National Socialist virtues, whereby the Degenerate Artists now do the reverse in order to win back the once sacred meaning of the Swastika since it has been made into an emotively potent Symbol, which stirs the Subconscious Mind of the collective.

The exhibit was held on the second floor of a building formerly occupied by the Institute of Archaeology. Viewers had to reach the exhibit by means of a narrow staircase. The first sculpture was an oversized, theatrical portrait of Jesus, which purposely intimidated viewers as they literally bumped into it in order to enter. The rooms were made of temporary partitions and deliberately chaotic and overfilled. Pictures were crowded together, sometimes unframed, usually hung by cord. The first three rooms were grouped thematically. The first room contained works considered demeaning of Religion; the second featured works by Jewish Artists in particular; the third contained works deemed insulting to the women, soldiers and farmers of Germany. The rest of the exhibit had no particular theme.

Speeches of Nazi party leaders contrasted with Artist Manifestos from various Art Movements, such as Dada and Surrealism. Next to many Paintings were labels indicating how much money a museum spent to acquire the Artwork. In the case of Paintings acquired during the Bank 'orchestrated' post-war Weimar hyperinflation of the early 1920s Great Depression, when the cost of a kilo loaf of bread reached 233 billion German marks, the prices of the Paintings were of course greatly exaggerated. The exhibit was designed to promote the idea that Modernism was a conspiracy by people who hated German decency, frequently identified as Jewish-Bolshevist, although only six of the 112 artists included in the exhibition were in fact Jewish. However, the truth of the matter was that certain countries outside of Germany did not desire the Communists gaining any influence in German politics whence the Nazi's were financially aided into power upon the back of the Reichstag fire, which of course the Communist's were not involved in at all apart from being turned into scapegoats of perceived Terrorists.

More than 650 important Paintings, Sculptures and Prints as well as Books and Musical notations were exhibited in this, the most widely seen exhibition of Modern Art. In Munich alone two million visitors came to this exhibition and when it toured Germany and Austria for a further three years, another million people saw this exhibit, whereby they were subliminally influenced to accept the horrors to come.

The exhibition was organized by such subject matter as "Insult To German Womanhood" and "Mockery Of God;” for at the end of the day the Nazis were essentially Christian. There were other slogans painted on the walls, for example:Insolent Mockery Of The Divine Under Centrist Rule, Revelation Of The Jewish Racial Soul, The Ideal - Cretin And Whore, Deliberate Sabotage of National Defence, German Farmers - a Yiddish View, The Jewish Longing For The Wilderness Reveals Itself - In Germany The Negro Becomes The Racial Ideal Of A Degenerate Art, Madness Becomes Method and Nature As Seen By Sick Minds; even so called intellectual museum bigwigs called this the "Art of the German people"

The Entartete Kunst exhibition drew upon sensationalism to incite controversy and public furore. Minors were barred from the show, the pretext being that decent German youth needed to be shielded from the depth of the Artworks obscenity, lest the future of the Reich be corrupted, which is somewhat akin to that of the present concerning those who seek to control the content of Comic Art and Video Games as well as the Internet while war to rage in the Middle-East.

Entartete Kunst portrayed the eclipse of an age of "decadence and chaos", while the Great German Art exhibit heralded in the dawn of a new epoch of Governmental control over the Arts: sanitized, uninspired, and devoid of dissent, which one can see of recurrence into the present, within many a Politically-Correct driven Art Gallery. The control is far more subtle now, where Artist's fear being ostracised by the majority whom have been ensnared by a politically orchestrated perception of soft Fascism.

Entartete Kunst was just the tip of the iceberg: In 1937 alone, more than sixteen thousand examples of Modern Art were confiscated as being 'degenerate' by a committee headed by Joseph Goebbels, Hitlers second in command (and Minister for Public Enlightenement and Propaganda)

The Artistic Movements, which the Nazis condemned as being Degenerate Art were: Dada, Cubism, Expressionism, Fauvism, Impressionism, New Objectivity, Bauhaus and Surrealism; whereby Andrasi encompasses them all as an ever watchful Owl eyed Anarchist Art Muse of a Wolf Bitch, while to protect their free expression under her Ravens wing.

On March 20th, 1939, the Degenerate Art Commission ordered over one thousand Paintings and almost four thousand Watercolours and Drawings burned in the courtyard of a fire station in Berlin. Other works were auctioned off to the highest bidder such as the auctioning of Van Gogh's 'Self Portrait' which was sold to the winning bidder, a Dr. Frankfurter for $US 40.000 at Gallerie Fisher, an Auction House in Lucerne, Switzerland. The final solution for Artwork deemed unacceptable for public consumption was complete, however, Andrasi says otherwise who is ever at war with the Politically Correct Moral Majority of Sheepish bovine Minds, for she remembers the Holocaust, which they blindly brought about of insanity, and could do so again of Brainwash madness.

