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saatanallinenraamattuAnton LaVeyn Saatanallinen Raamattu on lajissaan klassikko, oli teoksesta sitten mitä mieltä tahansa.

Nyt jo kuopattu pienkustantamo Voimasana julkaisi kirjan kovakantisena laitoksena suomeksi vuonna 2007. Opus on nykyään keräilyharvinaisuus. Huutonetissä teosta on myyty, silloin harvoin kun sitä siellä on näkynyt, n. 70 euron hintaan. Todennäköisesti hinta ei tule tuosta laskemaan jatkossakaan.

Teoksen suomenkielisessä versiossa on Peter Gilmoren standardiesipuheen lisäksi kotimaisten Wookin ja Tapio Kotkavuoren esipuheet. Molemmat herrat ottivat osaa myös kirjan käännöksen oikolukuun.

Mesikämmen kysyi ukoilta, josko heidän esipuheensa voisi nyt muutaman vuoden jälkeen julkaista blogissa – niiden perään kun on kyseltykin aika ajoin. Molempien vastaus oli myöntävä, joten Mesikämmen saa ylpeänä esittää nämä tekstit ensikertaa netissä kirjoittajien luvalla kaikelle kansalle.

Kuten itse kirjassa, niin myös tässä blogissa julkaistaan ensin Kotkavuoren esipuhe. Huomenna taas on vuorossa Wookin esipuhe Summa Theologia Diabolicae.

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Tulen ajan aamunkoitteessa

Melko pian erään Noitien Työpajani oppilaan, kolumnisti Merla Zellerbachin, aviomies teki jotain hyvin merkittävää. Hänen nimensä oli Fred Goerner ja häneltä oli juuri julkaistu kirja nimeltä The Search for Amelia Earhart. Fred sanoi, että minun pitäisi kirjoittaa raamattu. Hän oli varma, että se löytäisi kustantajan. ”Hetkinen”, sanoin. ”En ole kirjailija, en ole koskaan ollut, eikä minulla ole koskaan ollut sen suuntaisia pyrkimyksiäkään.” ”Ei se mitään, älä huoli”, sanoi Fred. ”Sinä pystyt siihen.” Hän esitteli minut kirjalliselle edustajalleen, Mike Hamilburgille, joka puolestaan lähetti erään miehen tapaamaan minua. Hänen nimensä oli Peter Mayer, ja hän oli dynaaminen uusi toimittaja Avon Booksissa. Puhuttuamme hieman, Peter kysyi minulta: ”Miten pian saisit sen valmiiksi?” Kuten kaikki muukin elämässäni, myös tämä oli kutakuinkin odottamatonta. En ollut koskaan aikaisemmin kirjoittanut kirjaa, saati sitten raamattua. Varsinkaan johonkin sovittuun aikatauluun. ”Kerrot vain miten asia on”, Peter jatkoi. ”Hyvin se menee”. Ja niin minä kirjoitin. Loppu on historiaa.

– Anton LaVey (1)

Millaiseen maailmaan Saatanallinen Raamattu syntyi? Millainen oli se kulttuurinen ilmapiiri, Zeitgeist, mistä se nousi ja mistä se alkoi vaikuttaa? Suurin osa tämän teoksen nykyisistä lukijoista eivät olleet edes pilke vanhempiensa silmäkulmissa kun markkinoille ilmestyi tämä (post)modernin magian ja maagisen maailmankatsomuksen eräs tunnetuin klassikko. Siksi lienee paikallaan hieman valottaa edellä mainittuja teemoja, sekä muita teoksen syntyyn ja taustaan liittyviä asioita, joita ei yleensä tarpeeksi tunneta tai muisteta. Ne kuitenkin antavat syvyyttä ja kontekstia LaVeyn mestariteokselle, ja sellaisina ehkäisevät teoksen lukijaa sortumasta 6. saatanalliseen syntiin – perspektiivin puutteeseen (2).

1960-luku oli suurten muutosten aikaa. Jotain aivan uutta ja mullistavaa oli alkamassa ja sen jonkin kosketus tuntui olevan jo aivan nurkan takana. Vuosikymmenen läpi puhalsivat tuulet, jotka tulivat perustavalla tapaa muuttamaan ihmisten käsitystä itsestään ja maailmasta, niin fyysisesti, sosiaalisesti kuin psyykkisestikin. Joinakin historiallisina viitepisteinä näistä asioista käyköön mm. rotumellakat Detroitissa ja Los Angelesissa, Bobby ja John F. Kennedyn sekä Martin Luther Kingin salamurhat, kylmä sota, yhdysvaltalaisten kommunismin pelko, Sikojenlahden ja Kuuban kriisit, Vietnamin sodan vastainen ”flower power” hippiliike, ”vapaa seksi”, ehkäisypilleri, feminismi, psykedeeliset huumeet ja mielenlaajentaminen, ennennäkemätön rock-musiikin hyökyaalto radioasemien ja vinyylisten single-levyjen kautta, Woodstock-festivaali, the Beatles, the Doors, transistoriradiot, Yhdysvaltojen ja Neuvostoliiton välinen kilpajuoksu avaruuteen ja kuuhun, Charles Manson ja hänen ”perheensä” isku hippiliikkeen idealistiseen kuplaan, sekä Berliinin muurin nouseminen kolmeksikymmeneksi vuodeksi Itä- ja Länsi-Saksan välille.

Suomeen monet näiden asioiden aallot rantautuivat lievemmässä muodossa kuin ne muualla maailmalla velloivat, mutta yhtä kaikki, ajan henkeen myös meillä kuului poliittisuus, radikalismi ja rakennemuutos. Se oli aikaa, jolloin Suomesta rakennettiin ns. hyvinvointivaltiota (3). Vapaa-aika lisääntyi, lauantaista tuli sunnuntain lisäksi vapaapäivä. Ihmiset muuttivat maalta kaupunkeihin. Keski-oluen myynti vapautui. Matkailu lisääntyi. Toisin kuin Yhdysvalloissa, Suomessa älymystö oli selkeästi kallellaan vasemmistoon päin ja rienasi tältä pohjalta 40- ja 50-lukulaisia arvoja sekä yhdysvaltalaista kapitalismia. Vanhanpiianvero poistui maassamme 1968. Seksuaalisuus oli kuuma aihe myös meillä. M.A. Numminen ja Viisi Vierasta Miestä -yhtye ja Visuaalinen Varietee aiheuttivat Jyväskylässä 1966 skandaalin pilkkaamalla vallitsevia sukupuolinormeja. Taideteollisen korkeakoulun opiskelijat saivat kiss in -tapahtumallaan, jossa mukana oli fallospatsaita ja sukupuolivalistusoppaiden teksteihin pohjautuvia jenkkoja, paikalle kaksi poliisiautoa. Pentti Saarikosken, itseoikeutetun suomalaisen 60-luvun personifioituman, käännös Henry Millerin Kravun Kääntöpiiristä takavarikoitiin yleisen moraalin vastaisena. Olivatko nämä tuoreen ”Saatanallisen Ajan” merkkejä pohjoisessa maassamme? Anton LaVey olisi varmaankin sanonut ”kyllä” (4). Uusi ja vanha aika ottivat yhteen, ja uuden ajan edustajat tiesivät olevansa niskan päällä ja nauroivat vanhalle polvelle, joka teki itsestään naurettavan yrittäessään lamaantuneena pitää kiinni vanhoista arvoistaan ja tavoistaan. Suuntaa ei voinut pysäyttää.

Astrologit paikansivat 1960-luvun ns. Vesimiehen ajan aamunkoittona, ja hipit ja new age -liike laajemminkin yhtyivät näkemykseen riemuiten. Ehkä tunnetuimpiin tämän ”rauhaa, rakkautta, ja harmoniaa” -näkemyksen esiintuojiin populaarikulttuurissa kuului 1967 Yhdysvalloissa syntynyt Hair-musikaali, jonka avauslaulussa Vesimies lauletaan tämä on Vesimiehen ajan aamunkoitto! Laajemmin, Vesimiehen ajan voi tiivistää viittaavan muutokseen perinteisistä uskonnoista ja normeista huomattavasti yksilöpainotteisempaan aikaan ja siihen liittyvään solidaarisuuteen. Mielenkiintoisesti kyllä, ja asian luonteelle osuvastikin, tähän yksilöllisyyden, rauhan, rakkauden ja harmonian aikaan kuului paljon myös kasvukipuisen länsimaisen kulttuurin erilaisia enemmän tai vähemmän väkivaltaisia ilmentymiä.

Yhdysvaltain länsirannikon liberaalista San Franciscosta muodostui pian koko hippiliikkeen ja tämän vasta alkaneen Vesimiehen ajan kehto. Haigh Asburyn kaupunginosaan virtasi nuoria pitkähiuksisia idealisteja kokemaan, jakamaan ja viemään eteenpäin tämän useimmiten kannabiksentuoksuisen ja sateenkaarenväreillä maalatun liikkeen ilosanomaa. Mutta samaan aikaan kun Jefferson Airplane jammasi suomalaisian sukujuuria omaavan kitaristinsa Jorma Kaukosen kera Haigh Asburyssä kappaletta White Rabbit, tapahtui Richmondin alueella, osoitteessa 6114 California Street, jotain aivan muuta.

