Madame Veuve Barbe-Bleue (Bluebeard's Widow) from Les Contes de Perrault continués (1865)
Written by Léo Lespès (Timothée Trimm) Illustrated by Henry de Montaut Engraved by Louis Henri Dumont
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Madame Veuve Barbe-Bleue (Bluebeard's Widow) from Les Contes de Perrault continués (1865)
Written by Léo Lespès (Timothée Trimm) Illustrated by Henry de Montaut Engraved by Louis Henri Dumont

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“[...] But I’m pretty sure that whoever was hanging around Varg up in Bergen was definitely - if anything - on his side because he would have definitely manipulated those guys into thinking whatever negative thoughts about Euronymous. I seriously doubt that there was anyone there that even had any interest in telling him killing Euronymous was a bad idea. The years between 91 and 93, of the people involved in the black metal scene, everybody had developed such an extreme way of thinking that I don’t think that anybody really considered the actual level of how serious it is to kill someone. It was thought of way more in terms of like murder, death, to us that was just part of what the black metal lifestyle should be all about. With a bunch of people like that around with that type of mentality, nobody is going to stop anybody from doing anything. It’s insane.”
Mortiis for Born for Burning - The History of Black Metal, by Matías Gallardo, 2026
Note: the date 2026 is in reference to the original source I got it from, the interview itself is older.
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De Profundis Clamavi - Leoncio Harmr
“Euronymous was part of burning the Holmenkollen chapel, and after that he said he was never going to do it again because he wasn’t that kind of guy. He didn’t want to be that guy who goes up there with matches. He just wanted to tell people to do it. He was so nervous when he did it because he realized that he actually could go to jail now. He was realizing that it’s one thing to be tough in your mouth, and another thing to do it in real life and get jail time for it. I guess he thought it was cool but at the same time he was very afraid. He actually didn’t want anyone to know he did it.”
Marius Vold for Born for Burning - The History of Black Metal, by Matías Gallardo, 2026
Note: the date 2026 is in reference to the original source I got it from, the interview itself is older.

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text: [ “Some of you have forgotten that only three years ago you were perfectly capable of writing an essay, writing a eulogy, telling a bedtime story to a child, and it should worry you that powerful companies have convinced us we can’t do things we’ve been doing for 5000 years.” ]
“Suddenly I met him [Pelle] in Oslo, by the railway station. I asked him what he was doing there, and he told me he had bought a very sharp knife. I didn’t realise he bought a knife to use on himself. The thing was that when he killed himself, he tried with the knife first, didn’t get it to work, he tried to slit his wrists and then his neck, but it didn’t work out, and then he took the shotgun. That worked. I thought it was very sad, of course. I mean, suicide is such a waste and extremely stupid thing to do.”
Hellhammer for Born for Burning - The History of Black Metal, by Matías Gallardo, 2026
Note: the date 2026 is in reference to the original source I got it from, the interview itself is older.
“Force, in the hands of another, exercises over the soul the same tyranny that extreme hunger does; for it possesses, and in perpetuo, the power of life and death. Its rule, moreover, is as cold and hard as the rule of inert matter. The man who knows himself weaker than another is more alone in the heart of a city than a man lost in the desert.”
— Simone Weil, “The Iliad or The Poem of Force”
“I wasn’t that pissed off at him anymore, because we actually had decided that we were going to carry on that summer. Before he was killed, we were planning the 10-year anniversary for Mayhem that was going to happen in the summer after, in 1994. So actually, it was a little bit shitty, because I was pissed off as fuck on him, and it would have made it much easier for me if I was pissed off at him when he was murdered. But since we had started to get back together and hang out a little bit…they weren’t happy days.”
Necrobutcher for Born for Burning - The History of Black Metal, by Matías Gallardo, 2026
Note: the date 2026 is in reference to the original source I got it from, the interview itself is older.
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“I can resist anything, except temptation.”
— Oscar Wilde, Lady Windermere’s Fan
“Philosophically, the black metal scene was getting really destructive. It had moved beyond the idea of making cool music and it had become a thing where the vision was that the music was just one part of it, and the other part was to basically wage a war against Christianity in general and just be as bad of a person as you could possibly be. We all knew that Varg had burned down a bunch of churches. Everybody knew that, but nobody was telling the police a thing.”
Mortiis for Born for Burning - The History of Black Metal, by Matías Gallardo, 2026
Note: the date 2026 is in reference to the original source I got it from, the interview itself is older.
The Cure's Robert Smith in December 1982, taken during a french TV show called "Embûches de Noël", while he was playing with Siouxsie And The Banshees .
“If you light a candle in the darkness, you tend to attract a lot of strange people. The Helvete audience was a mixed group of people who wanted to be something - the typical wannabes - and people who really had something to offer, who had good projects and were making really good music. Øystein was building this thing around himself: he established the shop, went on with the label, signed on bands on the label trying to make some progress on things. There were of course people around that didn’t look at Øystein as the main figure in the genre, but most people did. I never looked at him in that way because we were friends since we were young, and he never was Euronymous when we met. We had some conversations around it; on why he was taking the role so seriously, but that’s what he decided to do…”
Manheim for Born for Burning - The History of Black Metal, by Matías Gallardo, 2026
Note: the date 2026 is in reference to the original source I got it from, the interview itself is older.

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“Pain, the loneliest experience, gives rise to sympathy, to love: the bridge between self and other, the means of communion. So with art. The artist who goes inward most deeply — and it is a painful journey — is the artist who touches us most closely, speaks to us most clearly.”
— Ursula K. Le Guin, The Language of the Night
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