In general Andrasi cannot abide those whom seek to curtail the freedom of Artistic expression or those whom oppress others, whether it be via Religious and Political means or otherwise of violent force to also cover Spiritual, Mental, Emotional or Physical abuse, whereby she is often Evoked in regards to avenging such matters. However, if she is Evoked by individuals who are themselves abusers then Andrasi will surely tear such individuals apart; merely by getting them to see themselves for what they truly are. The reason why Andrasi would assume female form is because she is essentially a Rebel whom Rebels against the all pervasive All-Father Patriarchal system of the Western Occult Tradition whose underlying foundation is Judaeo-Christianity, which also includes Islam and most especially Judaism due to the Western Occult Tradition's fixation upon the Cabbala; all Three systems have clearly negated the Feminine principle whose tunnel-vision Viral Meme perception has propagated its self throughout all levels of culture and that of the Arts, whereby it would follow of Logical Symbolic deduction that the Fallen Rebel Angels are all Female Succubae. One can of course argue the mythic point, but such an argument will be purely based upon 2000yrs of systematic indoctrination into an obvious out of balance Religious paradigm and that of its entwined New-World-Order Theocratic Politics of Centralism, which invariably led to an ensuing Holocaust. Hence, if one Evokes Andras to manifest as a Machismo Demon one becomes fair game to be torn apart since one is inadvertantly feeding into the ongoing oppression of many a Mind due to ones own indoctrination even if one is just seeking ones revenge against a bullying employer.

BODYBUILDER AMAZON FORASI: The Thirty-First Spirit is Forasi or Foras. She is a Mighty President and appears in the form of a strong Female Genie whose skin is of the colour of Quick-Silver, wherein her intellect is of the same quick quality and ever humorous of quip and ribald tale. She will sometimes manifest in ones visions and Dreams to be frequenting a Gymnasium in which she is training whereupon one will be confronted by a beautiful 'She-Hulk' female Bodybuilder of Green oiled up skin wearing a rather revealing silver leotard or to appear as a naked Silver Skinned Strong Woman within a Sensory Rapture Circus of Retinal Delight Erotic acts. However, one may perceive her outside abroad amidst wild and natural places for she relishes travelling from place to place with her fellow Circus entertainers. She can give a thorough understanding to her Master how he may know the virtues of all power-plants, sacred Herbs and Precious Stones so as to heal himself and others with. She teaches the art of Logic and Magickal ethics in all their Parts. If desired she can make her Master Invisible as well as Invincible in his Sorcerer arts and to live very long of healthy vigorous active life, as well as to be most eloquent of communication but only when her Master has made love to her via those erotic Dreams she to bring upon evoking her. She can discover ancient Treasures and Recover things Lost throughout Space and Time to make manifest out of thin air. She rules over 29 Legions of Female Genies likened to those of travelling Goetic Circus.

GOTH GIRL FURCASA: The Fiftieth Spirit is Furcasa, She is a (Knight) Amazon, and appears in the form of a dark and brooding young Goth Girl Lolita who will have a ragged and worn Thirteenth Tarot Card in her hand depicting Death riding a pale coloured Horse, while in her other hand one will see a Sharp flick Knife or Sword, which sometimes to appear as a Raven feathered Quill Pen. Other times she will be seen to be standing over the spectral form of a dispatched female Ghost who had a forked tongue to have taunted her Mind. She will often appear in Dreams to be frequenting a lonely tomb of a Haunted House wildly playing her obsidian black guitar she to call her Scythe, whose floor is a Chessboard, whereupon a large ivory Chess Piece of a Knight will be sometimes perceived before her appearance; she will then demand sexual congress to take place at the point of her knife to drag her Master off to her bedroom filled with ornate old clocks amidst ancient dusty tomes and other occult regalia, which will give one the impression that such is being done behind her parents back in utmost secret. Her haunting ground is that of Goth Clubs to be seen standing alone within shadowed corners looking all forlorn writing Gothic poetry within a small shadow diary or to be on stage strumming her electric stringed Scythe that one to see but no one else to perceive. Her office is to teach the Arts of Philosophy, Astrology, Rhetoric, Logic, Cheiromancy, and Pyromancy as well as the Tarot in all their Parts and that of Poetry, which she to do so perfectly. It is said that she bestows Immortality when making love to her whereupon Time will no longer have a hold over her Masters corporeal frame as well as to bestow the understanding of Serial-Reincarnation while Alive. She has under her power 20 Legions of Female Spirits like unto her self.