Anton Szandor LaVey (1930-1997) ei pukeutunut sateenkaarenvärisiin tie-dye-vaatteisiin sen enempää kuin hänellä oli pitkiä hiuksiakaan. Hän pukeutui diabolisen herrasmiesmäisesti, hän oli maalannut talonsa mustaksi, ajanut päänsä kaljuksi, alkanut pitää lemmikkieläimenään Togare-nimistä leijonaa sekä johtanut kotonaan kokoontuvaa ryhmää nimeltä the Magic Circle (5). Tämän ryhmän puitteissa oltiin esitelmöity erilaisista esoteerisista aiheista sekä suoritettu rituaaleja, jotka eivät ehkä aivan kertoneet hippien maailmankuvasta. Näiden asioiden lisäksi LaVey oli 36-vuotiaana, Walpurinyönä vuonna 1966, perustanut the Magic Circlen pohjalta Saatanan Kirkon, joka sai kasvavassa määrin huomiota niin Yhdysvalloissa kuin muuallakin maailmalla.

LaVey näki kotikaupungissaan vellovat hipit ja näihin läheisesti liittyvän new age -liikeen yksinkertaisena ja naiivina vastareaktiona vielä edellisillä vuosikymmenillä toisella tapaa kukoistaneelle konservatiiviselle moraalille ja täten tietysti myös kristinuskolle. ”Tony” näki hippiliikkeessä pohjimmiltaan hyvin paljon samaa kuin kristinuskossa, eikä ollut tyytyväinen kumpaankaan (6). Seksuaalisuuden nostaminen pöydälle oli tosin jotain, mikä omalla tavallaan yhdisti Saatanan Kirkkoa hippiliikkeeseen eräänä keskeisen tärkeäksi nähtynä keskustelun kulmana (7).

California Streetin mustan talon omistaja oli värikäs persoona, jolla oli sekä karismaa ja poikkeuksellisia ajatuksia että kiehtovan eksentrinen koti. Hän veti puoleensa monenlaisia ihmisiä, jotka vaikuttivat ratkaisevalla tavalla hänen roolinsa kehittymiseen sellaiseksi länsimaisen magian erääksi ikoniksi, jollaisena hänet nykyään tunnetaan. Kuten LaVey vuonna 1998 postuumisti julkaistussa viimeisessä teoksessaan Satan Speaks! totesi, tapahtumat hänen elämässään tapasivat olla odottamattomia. Nämä tapahtumat eivät rajoittuneet vain pieniin, yhdentekeviin asioihin. Jokseenkin yllättävä oli ollut jo Saatanan Kirkon perustaminenkin, johon hänet sai ryhtymään mies nimeltä Edward M. Webber (8), joka kuului the Magic Circleen ja jolla oli kokemusta kirkkojen ja voittoa tavoittelemattomien organisaatioiden taloudellisista ja julkisista velvoitteista. Samaan tapaan myös Saatanalinen Raamattu sai alkunsa kutakuinkin odottamattomien käänteiden kautta, kuten tämän esipuheen alussa olevasta LaVey-sitaatista selviää. Ja samoin kuin Saatanan Kirkosta, myös Saatanallisesta Raamatusta tuli luova synteesi jostain omasta ja jostain lainatusta.

Saatanallinen Raamattu näki päivänvalon joulukuussa 1969 Avon Booksin julkaisemana, kolme vuotta Saatanan Kirkon perustamisen jälkeen. LaVeyn mustan talon sisällä oltiin varmastikin sitä ennen moneen kertaan kirjoitettu ja vanhaan tyyliin käsin ja perinteisellä kirjoituskoneella korjailtu teoksen käsikirjoitusta. Tässä prosessissa LaVeyn ruotsalaisia sukujuuria omaava avovaimo ja Saatanan Kirkon ensimmäinen ylipapitar Diane Hegarty esitti tärkeää osaa. Hänen nimensä ei ole turhaan jo tästä syystä teoksen omistussivulla.

Kirjan teksti on pysynyt muuttumattomana ensimmäisestä painoksestaan asti, muutamia poikkeuksia lukuunottamatta. Muutoksiin kuuluvat ensimmäisen painoksen omistussivu, joka on sittemmin poistettu (9), sekä kirjan englanninkielinen esipuhe (10), joka vuonna 2005 vaihtui kolmanteen versioonsa.

LaVey lainasi ja mukaili teokseensa huomattavan määrän niin Ragnar Redbeardia (11), Ayn Randia (12) kuin John Deetäkin (13). Kaikki tämä on toki räätälöyty vilpittömän luovasti LaVeyn ainutlaatuisesta omasta näkemyksestä käsin. Tämän asian yhteydessä sopii mainita, että sekään ei haittaa, että LaVeyn henkilöhistoriakin on laajalti hänen itsensä eri aineksista räätälöimää tarinaa. Kyky yksilön tahtoa maailmassa toteuttavaan myytin luontiin nivoutui itse asiassa oleellisella tavalla LaVeyn henkilökohtaiseen maagiseen filosofiaan, ja tältä pohjalta faktuaalinen tarttuminen vaikkapa hänen henkilöhistoriaansa ei sellaisenaan ole välttämättä osuvaa kritiikkiä häntä kohtaan (14). Saatanallisen Raamatun suhteen voidaan myös huomioida, että kaikkien uskontojen perustajat ovat aina omilla luovilla tavoillaan inspiroituneesti yhdistelleet uutta ja vanhaa oman näkemyksensä mukaisesti. LaVey maalasi teoksellaan väkevän ja häpeilemättömästi yksilöä korostavan lähtökohdan moniin elämän ja olemassaolon kysymyksiin ja vetoaa sen vuoksi yhä edelleenkin uusiin lukijoihin. Kuten Nietzsche, LaVey ei liiemmin argumentoinut, eikä ollut valtavan systemaattinenkaan, vaan usein lähinnä sanoi miten asiat hänen mielestään olivat. Ja hän onnistui tässä sanallisena taiteilijana loistavasti – ei mitenkään vaatimattomammin kuin esittämällä modernin satanismin edelleen yleisesti hyväksytyt perusteet niin sen filosofian kuin magiankin lähtökohdissa.

Ennen Saatanan Kirkkoa ja Saatanallista Raamattua länsimaisessa maagisessa kulttuurissa oli toki ollut yksilöitä ja ideoita, joiden voi myös nähdä monin eri tavoin resonoivan erittäin vahvasti yksilöllisyyden käsitteen kanssa (15). Mutta kukaan näistä 1900-luvun puoliväliin mennessä jo kuolleista suurista nimistä ei ollut formuloinut magiaa niin dramaattisesti yksilöä painottaen kuin LaVey, tai tuonut siihen sellaisia uusia elementtejä kuin hän (16). Koskaan aiemmin magiaa ja siihen liittyvää maailmankuvaa ei ollut nähty materialistisena ja hedonistisena. Käsitys magiasta ennen Saatanallista Raamattua oli ollut selkeästi transsendenttisesti virittynyttä, tavalla tai toisella tekemisissä fyysisen maailman lisäksi – ja ehkä ennen kaikkea – sen ylittävien olemassaolon ulottuvuuksien ja entiteettien kanssa. Saatanan Kirkon ylipapin maaginen filosofia on oleellisesti immanenttia, tähän maailmaan pohjautuvaa ja siihen suuntautuvaa. Magialla on tässä materialistisessa maailmankuvassa paikkansa, koska materialistiseen maailmankaikkeuteen kuuluu myös asioita, jotka ylittävät järjen selityskyvyn. LaVeyn maagista filosofiaa värittää läpikotaisin käsitys lihaan sidotusta yksilöllisestä egosta ja sen vastaisesta kollektiivisesta, henkisestä ja sosiaalisesta illuusiosta, sekä näihin liittyvästä moniulotteisesta kudelmasta nautintoa ja tuskaa, indulgenssia ja pidättyväisyyttä. Maagisen filosofiansa LaVey kiteytti edellä mainittuun käsitteeseen indulgenssi (17), mitä hän myös piti Saatanan Kirkosta alkaneen Saatanan Ajan avainsanana.

Saatanan Kirkon ja Saatanallisen Raamatun vaikutus länsimaiseen kulttuuriin on vaikuttava. Hyvän lähtökohdan asian pohtimiseksi saa jo siitä, että teoksen ensimmäisen kerran ilmestyessä Saatanan Kirkko oli edelleen selkeästi kohtuullisen pieni San Franciscon alueen ilmiö, eikä Kirkolla ollut tuolloin kuin reilusti alle 100 jäsentä (18). Sittemmin Saatanallisessa Raamatussa esitetyt ajatukset ovat vaikuttaneet suoraan ja epäsuorasti miljooniin ihmisiin ympäri länsimaista maailmaa. LaVeyn teos on vaikuttanut aina modernin satanismin käsitteestä epäsuorasti myös moniin muihin länsimaisen kulttuurin alueisiin, joita on vaikeampi osoittaa suoraan. Se, missä määrin suurinta osaa ihmisiä länsimaisessa kapitalistisessa maailmassa nykyään ohjaillaan heidän erilaisten halujensa pohjalta, on vahva argumentti Saatanallisen Raamatun 9 Saatanallisen julkilausuman ja siten myös Saatanan Ajan olemassaolon puolesta. Saatanallisen Raamatun kantta koristava Bafometin sinetti (19) on nykyään kaikkialla länsimaissa tunnistettu ja satanismiin itsestäänselvästi liitetty symboli. Taide eri muodoissaan on ylipäätään aluetta, josta Saatanallisen Raamatun vaikutus on varmastikin helpointa löytää. Tämän voi nähdä dramaattisesti jo Roman Polanskin vuonna 1968 julkaistussa elokuvassa Rosemaryn Painajainen (20), jossa Saatanan lapsi syntyy maailmaan ”1966 – vuonna 1 Saatanan aikaa”, Anno Satanis. LaVeyn taidemaailmaan tekemä vaikutus ei ole yllättävää, sillä hänen omaan ajatteluunsa vaikuttaneet ihmiset olivat huomattavassa määrin väkeviä mielikuvia tuottavia taiteilijoita hekin (21). Kaiken tämän pohjalta LaVeyn Saatanan Kirkon ylipapin tittelin lisäksi hänen itse itselleen antama status Saatanan Ajan ja sen sanan Maaguksena, eli hieman yksinkertaistaen sanansaattajana, ei näytä lainkaan mahtipontiselta liioittelulta.

