Trasshöhlen, Burgbrohl

Tucked away in the scenic Brohl Valley of the Eifel region, the Trasshöhlen caves near Burgbrohl offer a fascinating glimpse into the area’s volcanic past. These caves are not just striking natural formations; they are remnants of a powerful eruption that shaped the landscape thousands of years ago.

Around 13,000 years ago, the Laacher See volcano, just a few kilometers from Burgbrohl, erupted with incredible force, blanketing the region in volcanic ash and debris. Over time, these layers of ash hardened into a unique rock called "trass," which has been used since Roman times for its exceptional properties in construction. The caves themselves are the result of centuries of mining, where generations of workers carved into the cliffs to extract this valuable material. Today, what remains is an intricate network of tunnels and caverns that wind through the trass cliffs, offering an atmospheric and otherworldly place to explore.

Walking through the Trasshöhlen is like stepping into a different world. The caves are cool and shadowy, their walls bearing the marks of ancient labour, while just outside, the landscape is lush and wild. One of the best ways to experience the area is by following the Höhlen- und Schluchtensteig, or the "Cave and Gorge Trail," which takes hikers through dense forest, past towering rock formations, and directly into the caves themselves. Along the way, the path leads to the dramatic Wolfsschlucht, or "Wolf’s Gorge," where a waterfall tumbles over mossy rocks, and the sound of rushing water fills the air.

The Trasshöhlen are open to visitors year-round, making them a perfect destination for a spontaneous day trip or a planned excursion. A well-marked trail, the "Trasshöhlenweg," provides an informative, self-guided walk with signs explaining the geological and historical significance of the caves and their surroundings. It’s a place where nature and history blend seamlessly, where you can feel both the power of ancient volcanic forces and the human stories that have shaped the land.

Getting there is easy; just a short drive off the A61 motorway, exiting at Niederzissen and following the B412 toward Brohl-Lützing. Parking is available near Café-Restaurant Jägerheim or in Bad Tönisstein, just a short walk from the caves.

Whether you’re a hiking enthusiast, a geology lover, or simply looking for a peaceful escape into nature, the Trasshöhlen caves in Burgbrohl offer an unforgettable experience. With their rich history, breathtaking surroundings, and a sense of timelessness in their cool, quiet depths, they are a hidden gem waiting to be discovered.

Saint or Swindler? Wild Wild Country (2016) vs Osho The Movie (2022)

Few figures in modern spirituality are as controversial as Osho, and few documentaries are as diametrically opposed in their portrayal of him as Wild Wild Country and Osho: The Movie. One is a gripping exposé of power, deception, and unchecked ambition, the other is a carefully curated PR campaign disguised as a film. Watching them back to back feels like stepping into two entirely different realities; one where Osho is a megalomaniacal cult leader presiding over a criminal enterprise, and another where he is a peaceful sage tragically undone by his own followers. The only real question is: which one is selling you a bigger illusion?

Wild Wild Country, the Netflix documentary that took the world by storm in 2018, is an absolute rollercoaster of madness, crime, and spectacle. It doesn’t need to embellish because the real story is stranger than fiction. A charismatic guru moves his thousands of red-robed followers to a small Oregon town, builds a utopian city, and then; because utopian cities never go as planned; everything descends into wiretapping, arson, bioterror attacks, and assassination plots. It’s a documentary that unfolds like a thriller, letting a cast of ex-Rajneeshees, Oregon locals, and law enforcement officials piece together a story that keeps getting wilder by the minute. At its centre, though largely silent for much of the runtime, is Osho himself; his presence looming over every act of devotion, every shady legal manoeuvre, every whispered conspiracy. When he does finally break his silence, it’s to throw his once-loyal secretary Ma Anand Sheela under the bus in the most passive-aggressively divine way possible.