Saatanallinen Raamattu on aiemmin käännetty mm. saksaksi, ranskaksi, tsekiksi ja ruotsiksi. Se on ollut ensimmäisestä ilmestymisvuodestaan asti jatkuvasti saatavilla Avon Booksin helposti tunnistettavana pokkariversiona (22). Voimasanan nyt julkaisema suomenkielinen versio ilmestyy n. yhdeksän vuotta LaVeyn kuoleman jälkeen, n. 40 vuotta Saatanan Kirkon perustamisen jälkeen ja n. 37 vuotta itse tämän teoksen ensimmäisen julkaisun jälkeen. Sellaisena teos mielenkiintoisella tavalla sijoittuu LaVeyn käsitykseen ajasta ja siihen liittyvistä yhdeksän vuoden sykleistä.

Vesimiehen ajan sijaan LaVey näki, että vuonna 1966 alkoi Jään Ajan jälkeen syklisesti Tulen Aika, jota hallitsee ihminen/Saatana. LaVeyn maagisessa aikakäsityksessä yhtä 9 vuoden periodia hallitsee toiminta, jota seuraa yhdeksän vuoden periodi reaktiota edelliseen. Yksi tällainen 18 vuoden yksikkö vastaa ”Työskentelyä”. Yhdeksän Työskentelyä vastaa Ajanjaksoa (162 vuotta), yhdeksän Ajanjaksoa taas Aikaa (1458 vuotta). Yhdeksän Aikaa vastaa LaVeyn mukaan Aikakautta (13122 vuotta) (23). Saatanallisen Raamatun suhteen Työskentelyjä on tähän mennessä ollut kaksi, ja kolmas on juuri alkanut. Tämä tarkoittaa LaVeyn maagisessa ajan määrittelyssä erittäin dynaamista kautta – kolmas Työskentely kokonaisena merkitsee aktiivisempaa aikaa kuin toinen, ja sen lisäksi juuri alkanut uusi yhdeksän vuoden jakso on myös aktiivinen. Satanisteille tämä ja tämän käännöksen paikantuminen tähän aikaan lienee siis merkityksellistä.

Käsissäsi ei ole ainoastaan satanismin vaan myös (post)modernin länsimaisen magian klassikko laajemminkin. Se vastaan länsimaisessa maagisessa perinteessä vaikutukseltaan kutakuinkin Descartesin Meditaatioiden vaikutusta länsimaiseen filosofiaan, siirtymistä vanhan ajan filosofiasta peruuttamattomasti uuteen, radikaalimmin yksilöpainotteiseen ja järkeen perustuvaan aikaan. Teos on kuluneiden vuosikymmenien aikana osoittanut jatkuvan voimansa, jättäen jälkensä valtavaan määrään kirjasta ajattelun aihetta ja inspiraatiota ammentaneisiin lukijoihin. Epäilemättä teos tulee edelleen olemaan monille portti Vesimiehen ajan pimeälle puolelle, Tulen Aikaan, radikaaliin tähän maailmaan sijoittuvaan individualismiin. Ilman epäilystäkään teos oli tähän asiaan ensimmäinen Avain laatuaan, ja sellaisena suunnannäyttäjänä sen historiallista asemaa eivoi viedä pois, eikä mitätöidä.

Contra stupido,

Tapio Kotkavuori

Talvipäivänseisauksena, Turussa, 06 CE.

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Viitteet:

(1) Teoksessaan Satan Speaks!, s. 5. Feral House, 1998 CE. Suom. Tapio Kotkavuori.

(2) Kts. Blance Barton, The Secret Life of a Satanist, kappale The Nine Satanic Sins, jossa LaVey listaa yhdeksän ”saatanallista syntiä”, ja niistä kuudennessa kehoittaa satanisteja ”pitämään aina mielessä laajemman sosiaalisen ja historiallisen perspektiivin”. Feral House, 1990.

(3) Myös Yhdysvaltojen politiikassa tehtiin samalla vuosikymmenellä merkittäviä päätöksiä tähän suuntaan, mm. sairausvakuutuksen suhteen, joka astui maan lakiin presidentti Lyndon B. Johnssonin toimesta 1965. Tämä on mielenkiintoista ajankuvaa, kun miettii vaikkapa sitä, mitä LaVey kirjoittaa Jumalasta ja sairausvakuutuksesta tämän kirjan kappaleessa ETSINTÄKUULUTUS: Jumala – Elävänä tai kuolleena!

(4) Kts. Tämän kirjan kappale Muutamia todisteita uudesta saatanallisesta ajasta.

(5) ”Maaginen piiri”. Ryhmään kuului suuri määrä erilaisia ihmisiä, mm. elokuvaohjaaja Kenneth Anger ja antropologi Michael Harner.

(6) Kts. Tämän kirjan kappale Saatanallinen seksi.

(7) Hyvänä esimerkkinä tästä on mm. Ray Laurentin tekemä ensimmäinen dokumentti Saatanan Kirkosta: Satanis, The Devil’s Mass vuodelta 1969.

(8) Kts. Ray laurentin dokumenti Satanis, the Devil’s Mass, sekä Michael A. Aquino, The Church of Satan.

(9) Kiitoslistassa oli 19 erityistesti mainittua ja 20 muuten kunnianarvoiseksi mainittua henkilöä. Nämä tärkeimmät 19 henkilöä olivat (LaVeyn esittämässä järjestyksessä) Bernardio Nogara, Karl Haushofer, Grigory Yefimovitch Rasputin, Sir Basel Zaharoff, Allesandro Cagliostro, Barnabas Saul, Ragnar Redbeard, William Mortenssen, Hans Brick, Max Reinhardt, Orrin Klapp, Fritz Lang, Friedrich Nietzsche, William Claude Dukinfield, Phineas Taylor Barnum, Hans Poelzig, Reginald Marsh, Wilheim Reich, Mark Twain. Listaan kuului myös ”Yhdeksän tuntematonta miestä”, sekä Togare, hänen lemmikkileijonansa. Myös tämä kirjan täydentäjän, The Satanic Ritualsin, kiitoslista on poistettu teoksen nykyisistä painoksista. Kiitoslistojen poistamissyynä voi arvella olevan LaVeyn halu pitää ajatteluunsa vaikuttaneet tahot piilossa – ja näin ylläpitää häneen liittyvää myyttisyyttä ja sen voimaa. Kts. Asiasta Stephen Flowers, Lords of the Left-Hand Path: A History of Spiritual Dissent. Rûna-Raven Press, 1997.

(10) Saatanallisen Raamatun esipuheet vuoteen 2006 mennessä: 1969-1972: Burton H. Wolfe, 1972-1976: Michael A. Aquino, 1976-2005: Burton Wolfe (päivitetty versio), 2005 -: Peter H. Gilmore. Näistä Aquinon esipuhe löytyy hänen teoksensa The Church of Satan liitteistä.

(11) Kts. tämän kirjan kappale Saatanan Kirja.

(12) Kts. tämän kirjan Yhdeksän saatanallista julkilausumaa.

(13) Kts. tämän kirjan Eenokin Avaimet.

(14) Myytin voima magiassa on suuri, ja tämän tietäen LaVey myös erittäin onnistuneesti rakensi omaa imagoaan. Lukija voi pohtia asiaa mm. tässä teoksessa esitetyn ”pienemmän magian” perspektiivistä (kts. tämän kirjan kappale Saatanallisen magian teoria ja käytäntö). Eräs LaVeyn myytin valottaja on ollut Lawrence Wright Rollings Stone -lehden syyskuun 1991 numerossa.

(15) Mm. Crowley ja Gregorius kuuluivat heihin. Jo lähtökohtaisesti koko maagista länsimaista kulttuuria voidaan pitää yksilöpainotteisena, koska maagikko on siinä perustavalla tapaa vapaa agentti, joka operoi erilaisten olemassaolon ulottuvuuksien kanssa kysymättä siihen lupaa sen enempää kristilliseltä kirkolta kuin muultakaan itsensä ulkopuolisilta auktoriteeteilta.

(16) 1960-luvun taitetta edeltäneitä maagikoita voidaan pitää länsimaisen maagisen renessanssin ensimmäisen vaiheen edustajina, sen jälkeisiä maagikoita sen toisen vaiheen edustajina.

(17) Kts. kappale Indulgenssia – EI pakkoa.

(18) Kirkolla oli ollut jäseniä vuonna 1968 vain 50-60. Kts. Aquino Michael A, The Church of Satan.

(19) Bafometin sinetti ei kuitenkaan saanut alkuaan Saatanan Kirkon kautta, vaan se löytyy kirjallisuudesta jo vuodelta 1897, Stanislas de Guaitan kirjoittamasta teoksta La Clef de la Magie Noire.

(20) LaVey oli elokuvaan ”tekninen neuvonantaja”. Hänen väitettiin myös näytelleen siinä lyhyen kohtauksen Saatanana.

(21) LaVeyn esteettisyyden painotus hänen filosofiassaan tulee esiin hyvin mm. hänen listaamissaan Yhdeksässä saatanallisessa synnissä: niistä viimeinen on esteettisyyden puute. Tämä tietysti on loogista LaVeyn filosofian materialistisen luonteen kanssa. Kts. asiasta Saatanan Kirkon julkaisu The Cloven Hoof, 1987, tai Blanche Bartonin The Secret Life of a Satanist, Feral House, 1990.

(22) University Press julkaisi teoksesta vuonna 1972 kovakantisen version, joka nykyään on keräilyharvinaisuus.

(23) Kts. LaVeyn The Satanic Rituals, kappale The Unknown Known. Avon Books, 1972. Olen kääntänyt Eran vastaamaan Ajanjaksoa, Agen Aikaa, ja Epochin Aikakautta.

– – –

Aiheeseen liittyen:

Kun Tabe Slioor Anton LaVeyn tapasi.

Anton LaVeyn saatanalliset elokuvat (osa 1, 2, 3, 4, 5, 6).

Boyd Rice speaks!

Boyd Rice: An Embodiment of the Wolf’s Hook.

Church of Satan is dead.

Larry Wessel speaks!

Might is Right eli voiman filosofia.

Kenneth Anger, valkokankaan kapinallinen maagikko (osa 1, 2, 3, 4, 5, 6).

Setin Temppelin Otto Varjonen puhuu!

Mitä Pekka Siitoin sanoi Anton LaVeystä ja satanismin historiasta?

Luciferin arkkipiispan nauru.

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I was thinking about Edward Bulwer-Lytton’s famous opening words to his 1830 novel Paul Clifford as I arrived to the Helsinki railway station around 6 PM. It was a dark night and sonically it was going to be pretty stormy too. Boyd Rice, who I had interviewed recently, was in Finland, for the first time ever.

I met Halthan, a darkly dressed gentleman, at the station. There were about two hours till doors of Kuudes linja opened so we had plenty of time to talk about the States, far right, Finnish police, growing chilis, noise music, Finnish punk and metal scene’s history, Leila K., Camilla Henemark of the Army of Lovers, Pekka Siitoin, nazis in general, anal sex and golden showers in Kauko Röyhkä’s novels, languages, recent Merzbow gig and Halthan’s forthcoming Siitoin-themed album over a cup of coffee.

I ordered a glass of cranberry juice. Halthan joyously informed me that it was good for the health of a urinary tract – we are not that young anymore, you know! Yes, time flies.

– – –

We were early at Kuudes linja. People started to flood in pretty soon after doors opened. Lots of old and new friends. Some asked me if I had copies of Nauravat natsit to sell. I needed to inform them that I didn’t have any extra copies anymore and that it looked like that also the publisher had run out of his copies. Apparently also distributors were running out of their copies very soon. The release has become an instant collectors item in less than two weeks.

I was glad to receive positive feedback about the blog from people I knew as well as from complete strangers – sober, drunk, and very drunk. Thanks again.

It was evident, not surprisingly, that many who find past Pekka Siitoin as an intriguing figure are interested in Boyd Rice’s doings as well. There certainly are certain common themes and elements of provocation here, regardless of many differences between these men. I was in good company.

– – –

The group that did warm up to Boyd’s gig was called Sink. I had not heard of them before and I missed most of their gig due to talking with people. Based on what I saw and heard they weren’t that bad. You can find them from here.

Boyd’s gig started with some intro music and film, which was followed by Total war. I guess I was not alone being surprised to hear it as the opening track for the whole gig, but well, some artists do things differently and break the common rules. The normal way would of course have been to place the big hit as the last one or as an encore in the set. Looking at the gig now later, we were lucky that Boyd placed the track in the beginning and not in the end of the set due to technical trouble that took place later.

We heard old songs and new songs. Overall, I think the gig reflected Boyd’s new release Back to Mono. In the CD’s insert Boyd tells that:

Back to Mono represents a return to my roots. It represents a re-exploration of my first love: noise. I was intrigued to see if after thirty years I could revisit my original source of inspiration and still bring something new to the table. I think I have.

If in the past Boyd has used instruments like rotoguitar, this time he brought to the stage some fairly large electronic construction tool. I wouldn’t be too surprised to hear if that instrument ended up on the stage because Boyd saw some construction workers using it outside the venue earlier during the day and asked them if he could lend it for the show. That is more than plausible.

Pekka Siitoin fans in the audience were heard between some tracks. If my memory does not fail me, I heard someone shouting Helllvetin hyvä!, Jawohl, katkase! and Jaska, parveke auki! Guys from Kuolleen Musiikin Yhdistys claimed later that I could be considered responsible for these interruptions due to my Siitoin related “cultural work”.

At some point someone cut the cheese in front of me in the packed audience. Next two guys next to me took poppers. I wondered what would happen next… and then Boyd’s equipment said kaput. Boyd stepped out from the stage leaving sound waving fairly loud upon the audience. I was thinking that the sound would develope into feedback mode soon and that this was all intentional part of the show. It wouldn’t have been the first time Boyd would have tested audiences ears. But well, it soon became clear that there was some serious technical problem. I was instantly reminded of what I had read about Boyd’s gig in Moscow just three days earlier. There were some trouble with microphones and such.

Boyd didn’t stop the gig there, though. He told that he could still read us some poetry. The audience cheered. We heard Nursery rhymes from mother goose, Two little blackbirds, Birds of a feather, Alone with the calm, How God makes little girls and Silence is golden. The gig was over.

– – –

I had an honor to meet the man already before the gig and I got invited backstage afterwards. There were some people shaking hands with Boyd and asking records and copies of Twilight Man autographed. Albert Witchfinder from the past Reverend Bizarre was one among them. He was a bit tipsy and told Boyd he looks much better nowadays than in his youth. Boyd seemed amused.

I had noticed during the gig that someone was filming the event with professional equipment. The same guy was now backstage starting an interview with Boyd. I couldn’t believe my eyes when I realized that the guy was from YLE, Finland’s national public service broadcasting company. Some parts of the interview could be summarized somewhat like this:

YLE: Do you want to total war?
Boyd: No, no, I was young when I wrote the lyrics…
YLE: You are very interested in satanism…
Boyd: No, no…
YLE: You are very political…
Boyd: NOOOO! No, no!

The rest of the interview dealed with Boyd’s style, American politics, and so on. The whole interview wasn’t so bad as it sounds like from the above summarization. I hope YLE will actually air that interview some day. Here is a little sample I filmed of it.

When the interview was finished the YLE journalist asked me to take a photo of him with Boyd. Instead of saying “smile” before pressing the button I said ”why the feminist crossed the street?”… to which Boyd replied ”…to suck my dick!” The journalist looked a bit perplexed but I think the photo turned out nice.

I didn’t do an interview with Boyd this time but we talked of lots of things. Australian cover bands, such as Björn Again, time before the internet, handwritten letters, rare movies, San Francisco and it’s Chinatown and mafia, Boyd’s Moscow gig. He told he had not had time to visit the architect Saarinen museum, something which he would have liked. Instead he had just slept in his hotel room after arriving to Finland. His next stop is Poland and London follows after that.

Two gentlemen from Kuolleen Musiikin Yhdistys who had promised me a ride back to Turku entered the room. Our driver told me that we should be going soon. Around that time a girl who had handled Boyd’s merchandice brought Boyd a new bottle of wine because the previous one was stolen. At this point the other gentleman from Kuolleen Musiikin Yhdistys, not the driver, somewhat under the influence of alcohol, asked from Boyd pointing towards the fridge: Are you going to drink these beers now too that you got a bottle of wine?

Boyd smiled, made a graceful hand gesture and said: No, so please, have Boyd’s beer if you want some! Well, we did and the discussion continued…

Thanks for the gig, talks and beer, Boyd!

– – –

Related:

Boyd Rice Speaks!

– – –

Boyd Rice live at Kuudes Linja 6th November 2012 video: pt. 1 / 2 / 3 / 4 / 5

Boyd Rice live at Kuudes Linja 6th November 2012 photos:

Video and photos by Mesikämmenen blogi.

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Boyd Rice 2012. Photo: Mute Records.

I had my first contact with Boyd Rice in the early 90’s after hearing his appearance in Bob Larson’s radio show. I wrote a letter to Boyd (there were no emails or internet in general use back then) who replied and kindly sent me a copy of Abraxas newsletter.

Years passed. The last year Boyd declared that the Church of Satan was dead. Soon after that I made an interview with Larry Wessel who had made a documentary film called Iconoclast about Boyd. At this point I was already thinking that an interview with Boyd would be great and the idea was cooking up.

Finally, after some 20 years since my first contact with Boyd, I contacted him again. He was fine about an interview to the blog and I started to make questions. The interview was made one question at a time over some two months. When the interview began I had no idea about Boyd’s upcoming gig in Helsinki, Finland – that created a whole new dimension to the interview!

In the interview Boyd talks about his current projects, the Church of Satan, Anton LaVey, Bob Larson, Iconoclast, pranks, reincarnation, Scandinavia, ABBA, Finland, architect Eero Saarinen and many other things.

Without further ado, ladies and gentlemen, Boyd Rice speaks!

– – –

Present

Hi Boyd, how are you doing?

I couldn’t be better. Just redecorated my apartment and painted my black walls metallic silver. It took weeks, but it’s amazing! Life is good. My girlfriend is moving in with me and we’re making room for her shoes.

If this interview could take place anywhere, anytime, where would you take us to talk?

I used to know a french scholar who had the keys to Jean Cocteaus apartment in Paris, and it hadn’t been touched since Cocteau died and this guy really wanted me to see it. That would be the fetishistic fantasy place. Unfortunately this guy got some deadly disease and ended up killing himself. So I guess my modern answer would be my own apartment here in Denver. Or perhaps The Madonna Inn.