And then there’s Osho: The Movie, a film that seems to exist primarily to rehabilitate Osho’s image, or at the very least, to make sure no one blames him for anything. Here, he is the wise master, the enlightened rebel, the man too evolved to concern himself with petty things like immigration fraud or poisoning an entire town’s salad bars. If Wild Wild Country suggests Osho might have been complicit in the darker elements of his movement, Osho: The Movie insists he was just meditating while his empire crumbled around him. The film bends over backward to absolve him, casting Sheela as the power-hungry villain who took things too far while Osho, poor innocent Osho, simply wanted to spread his message of love. Never mind that he had a fleet of Rolls-Royces or that his movement collapsed in a spectacular mess of legal battles and criminal convictions; the film would rather you focus on his radiant presence and misunderstood genius.

The biggest difference between the two films is how they treat the moral complexity of the story. Wild Wild Country doesn’t hand you a simple answer. It acknowledges that many Rajneeshees were sincere seekers who got caught up in something far bigger than themselves, that Osho was undeniably charismatic and visionary, but also that the movement was riddled with corruption, cult-like behaviour, and outright criminality. It doesn’t tell you who to believe—it simply lays out the chaos and lets you decide. Osho: The Movie, on the other hand, has no such interest in ambiguity. It isn’t here to make you think; it’s here to make you admire Osho. It cherry-picks the narrative, downplays the scandals, and frames the entire collapse of Rajneeshpuram as the tragic consequence of a few bad apples, rather than the inevitable implosion of an empire built on unchecked power.

If Wild Wild Country is an unsparing dissection of a movement that spiralled out of control, Osho: The Movie is spiritual fan fiction, written for those who still want to believe. One presents the Gita rewritten as a courtroom drama; the other, as a self-help book with all the inconvenient parts removed. The truth, as always, is probably somewhere in the middle; but only one of these films is actually interested in finding it.

My enduring takeaway from watching both documentaries is to hold Osho up as a spiritually developed man who ultimately became drug-addicted (particularly to laughing gas) and by degrees lost control of his own mass movement to opportunistic egoists. While there is no official diagnosis or historical evidence suggesting Osho was autistic, some of his traits invite speculation. His intense focus on certain philosophical ideas, unconventional communication style, disregard for social norms, and periods of isolation could align with characteristics seen in autism. However, Osho was also highly charismatic, performative, and skilled at manipulating social dynamics; traits more commonly linked to personality disorders like narcissism. While it’s unlikely Osho was autistic in a clinical sense, viewing him through a neurodivergent lens opens up intriguing possibilities about how his mind worked and what fuelled his radical approach to life and spirituality. 

Laacher Organ Impulses

Few things in this world capture the grandeur of the divine quite like the sound of a pipe organ filling a sacred space. This was especially true at Maria Laach Abbey on Sunday, March 9, 2025, where organist Gereon Krahforst brought the abbey’s magnificent organ to life with a carefully curated program of Bach’s masterpieces. The selection reflected not only the technical brilliance of the composer but also his deep spiritual insights; affirming the eternal majesty of Bach’s music.

The concert began with the Prelude and Fugue in F minor, BWV 534; a work that exemplifies Bach’s ability to balance somber intensity with an almost architectural sense of order. The deep, brooding tones of the prelude contrasted beautifully with the fugue’s intricate counterpoint; setting the stage for the journey ahead. Following this, Krahforst performed several of Bach’s Chorale Preludes; starting with “O Mensch, bewein’ dein Sünde groß” BWV 622; a piece from the Orgelbüchlein that meditates on human sin and redemption. The long, flowing melody; woven over a subtle yet expressive accompaniment; created an atmosphere of profound reflection.

The program continued with two settings of “Aus tiefer Not ich schrei zu Dir”; BWV 686 and BWV 687; each showcasing a different approach to the same powerful Lutheran hymn. The former, written in organo pleno a pedale doppio; was grand and imposing; demanding mastery of the instrument; while the latter, labeled manualiter; offered a more intimate and intricate meditation. The Trio in D minor, BWV 583; provided a lighter, more lyrical interlude; demonstrating Bach’s mastery of trio textures with its playful interweaving of voices. After this, the concert returned to the realm of faith with the Chorale Prelude “Ehre sei Dir, Christe” BWV 1097; an exultant declaration of praise and devotion.