There is a new book out from you, Twilight Man. Tell us about the book, what is it about, where to get a copy?

It is about my life in 80’s San Francisco and how I came to develop a sense of “cultural pessimism”, I guess. It hasn’t gotten a bad review insofar as I know. People find it a fun read, even though it is ugly and brutal.

You can get it on the internet or just ask God for a copy…

There is also a biography under work about you. Who is the author, when can we expect to get the book into our hands?

Nina Antonia. Her Johnny Thunders bio is being made into a movie in Hollywood, so maybe someday when I’m dead there will be a movie too. We can hope…

Talking a bit more about books, you are one of the authors who have been ripped off by Creation Books. What do you think, will there be any chance of getting “James Williamson” to court to face justice for the fraud he has committed?

I seriously doubt it.

What is the most interesting book you have read lately? Why it was interesting?

The last book I read was the Nina Antonia bio of Johnny Thunders. It was interesting because his life was interesting and because Nina’s a great writer and brings a lot of insight to her subject-matter.

– – –

Boyd with Anton LaVey. Photo: Carl Abrahamsson.

Church of Satan

How your first meeting with past Anton LaVey went? Where did you meet, any special jokes, wisdoms, or other notes about the meeting to share with us?

Anton met me at a film festival I was associated with and invited me to his house. I went over the following week and went back every week until I left the city. The stories he told me are all in his bio, which was essentially dictated to Blanche as he told them to me.

You wrote the last year a text where you declared yourself a High Priest of the Church of Satan and in the same text you also declared that the Church of Satan doesn’t exist anymore. This naturally caused some talk. I haven’t seen any reply from the Church to you regarding the text anywhere but I guess you have been receiving some feedback privately. What kind of feedback you have received? Has Peter H. Gilmore said anything about your text?

Of course not. Gilmore is a pussy. Everyone in the C.o.S. loves me and are bored to death of him and he knows it. Anton had a very dark heart and it sickens me to see people whitewash him and present his creed as pure rationalism. He was larger than that.

Rationalism and mysticism cannot co-exist. The latter speaks to soul oriented values and to the unknown (which man is trying to fathom). The former is a conceit that lets man think he has a handle on everything (he doesn’t). I would go so far as to say rationalism is the ultimate lack of logic. It certainly has no place in “occult” doctrine.

I think it’s easy for Gilmore to misrepresent LaVey because he didn’t really know him too well. I was at the Blackhouse all the time.

I think it’s easy for Gilmore to misrepresent LaVey because he didn’t really know him too well. I was at the Blackhouse all the time. That’s why I will defend Anton till the day I die, and that’s why I take the stance I do on the modern C.o.S…

I heard from a scholar of comparative religions the last year that Gilmore works or has been working in a Walmart, in a not so high position, while holding the status of the High Priest of the Church of Satan. I think there is nothing that special in someone working in a Walmart per se, but if someone is a High Priest of a church that is, or gives an impression of being, all about “might is right” and power in this world, this seems a bit amusing. Do you know if the claim is true? What kind of thoughts this brings to your mind in general?

I seriously doubt that is true, but a lot of people with a power philosophy have to punch a time-clock, that’s just the nature of the world. At least they have the notion of rising above that and in time perhaps they will. But anyone wishing to criticise Gilmore needn’t tell lies about his job… but rather point out how he’s bastardizing ASLV’s thought.

What do you think Anton would think of Gilmore and others who run the Church of Satan nowadays? What would he say to them?

Much what he said to me when he was still alive – that they were what Stalin called “useful idiots”. He’d hate people trying to cast him in a “good light”. He often said to me that he wondered why Satanists wanted to present him as a Good Guy. “I’m not a good guy” he would yell, “I’m a miserable sonofabitch!” That’s the LaVey I knew.

And he was much darker, very much darker than anyone is willing to admit these days. He was brutal to the max. That’s why I still love him so much… he was maybe the last unapologetic figure of the 20th century.

Whether LaVey agreed or not Satanism was a cult of personality. C.o.S. sans LaVey is like fascism without Mussolini… and a cult of personality requires someone who has a personality. It currently lacks that.

Whether LaVey agreed or not Satanism was a cult of personality. C.o.S. sans LaVey is like fascism without Mussolini… and a cult of personality requires someone who has a personality. It currently lacks that.

I think LaVey’s big mistake was to violate one of his primary directives… to assume others are like unto you and capable of the same things as you are. And they’re not. Elitism is not something you should mass-market. You can of course and it will be very successful. But it will never work out. That to me, with certain notable exceptions, is The Church of Satan today. I hope this will be my last commentary on all this. And I’d be willing to bet they wish the same!

What do you think of satanism nowadays? Has it lost its potential it once had? Do you still consider yourself a satanist – or is there nowadays a better, more updated term to describe the same individual spirit?

I rarely ever “think of satanism” unless asked about it in interviews. But since you asked, I think it is fundamentally flawed in certain of it’s basic premises. I don’t agree with the primacy of individualism any more than I believe that all men were created equal. If individualism existed (which I seriously doubt) I’m not sure what function it would serve. This was an idea which had great appeal in the post-50’s decade of conformity, but has since then not produced much of value in real world terms — more especially in the C.o.S. where it is a fundamental principle. And within that group everyone dresses alike, speaks alike and thinks alike… all based on a mass-market paperback from, what, 40-some years ago?! Am I missing something?

I rarely ever “think of satanism” unless asked about it in interviews. But since you asked, I think it is fundamentally flawed in certain of it’s basic premises.

By the way, I said much the same thing to LaVey when he was still alive, and he had to concur with me. He found it rather depressing. His exact words were “I’ve created a monster”.

– – –

Iconoclast and things involved

Larry Wessel made a lenghty documentary Iconoclast about you that came out the last year. What do you think of the film?

Four hours of me me me has got to be great by anyones standards. But again, it was an attempt to whitewash me and present me as Mr. Fun. That is part of the story, but not the whole story. But most people seemed to like it.

I noticed that you bought and used in the film some nasal snuss. What is your favorite brand? How about the regular “under-your-lip”-type of snuss that you can get f.e. in Sweden and Norway?

I like Gawith Apricot Snuff, Dr. Rumneys, & McCrystals Violet Snuff. Don’t care for chewing tobacco or dental snuff.

I also like Al Capones Vanilla Snuff, which I’ve only ever found in the Leipzig train station.

One of the things that comes to mind from the film is the great spectrum of things where you have been involved with artistically and otherwise over the years. Is there something that you still would have liked been included in the film or excluded from it?

I’m not particularly bothered either way. That film is from two years ago at least and not me or anyone remembers what was or wasn’t in it. At least it wasn’t boring.

One of the more surprising things in the film were your thougths about reincarnation – you said in your talk with Bob Larson that you consider nowadays that a reincarnation might be possible. Do you still think that way? What has made you to consider that reincarnation might be possible?

I’ve always known things that I’ve never been taught. At a very young age my son said to me “when you were a child I was a man, now I’m a child and you’re my father”. This seemed quite odd to me at the time. When I visited my fathers sister a week later I told her of this conversation, and showed her a picture of my son. She said that the strange red marks my son was born with on his nose were identical to the scars on my grandfathers nose that he got when his model T truck was driven over a cliff. This sort of thing is very common in tales of reincarnation. As a child I had very specific memories of things and places I had never experienced. When I asked my parents why I had these memories they told me they were probably only dreams, but I knew they weren’t.

I’ve always known things that I’ve never been taught.

I still think ideas like genetic memory or ancestral recall are valid, at least in some cases, but my actual theories about reincarnation are too complex to explain in a format like this.

Bob Larson is featured in the film among many other persons. Your encounter with him in the film is pretty different from the early 90’s radio shows where he interviewed you. Has your view of Bob changed during this time? Do you think Bob really believes in the stuff he talks about or is he really like P.T. Barnum, as you once stated in his radio show?

Bob has been extremely consistent ever since he published his first book, in around 1970 or something. I don’t think you can fake something like that for over 40 years. I met his father one time and he was a True Believer. Of course Bob is a showman and understands how to play his audience. So was Anton LaVey… and P. T. Barnum. Nothing wrong with that!

What do you think of teenage girl exorcists Bob has apparently trained into the job? Is Bob a little bit dirty old man or is this just about the showman part you mentioned?

I think it’s pure showmanship. But it would make a good premise for a TV show — a sort or christian Charlies Angels.

In the film you tell about some of the pranks you have done, for example the famous goat head prank. What do you consider as your best pranks ever? Who are your favorite pranksters alive nowdays?

We snuck into a good friends house and left a bottle of maple syrup in his refrigeratator. It came in a bottle shaped like an old woman, and the incident totally freaked him out. He began carrying a gun with him everywhere the very next day. But the best pranks are when you draw someone into an absurd world of your own making and your fantasy becomes their reality, even if just for a short time. Therefore, the best pranksters now are mainstream politicians because that is their full time job. They are the best, because they’re the best conmen, but not necessarily my favorites.

– – –

Scandinavia, ABBA, Finland and the future

NON gave a live show in Norway the last year. How was it? 

It was great. A lot of people from Finland traveled there to see it and a lot came to my show at The Roundhouse in London. I am looking forward to my visit there. See you soon.

You are an ABBA fan. What’s cool about ABBA? Do you have a big ABBA collection?

I have enough obscure ABBA songs that I could put together an entire album… songs that the band didn’t really release because they considered them imperfect or too weird. But of course the worst ABBA song is better than the best songs from a lot of bands. I wanted to cover them and put out an album called ABBA LEAD (as opposed to ABBA GOLD). I pitched the idea to Rose McDowall, but she didn’t seem interested. Shame… because that could have been huge.

The worst ABBA song is better than the best songs from a lot of bands.

That is a shame, indeed! Maybe she will change her mind about the project one day… I think you would make a fabulous cover of “Waterloo” and “Does your mother know” with maybe a bit changed lyrics. What do you think of this in addition of making covers of ABBA’s more obscure songs?

Don’t ask. None of this will ever happen anyway.

You are going to have a concert in Helsinki on 6th of November this year. This is the first time you’ll have a concert in Finland. What are you expecting and hoping from your visit here? How long you’ll stay here, any places you plan to visit, etc.? What kind of associations Finland brings to your mind?

I met people in London who flew all the way from Finland to see my show at the Roundhouse, and more people in Norway who did the same. So I’m looking forward to my trip there and have wanted to see it for a long time.

I recently met the daughter of Saarinen, and found out there is some sort of Saarinen museum just outside Helsinki… I’d love to see that and anything connected with the man or his family. He’s my favorite architect.

What kind of projects you are working with nowadays? What can we expect from you in some near future?

Most of this year I’ve been working on a book of my art for a British publisher — paintings, photos, montages & graphic design. It’s nearly done. Later this year a number of my essays are coming out in Outre Journal out of Australia. I also just filmed some scenes for Richard Wolstencroft’s new film The Second Coming, which is based on the poem by William Butler Yeats. I just returned from NYC where I spent time in the studio recording some new stuff. So I keep busy…

What makes you happy?

Animals make me happy… prairie dogs, foxes, squirrels and cats… coatis, bunnies, capybaras and kiwis.

But I still love consternation. I still love pissing people off. I love knowing that my very existence causes certain people great discomfort. And they deserve it… in spades!

– – –

Thank you for the interview, Boyd!

Boyd Rice will perform at Kuudes Linja in Helsinki on 6th of November. You can buy tickets to the concert from Tiketti. Facebook page for the event can be found from here.

– – –

Related links:

Boyd Rice/NON official webpage.

Boyd Rice/NON official Facebook page.

– – –

Related previous posts:

Boyd Rice live at Kuudes linja, Helsinki, 6th November.

Church of Satan is dead.

Boyd Rice: An Embodiment of the Wolf’s Hook.

Larry Wessel speaks!

Read Full Post »

10 vuotta syyskuun 11. terrori-iskuista – Mitä todella tapahtui? (osat 1, 2, ja 3/10)

Syyskuun 11. 2001 terrori-iskuista tulee tänä vuonna kuluneeksi 10 vuotta. Mesikämmen julkaisee uusintana osissa viime vuonna kirjoittaneensa 10-osaisen artikkelisarjan aiheesta. Artikkelien perään on lisätty joitain vuoden varrella kerääntyneitä aihetta koskevia päivityksiä, uutisia, yms.

Mitä todella tapahtui?

1/10) Yhdeksän vuotta syyskuun 11. 2001 tapahtumista

2/10) Iskuja edeltäneet tapahtumat ja etukäteistieto päivän tapahtumista

3/10) Maailman tehokkaimman ilmatorjunnan lamaantuminen

– – –

Katso aiheesta myös posti DUN:n 9/11-seminaari – 10 vuotta.

– – –

– – –

Artikkelin osa 4/10 löytyy täältä.

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Das Fest II! 100 postia Pekka Siitoimesta!

Blogin Pekka-posteista sanottua

Mesikämmen-blogi – kirjoittaja on julkaissut parhaan Pekkaa käsittelevän artikkelisarjan, mitä blogistanissa on nähtyNarian

Kertakaikkiaan sellainen folkloristinen pikkujättiläinen, ettei moista voisi kuvitella olevan olemassakaan (…) Ötöpesän jengi on lukenut nämä kaikki, eikä ennen sitä olisi voinut kuunaan kuvitellakaan, että Pekka Siitoimesta olisi missään näin paljon materiaalia. Ja mikä parasta, vapaasti saatavillakin! (…) Ehdottomasti rautaristin, suojaviitan, kumimanttelin ja kaasunaamarin arvoinen teko!Ötöpesän jengi

Vuoden blogistipalkinto ja kiljukanisteripalkinto! Tämä on yleensä vaiettua kulttuurihistoriaa yhdestä Suomen kummallisimmista ja viihdyttävimmistä miehistäJokunen

Blogihan on ollut varsinainen kylttyyriteko. Näiden Pekka-artikkelien taso vaatisi suorastaan niiden sitomista kansien väliin! “Helvetin hyvä”, sanoisi Peksi. Go on!A

Ylivoimaisesti parhain sivusto hengentieteen Mestari Pekka Siitoimesta – B.S. Müller, uudelleen perustetun Turun Hengentieteen Seuran sisäpiirin jäsen

100 Postia

100. Kursiivin isku, osa 4
99. Kursiivin isku, osa 3
98. Kursiivin isku, osa 2
97. Täällä vartioin minä!
96. Kursiivin isku, osa 1
95. Huolestuneisuus ennen Kursiivin iskua, osa 3
94. Alfauros laittoi asioita kuntoon.
93. Huolestuneisuus ennen Kursiivin iskua, osa 2
92. Huolestuneisuus ennen Kursiivin iskua, osa 1
91. IKR:n plörinäksi mennyt Belgian matka 1977
90. “Worshiping the Devil in the name of God”
89. Siitoin-filmi oy, osa 5
88. Siitoin-filmi oy, osa 4
87. Kai M. Aalto puhuu! (osa 2/3)
86. Siitoin-filmi oy, osa 3
85. Turun Hengentieteen Seura, osa 11
84. Turun Hengentieteen Seura, osa 10
83. Turun Hengentieteen Seura, osa 9
82. Pekka ja SMP/SKYP
81. IKR:n plörinäksi mennyt Kotkan marssi 1977
80. Lisähuomioita Pekan mielenosoitustoiminnasta, yms.
79. Pekka ja vappu, osa 4/4
78. Pekka ja vappu, osa 3/4
77. Pekka ja vappu, osa 2/4
76. Pekka ja vappu, osa 1/4
75. Pekan perheonnea
74. Arjalanpaisti ja arjalanpiirakat
73. Kai M. Aalto puhuu! (osa 1/3)
72. Mitä Pekka Siitoin ajattelisi perussuomalaisista?
71. Pekka Siitoin: Jag ska befria Norden!
70. Pekan mietteitä ennen eduskuntavaaleja 1983
69. Pekka Siitoin palauttaa Karjalan Suomelle, osa 3
68. Pekka Siitoin palauttaa Karjalan Suomelle, osa 2
67. Pekka Siitoin palauttaa Karjalan Suomelle, osa 1
66. Pekkagrammi, osa 2
65. Pekka Siitoin ja rock ‘n’ roll
64. Näen ja kuulen… mutta puhe sammaltaa
63. Pekka Siitoin Fingerporissa
62. Tulella leikkimisestä
61. Talo, jossa Pekka Siitoin asui (osa 2)
60. Pekka presidentiksi?
59. Kommunismin ja kokoomuksen uhka
58. Valtakunnanjohtaja ja Italia
57. Valtakunnanjohtaja ja Varkaus
56. Kiljukeisari
55. Valtakunnanjohtajan kiljuepisodi
54. Pekka Siitoin -anagrammit ja postyymi Finlandia-palkinto
53. Hyvää uutta vuotta!
52.Turun Hengentieteen Seura, osa 8
51. Das Fest! 50 postia Pekka Siitoimesta!
50. Arkistojen aarteita ja Pekka Siitoin soundboard.
49. Luvassa hypnoottis-magneettista menoa.
48. Turun Hengentieteen Seura, osa 7.
47. Rivologin rodunjalostusta.
46. Turun Hengentieteen Seura, osa 6.
45. Pekkagrammi.
44. Ääretön rakkaus.
43. Siitoin-filmi oy, osa 2.
42. Pekan lähtö.
41. Pekka Siitoimen transformaatio poliittisesta uhkasta uusnatsismin ja okkultismin von Münchauseniksi.
40. Pekka Siitoimen shortsit.
39. Hyvät naiset, olette kaikki kauniita!
38. Kassisen perintöprinssi.
37. Mikä erottaa fasistin kommunistista?
36. Mesikämmenen jengi.
35. Pekka Siitoin built my Panzerwagen.
34. Turun Hengentieteen Seura, osa 5.
33. Turun Hengentieteen Seura, osa 4.
32. Seurakuntavaalit.
31. Turun Hengentieteen Seura, osa 3.
30. Turun Hengentieteen Seura, osa 2.
29. Turun Hengentieteen Seura, osa 1.
28. Pentagrammon, clavis, cranium, sciurus, circumferentia, logos, gravis admodum, et diaboli.
27. Siitoin-filmi oy.
26. Mitä Leo Meller sanoi Pekka Siitoimen kuolemasta?
25. Toinen todellisuus.
24. Mitä Pekka Siitoin sanoi Anton LaVeystä ja satanismin historiasta?
23. Pekka Siitoimen iltarukous.
22. Isän valtakunta kuvina.
21. Isän valtakunnan jälkipyykkiä.
20. Pekan parhaat, osa 7.
19. Pekan parhaat, osa 6.
18. Pekan parhaat, osa 5.
17. Pekan parhaat, osa 4.
16. Pekan parhaat, osa 3.
15. Pekan parhaat, osa 2.
14. Pekan parhaat, osa 1.
13. Isän valtakunta.
12. Arkistojen kätköistä.
11. Päivän lainaus ja kysymys.
10. Pekka Siitoin on nykyään vampyyri!
9. Hypnoottis-magneettinen katse ja sen alkuperä.
8. Mitä Pekka Siitoin sanoi äidilleni.
7. Luciferin arkkipiispan nauru.
6. Talo, jossa Pekka Siitoin asui.
5. Achtung! Valtakunnanjohtaja puhuu! (osa 4/4).
4. Achtung! Valtakunnanjohtaja puhuu! (osa 3/4).
3. Achtung! Valtakunnanjohtaja puhuu! (osa 2/4).
2. Achtung! Valtakunnanjohtaja puhuu! (osa 1/4).
1. Should I laugh or cry?