No Bach organ recital would be complete without a grand finale; and what better way to conclude than with the Passacaglia and Fugue in C minor, BWV 582? This piece stood as one of Bach’s greatest achievements for the organ; featuring a powerful repeating bass line that served as the foundation for an increasingly complex and dramatic set of variations. The fugue that followed built to an overwhelming climax; leaving listeners in awe of Bach’s genius.

Beyond the sheer beauty of the music; concerts like this at Maria Laach Abbey remind us of the organ’s role as a bridge between the earthly and the divine. Whether in the thunderous majesty of the full organ or the hushed reverence of a single sustained note; Bach’s music spoke to the soul; offering moments of both grandeur and peace. As the final notes of the Passacaglia faded into the abbey’s sacred silence; the audience was left in deep reverence. Bach’s music, performed in such a setting, was more than just sound; it was a spiritual experience; an invitation to reflect; to feel; and to connect with something greater than ourselves.

The audience was encouraged to support the continuation of these concerts through donations; ensuring that the tradition of great organ music at Maria Laach lives on. After all, in the words inscribed on the program:

Im gewaltigen Klang der Orgel können wir Gottes Größe erfahren; in ihren stillen Klängen seinen Frieden. (In the mighty sound of the organ, we can experience God's greatness; in its quiet tones, His peace).

The concert program reads:

Maria Laach
Laacher Organ Impulses
Sunday, March 9, 2025, 16:00

Gereon Krahforst, Maria Laach, Organ

Program

Johann Sebastian Bach (1685–1750)

1. Prelude and Fugue in F minor, BWV 534
2. Chorale Prelude “O Mensch, bewein’ dein Sünde groß”, BWV 622
3. Chorale Prelude “Aus tiefer Not ich schrei zu Dir”, BWV 686 (in organo pleno a pedale doppio)
4. Chorale Prelude “Aus tiefer Not ich schrei zu Dir”, BWV 687 (manualiter)
5. Trio in D minor, BWV 583
6. Chorale Prelude “Ehre sei Dir, Christe”, BWV 1097
7. Passacaglia and Fugue in C minor, BWV 582

We kindly ask for your generous donation at the exit to support the continuation of the beloved matinée series.

"In the mighty sound of the organ, we can experience God's greatness; in its quiet tones, His peace."

LSD Studies on Artistic Creativity

When I was young, I remember covetously looking up on the bookshelf at my grandparent's house and, amongst their rather fine collection of Reader's Digest subscription tomes, was a book by Gordon Rattray-Taylor called the Science of Life: A Pictorial History of Biology. The first time they allowed me to look in it, I was utterly wrapped by the pictures, photos and stories within. I later became a biologist, and I sometimes think without this early influence, would I have even gone in that direction? Incidentally, my grandparents eventually gave me their copy of the book and I am pleaseed to say it is still a treasured possession. In The Science of Life is a vivid description of 1950's psychological experiments into artistic creativity, which I have summarised below. 

Beginning in 1954, psychiatrist Oscar Janiger embarked on a pioneering study to understand how LSD influenced artistic creativity. Over seven years, he administered the drug to more than 100 professional artists, who collectively produced over 250 drawings and paintings under its effects. One such experiment, believed to be part of Janiger’s research, involved an unidentified artist who was given two 50-microgram doses of LSD, spaced an hour apart. The artist was then asked to sketch a series of portraits of the doctor who had administered the drug.