Ja jatkoa seuraa…

Mesikämmenen postit valtakunnanjohtajasta eivät tähän lopu. Postit jatkuvat Kursiivin tapauksen tonkimisella, minkä jälkeen pääsemme Pekan saaman vankeustuomion käsittelyyn, ja sen jälkeen Pekan vankilanjälkeiseen elämään. Materiaalia löytyy vielä hyväksi toviksi eteenpäin. Näiden sadan ensimmäisen postin jälkeiset Pekka-postit löytyvät helposti blogin oikeasta alapalkista “tags”-osiosta sanalla “Pekka Siitoin”. Siitä klikkaamalla löytyy lista kaikista blogin Pekka-aiheisista posteista, mitä tämän 100. postin jälkeen on julkaistu.

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Boyd Rice: An Embodiment of the Wolf’s Hook

As many of you know, I wrote an article “Church of Satan is dead” some time ago. That article got me in touch with a documentary movie maker Larry Wessel, who’s interview “Larry Wessel speaks!” I then made. Wessel’s latest movie, Iconoclast, was six years in making. The result is a four hour long ride that goes through Boyd Rice’s life in three parts. This includes a good deal of history of pop culture and art too. After watching the movie I knew I wanted to write a review of it. However, after reading Carl Abrahamsson’s excellent review I thought I would have nothing to add to what he had said, because he put it all so well. You can find Abrahamsson’s review from here. Well, I thougth I could still write something about the documentary. If nothing else, I could write down my notes of the contents of the film and some of my rambling notes in between. What follows might be boring reading as it pretty much just lists the contents of the film. For those who are interested in Boyd’s art, life, and persona and have not seen the film yet, my notes and ramblings might still be interesting. So, with this note, or warning, let me begin.

Part One: Lemon Grove

Part one of the movie starts with Boyd reading his poem Secrets:

That is most powerful which remains unknown

Except unto you, and to you alone

There are secrets that slumber behind these eyes

And I stand by my secrets, my truths and my lies

There are secrets that soar where the eagle flies

Above man’s truths and beyond his lies

There are secrets that slither like snakes in the night

Coiled in shadows, far distant from light

There are secrets that confront you in the midday sun

Yet remain unknown to everyone

A secret burns bright when its law is obeyed

But is doomed to fade when that law is betrayed

For that is most powerful which remains unknown

Except unto you, and to you alone.

It seems to me that in some poetical way the ethos of this poem carries through the whole documentary. I don’t know Boyd but it seems to me that the poem carries the spirit that is present in all that Boyd has done and what he is like. He is difficult to label, he is multidimensional. He is often labeled this and that, often as something sinister and suspicious. But the truth probably lies somewhere between the lines, one could say between the opposites. I was reminded already at this point of the film of the wolf’s hook rune and how it really well seems to symbolize the essence of Boyd and his work.

After that Bob Larson does exorcism, Boyd goes to a tobacco store and buys a whole box of Samuel Gawith snuff. Wait! Is that that nasal tobacco? Yes it is, you can see Boyd taking it later in the film, in part three of the documentary, at the Absinthe studios. I have never tried nasal snuff, but I enjoy a lot the kind of snuss (especially portioned General) that you can buy in Sweden (I am having one portion under my lip right now while writing this).

A family history follows. A whole bunch of old pics. A story of a neighbohour average man’s everyday routine and how Boyd decided he will never be like that. We hear of a tv prank and a good deal of a tiki-culture. Already at this point my idea of Boyd starts to get new dimensions. I did not know that much of his interest in tiki and of things related. My idea of Boyd had previously been formed pretty much through some of his NON-recordings and his association with the Church of Satan. I think I am not the only one  like that. Much more interesting new dimensions to Boyd and his works is about to follow. This is getting really interesting.

We hear what happened in 1969. We hear of a Dark Shadows character who said: “Two natures have always existed in man, one good the other evil, perhaps with this we can bridge the gap in man’s divided nature”. Boyd comments on this: “And like a portal opened in my soul”. I am again reminded of the wolf’s hook rune and its essence. It is becoming apparent that the symbol has found a resonance within Boyd very early and that he has ever since worked to unfold the symbol’s mystery.

“Two natures have always existed in man, one good the other evil, perhaps with this we can bridge the gap in man’s divided nature”.

We hear of Strange paradise. We hear of Anton LaVey, Charles Manson, and Tiny Tim – how they were totally different and still much alike. We hear a story about Martin Denny. We hear a story about a man who lost his keys in Italy and found them from Florida. We hear about decadent Hollywood and its coolness. Rodney Bingenheimer. Glamrock. Principal in a nazi uniform poster prank. We hear a story about Boyd making a life size cross in high school and his work at Taco Bell – and of eating a moth there every now and then. Bean-qhr-qwr-qhr. We hear about how to make photos of things that does not exist, St. Jean Cocteau and Captain Beefheart’s nightly calls. Then Boyd tells about dada, surrealism, alchemy. I like it all, I can totally relate to what I hear. An image of Boyd as an artist starts to surface, an image that is new to me. The guy starts to get more and more interesting, minute by minute.

Boyd tells us how “women like it weird”. He tells us of his open-ended paintings, and again the wolf’s hook rune comes to my mind. The principle is there again. Skinned sheep’s head gift to the first lady is pure gold. A priceless prank, instant art performance. Next we hear how Boyd was living dada real. Steve Hitchcock illuminates us about how magic and alchemy is part of what Boyd does: “Boyd was someone who introduced me to the idea of alchemy of thought, where by you take negative or valueless proposition and turn it to your own advantage, by sort of inverted perception of it, which can be done, it takes a disciplined mind, a disciplined mentality if you want to make use of that, but it certainly is a valid principle”. Do you see the wolf’s hook and its principle at work again here? I do.

We hear of Boyd meeting Genesis P-Orridge. We hear of 1977 and the famous The Black Album, Boyd’s deal with Mute records, the birth of NON, and why punk was just glam rock with harder edge. Next we hear of something in which Boyd was again ahead of the time: Pagan muzak record that can be played with different speeds. This happened years, years ago. The first time I heard of such a record was when Butthole Surfers’ Hairway to Steven came out in 1988. Before of that I had for my own amusement listened to lots of records with different speeds – pretty much with the perspective of “open-ended paintings” of which Boyd spoke about earlier in the documentary. You can find the same thing interesting with different angles, perspectives. Things are most of the time not black and white, but composed of many colors and shades.

Who invented tape-loops? It was Boyd. He tells us how nothing in the world is fixed. We hear of “the world’s weirdest record”. We hear of the first NON show, which was “louder than Led Zeppelin”. There is a note of music as sounds, not so much as songs. Iitywimwybmad. Roto-guitar. Stuff ahead of the time. Live sounds from that part of the documentary remind me of some amazing underground noise gigs that I attended at Some Place Else in Turku, South-West of Finland around 2004 and 2005. Boyd did that kind of stuff about 30 years earlier. I find that rather impressive.

Part two: San Francisco

Part two of the movie deals with Boyd’s years in San Francisco area. We hear of Incredible strange films and research involved. Director Ray Dennis Steckler is revealed to be also actor Cash Flagg. The amazing scopitone machines are introduced. Boyd tells us of “close-ups of tits shaking a few seconds too long” and girls doing dances in bright colors. Sounds and looks good to me.

Then comes something I knew there was going to be covered, Boyd’s association with Anton LaVey. “Living in San Francisco it was inevitable that our paths would cross”. Blanche Barton tells about getting to know Boyd and why Boyd and Anton got so well along. “Role of the Devil has to be… one that challenges”. Barton also tells that Boyd also understood the trickster, prankster side of satanism… which is something that not everyone understands. Coop, the artist, tells about “making it hot for them”… and that “of course that applies to Boyd, perfectly”. We hear of Blinky the friendly hen’s funeral and resurrection. Vampire aesthetics. There is a note about romance and cultured gentleman in a vampire – and how below that side is a beast. A perfect wolf’s hook principle at work again.

Stanton LaVey, Anton LaVey’s more known daughter’s son, appears briefly in the film too. His first sentence in the film is “Boyd did fuck my mother!” which is followed with a warm laugh. He clearly has positive thoughts of Boyd. It seems that Boyd has had much warmer relationship with Zeena than I had. Back in the late 90’s and early 2000 I met Zeena few times, corresponded with her and it was an ongoing argument. Zeena and her husband Nikolas thought that I was trying to put too much love into the left hand path. They even called me “Jesus of darkness”. But that is another story.

Beth Moore-Love is an artist who I was not familiar with earlier. We see some of her amazing paintings. She says of Boyd: “He’s very intelligent. I like people who not only think outside of the box, but outside of the entire packeting industry… Boyd is one of them”. Boyd tells a chilling story of San Francisco’s Chinatown and its rats. It is very easy to believe. I lived in the city for some time in 2004 and Chinatown was one of my favorite places there. I visited it quite often and wondered about the smell of the place. Rats fit in the picture well.

“He’s very intelligent. I like people who not only think outside of the box, but outside of the entire packeting industry… Boyd is one of them”.