Over an eight-hour period, the artist created nine portraits, each capturing the shifting perceptions induced by LSD. As they worked, they described their evolving experience, offering a rare window into the psychedelic state and its impact on the creative process. Despite years of research, Janiger later reflected that no scientific consensus had been reached on the core elements of the LSD experience or the precise mechanisms by which the drug could enhance creativity. “Even 45 years after I started my studies,” he noted, “no scientific consensus has emerged clearly defining the core elements of the LSD state. Nor has research illuminated the specific mechanisms by which LSD can be used to stimulate creativity.” Still, he hoped that future studies would build upon his work, ensuring that his early explorations were just the beginning, not the end. You can see Janiger's experiment unfold below:

20 Minutes After First Dose:
Artist Claims to Feel Normal

85 Minutes After First Dose:
I can see you clearly. I’m having a little trouble controlling this pencil.

2 hours 30 minutes after first dose:
I feel as if my consciousness is situated in the part of my body that’s now active;  
my hand, my elbow… my tongue.

2 hours 32 minutes after first dose:
I’m trying another drawing…
The outline of my hand is going weird too.
It’s not a very good drawing is it?

2 hours 35 minutes after first dose:
I’ll do a drawing in one flourish… without stopping… one line, no break!

2 hours 45 minutes after first dose: 
[Agitated and changing medium to Tempera]
I am… everything is… changed… they’re calling…
your face… interwoven… who is…

4 hours 25 minutes after first dose:
[After taking a break, changes to pen and water colour]
This will be the best drawing, like the first one, only better.

5 hours 45 minutes after first dose:
[Holding a crayon]
I think it’s starting to wear off.
This pencil is mighty hard to hold.

8 hours after first dose:

Final drawing. The intoxication has worn off.

References:

Rattray-Taylor, G. (1967). The Science of Life: A Pictorial History of Biology. Panther. 

https://www.learning-mind.com/nine-drawings-experiment/

https://www.openculture.com/2024/05/artist-draws-9-portraits-on-lsd-during-1950s-research-experiment.html

Rodder Maar in Winter and Summertime

Rodder Maar, nestled in the Eifel region of Germany near the village of Rodder, is a fascinating natural landmark with a somewhat mysterious origin. Unlike many of the other maars in the region, which were formed by volcanic activity, Rodder Maar’s beginnings are still debated. Some researchers propose that it may have been created by a meteoritic impact, citing the absence of typical volcanic ejecta and the presence of magnetic anomalies. However, this remains an open question, with further geological studies needed to confirm the theory.

Over the centuries, Rodder Maar has witnessed significant changes, shaped not only by nature but also by human intervention. In the 19th century, during a time of severe economic hardship, the local population drained the maar to convert it into farmland (Loquis, 2024). With limited arable land available, this was a necessary measure for survival. As economic and environmental conditions fluctuated, the maar alternated between being a lake and a cultivated landscape. Then, in 1997, efforts to restore it began, with the goal of returning the site to its natural state. Within two years, the lake was successfully refilled, marking a major step in the region’s conservation efforts.

Today, Rodder Maar has been transformed into a protected nature reserve, providing a haven for diverse waterfowl and other wildlife. The restoration not only revived an important ecological site but also enhanced the region’s natural beauty. It has since become a popular destination for outdoor enthusiasts, offering scenic hiking routes such as the trail from Königsfeld to Rodder Maar, where visitors can enjoy the peaceful surroundings and observe the rich biodiversity (Outdooractive, 2024). Adding to its charm is the nearby Olbrück Castle, which stands as a reminder of the area’s deep historical roots.

Whether its origins lie in volcanic activity or a cosmic impact, Rodder Maar remains a captivating landmark. Its transformation from farmland back to a thriving natural habitat is a testament to the power of conservation efforts, ensuring that this unique site continues to be appreciated for generations to come.

Below I have included a mash up of photos of visits we have made to Rodder Maar in both summer and winter. I'll let you decide which is which 😉

References

Loquis (2024) Rodder Maar Historical Use. Available at: https://www.loquis.com/en/loquis/5554157/Rodder%2BMaar 

Outdooractive (2024) From Königsfeld to Rodder Maar. Available at: https://www.outdooractive.com/mobile/en/route/hiking-trail/eifel-low-mountains-/from-koenigsfeld-to-the-rodder-maar/55764981 

https://commons.wikimedia.org/wiki/File%3ARodder_Maar.jpg

https://de.wikipedia.org/wiki/Rodder_Maar