Next Boyd tells us how all the women who he brought to LaVey’s house had the next night a dream of having sex with LaVey. Boyd tells of LaVey’s different alter egos, the crime boss, the china man, and how LaVey could keep with a role for hours. The stories are hilarious and Boyd cracks up telling them. To readers of LaVey’s works it comes as no surprise that LaVey was living in a sort of alternative reality or realities he chose to live in. We hear very interesting angles on the subject. The famous Johnson & Smith’s catalogue is covered, and how “consternation” is the word related to it. Whoopee cushion. Remote controlled fart machine. How Anton programmed his keyboard with different fart sounds. The movie has been very fun already from the beginning, not just at this point. Barton tells how she and Boyd got Anton to record his music. It is very much likely that without them there would be no recorded music of LaVey.

Then comes the part dealing with Charles Manson. “Two minutes after meeting him he is giving me this you-are-me-and-I-am-you -routine”. Boyd tells us how Manson has one feet in the world of a fantasy, another in reality. We hear a story of Charlie telling to Boyd about taking a helicopter and visiting Ajatollah Khomeini. We hear that there are secrets Manson has told to Boyd – and which Boyd has promised to not tell to anyone while Manson is still alive (this reminds me of Boyd’s poem Secrets, with which the movie begins). Why Boyd got in touch with Manson in the first place? Why he seems to have interest in individuals who have been labeled very “sinister”? Some of Boyd’s associates gives a perspective on this: “Boyd has always been sort of attracted to those people who disrupt society in some way, that cause, that show the limitations of what we pretend to be civilized, I don’t want to put words into Boyd’s mouth but I know that’s part of what attracts him to this stuff”. I think this is a good angle to the question. The documentary gives a broad context where one can reflect on that. I think the documentary also gives an idea of the wolf’s hook rune, its essence and principle in artistic action – pursued by a questioning mind that does not see things in black and white but as “an open ended paintings”. Things are not fixed. In his pursuit Boyd is not afraid of putting himself in positions where he can easily get misunderstood. He is not so much afraid of social pressure as most of the people are.  Such a courage in looking at the human equation is hardly a bad thing. I would rather argue that seeing things in black and white is a bad thing. Finally, we hear of how Manson got into a solitary confinement for two weeks because of a bullet that happened to be in Boyd’s pocket – and how that ruined their relationship.

“Boyd has always been sort of attracted to those people who disrupt society in some way, that cause, that show the limitations of what we pretend to be civilized, I don’t want to put words into Boyd’s mouth but I know that’s part of what attracts him to this stuff”.

Then the documentary comes to the symbol that I’ve already mentioned few times, the wolf’s hook rune. We hear of the balance point between creation and destruction, “exactly the meaning that has been the guiding force in my life”. Adam Parfrey enters the picture – the guy is “on the same wavelenght “with Boyd. We are informed about the Apocalypse culture, 8-8-88 at Strand Theatre, San Francisco. We hear of the nazi accusations Boyd has been thrown with. “Boyd was not, is not, and will never be a nazi… you could take it as seriously as the Producers movie”. Anyone who has watched the documentary thus far must agree with that.  To say that Boyd is a nazi is absurd. We hear about the victim culture that likes to whine about everything. We learn of a mexican poster and ABBA-book that was stolen from Boyd (whoa – I did not know that Boyd likes ABBA. I have always liked them too. In my article “Church of Satan is dead” I pondered how much common ground I might have with Boyd. It seems there is much more than I thought). The San Francisco part of the movie ends with a story of Boyd moving to Denver. We hear why the place is cool. We hear that the building Boyd lives in was built in 1890. We hear how Boyd had a Carnival of souls welcome to Denver.

“Boyd was not, is not, and will never be a nazi… You could take it as seriously as the Producers movie”.

Part three: Denver

Part three deals with Boyd’s time in Denver and the stuff he has done since moving there. There is a recording session at Absinthe studios. Fredrik Nilsen gives another perspective on Boyd that tells of his wolf’s hook nature and approach to things: “He is a scholar of evil. He’s not evil. In fact, he’s a very sweet, loving, guy. But he seems to have an incredible knowledge of the nature of evil and he seems to be willing to chronicle and look at it in a sort of… empirical way, I’m not sure it is empirical… aesthetic way. And I think he is pretty great”. We see a footage of Boyd’s guest lecture “Regarding evil” at Massachusetts institute of technology. We hear of Oswald Mosley and his ralleys – and how his symbolism influenced Throbbing Gristle and David Bowie. We hear how Marilyn Manson (who has called Boyd his mentor) also used the Mosley symbolism after Boyd noted to him about it and about “a cross between glam rock and Nürenberg rally”. We hear about how to manipulate archetypes – how to step into a role you want to be in and how it then flows into you. There is a funny anti-fascism demonstrators talk with Boyd. After that there starts a really interesting part where Bob Larson talks with Boyd. He says with a big smile: “Bob has been working with me for the past 14 years… he doesn’t give up”. Boyd’s sense of humor is great and a watcher of the documentary is blessed with tons of it.

“He is a scholar of evil. He’s not evil. In fact, he’s a very sweet, loving, guy. But he seems to have an incredible knowledge of the nature of evil and he seems to be willing to chronicle and look at it in a sort of… empirical way, I’m not sure it is empirical… aesthetic way. And I think he is pretty great”.

We hear of the Partridge family & Partridge family temple: “Our religion is based on fun”. We hear of archetypes on TV. Giddle Partridge speaks. A story of Boyd as a catholic priest “blessing” kids rosery beads is pure prankster Boyd. Gidget Gein speaks how his idea of Boyd went up and down. The subject of social darwinism is touched upon. Another angle to wolf’s hook is given: Abraxas – an entity that is good and evil at the same time. We learn that Boyd has Charles Manson’s copy of the Bible. Bob Larson tells Boyd that “maybe you need an exorcism”. Boyd and Bob talk about paradigms of reality, good and evil. All in a very good spirit, pretty different from what it was like in Bob Larson’s radio show in the early 90’s. Boyd tells about Might is Right by Ragnar Redbeard and about Lions Lair and women who got spontaneously naked for him there. We hear of Tiny Tim and his phonecalls, talk about women. Nutcase letters LaVey got. LaVey’s guns. We hear a hilarious prank that Boyd did with “Got milk?”-campaign’s billboard that featured David Copperfield. The billboard had  a picture of Copperfield’s face with some milk on his upper lip and a text saying “What’s the magic word? Calsium”. Boyd changed “Calsium” with some paint into ”Cum”. I once made a similar prank with Canal plus billboard… maybe you guess what I painted it to be? Margaret Radnick tells about Boyd’s love letters to her. Boyd’s friendship with Rozz Williams is covered. Douglas P. tells an amazing story about nazi-monkeys attacking old German men with bananas. Boyd’s bar Tiki-Boyd as an alternative reality is covered.

The talk between Boyd and Bob Larson continues. If there has been lots of interesting, even surprising turns in the film thus far, it gets even more such at this point. Boyd and Bob talk about some kind of possibility to survive death, and Boyd even tells that he nowadays thinks that some kind of reincarnation of consciousness might be possilbe. Bob comments: “You may have to turn back your Church of Satan card!” Boyd: “I tried and they wouldn’t take it!” Bob: “What happened to your old misanthropic idea of things? Obviously you must have mellowed in your hatred for humanity”. Boyd: “I’m still fairly misanthropic, I just don’t think I’m not actively misanthropic. Because I’m a very happy individual and I just find it if I treat everybody with a certain degree of civility they usually treat me with civility so generally they’ve used to people treating rotly and when somebody comes along who is nice to them it is big change for them and I gotta see the best sides of everybody if I treat everybody decently and they in turn are nice to me”. Bob says back in amazement: “Do you realize what you just said? You have just recited a part of Sermon of the Mount. You have just articulated one of the most important ethics that Jesus taught! Do unto others as you would have them to do unto you”. Bob continues: “At least you’re not at this point trying to bring back Thor and declare total war!” Boyd says smilingly: “Yea, I need to change the lyrics…” We hear “People” with improvised lyrics. The movie ends with Boyd’s poem, just like it started. The ending poem is Boyd’s Gift:

On my own

Hour after hour

Sipping cocktails

And reading Schopenhauer

Living in a world

Without imagination

I see that hope

Is a lack of information

I turn my back

I shut the door

I lock the key

A prisoner in my home

But it’s lovely to be free.

After that we hear Boyd singing Terry Jacks’ Seasons in the Sun. The film ends.

As I said, the movie is multidimensional. It covers a lot. It is funny as hell. It is thought provoking. It is surprising. It gives a picture of Boyd that one might not expect. Anton LaVey said once that “Boyd is a true iconoclast” and one cannot but agree. As it has most likely become clear, I would like to add that Boyd is an embodiment of the wolf’s hook rune, the symbol he has carried with him since his childhood.

Larry Wessel has made one hell of a film and I highly recommend it to everyone who is even cursorily interested in Boyd and his art. This documentary is a classic.

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PÄIVÄN TAPAHTUMAT JA NIIHIN LIITTYVÄT KUMMALLISUUDET

Millaisista seikoista virallista kertomusta syyskuun 11. päivän tapahtumista oikein kritisoidaan ja millaiset seikat tekevät siitä monien silmissä epäilyttävän? Lista tällaisista seikoista on hyvin pitkä ja laaja, ja niiden tarkempaan tutkimiseen ei riitä edes pitkähkö artikkeli. Aiheen osa-alueistakin on kirjoitettu kokonaisia kirjoja. Tässä tekstissä käyn vain lyhyesti läpi aihepiiriä koskettelevista seikoista  mielestäni merkittävimpiä.

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