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Margus MeigoJa kes neid kõike kirjutab, kas meie ise, sovjetid või vaatlejad või.. http://www.salon.com/2011/03/15/day_of_the_oprichnik_vladimir_sorokin/ "NEW YORK — In 1898, British writer H. G. Wells wrote "The War of the Worlds," a science-fiction novel in which Martians invade the Earth and nearly decimate humanity. A decade later, in what was then the Russian Empire, writer and Marxist revolutionary Alexander Bogdanov wrote his novel "Red Star," also about Martians landing on Earth. But in Bogdanov's novel, the Martians are not violent or monstrous. Instead, they invite the main character, a young Russian student named Leonid, back to the Red Planet to see the Martians' civilization: a thriving, peaceful — and communist — utopia. The optimism of "Red Star" was mainstream, state-supported Soviet science fiction's defining characteristic, said Tomáš Pospiszyl, a Czech writer and art scholar who spoke at the "Futures of Eastern Europe" conference"

Margus Meigo(Reklaam selle Marslaste Loo vahepeal /(misomakorda seotud Päris marisil elu otsingute ja vee leiuga jms) : "Russian Society Explained Social transformation after Crimea: A Guide for Western policymakers " )

Margus MeigoVäga vähe sellest, kuidas tegelikult oleks.. "Pospiszyl said that at the turn of the 20th century — when both "War of the Worlds" and "Red Star" were written — many people believed there was an advanced civilization on Mars. But while H. G. Wells interpreted "advanced" as militant and conquering, Bogdanov's "Red Star" interprets "advanced" as communist, and therefore peaceful and prosperous. However, not long after the Soviet Union was established in 1922, science fiction and many other types of literature were banned in the state. "It was seen as a Western, decadent genre," Pospiszyl said at the conference. The "Futures of Eastern Europe" conference was affiliated with the museum's exhibit, "Report on the Construction of a Spaceship Module," which will remain on view until April 14. Both science fiction and communist ideology are very concerned with the future, Pospiszyl added. "Communist ideology was based on futurism, or clear historical perspective leading from capitalism in the past to communism in the future." In the 1950s, as part of the "Krushchev Thaw" that occurred after Joseph Stalin's death, science fiction was once again permitted in the U.S.S.R. That didn't mean writers could write about whatever they wanted, however. Futuristic science fiction had to take place within the U.S.S.R.'s current five-year plan. This limitation was dropped in 1956, but even without it, the state still imposed restrictions, both overt and implicit, on Soviet science fiction. "Science fiction in general depicts potential civilizations of the future or in the universe," Pospiszyl said. "Eastern science fiction had not so many alternatives. It was to describe ... a perfect world of tomorrow ... a world of communism." In fact, said Pospiszyl, this vision of the future was so overwhelmingly positive that many Soviet science fiction writers had trouble thinking of obstacles for their futuristic heroes to overcome. Other science fiction writers turned to the writings of Karl Marx and other communist theorists to find inspiration and guidance for what the future might hold. However, other than a few lines in his 1846 treatise "The German Ideology," where he argues that people should be able to switch their professions whenever they wish, Marx wrote very little about what a communist society would actually be like..."

Margus MeigoTuleviku ajalehed jms... /(oih..tasub meeles pidada) "Working with what they had, the idea of changing professions popped up in a number of different Soviet science fiction stories, said Pospiszyl. In some cases, "the main heroes switch, quite unexpectedly, their professions. In one moment they are captains of a spaceship in others they are archaeologists ... the reason was the authors were actually following the hints of information they could find in Marx," Pospiszyl said. Other examples of Soviet science fiction were more blatantly propagandist. For example, Soviet citizens could often pick up magazines that were written and dated as if they came from 10 years into the future, Pospiszyl said. These magazines were supposed to be science fact, not science fiction — they were intended to show citizens what life would soon be like thanks to communism. When the Cold War-era space race began, government and state-sanctioned science fiction writers seized on it as proof that the future of their imagination was happening in the present. Spaceships and space travel were seen as parts of a grander design to achieve a communist victory on a galactic level. If it seems like all Soviet science fiction is very uncritical of communism in general (and the U.S.S.R. specifically), it's partly due to the heavy censorship that continued even after Stalin's death up until the U.S.S.R.'s fall in 1989. It's also due to the fact that critics of the Soviet regime seemed largely uninterested in space travel or science fiction in general, said Pospiszyl. These writers and artists were more concerned with the here and now, and the problems that still existed, then what may or may not happen in the future."

Margus MeigoJärgmine: http://www.npr.org/2015/03/19/392634682/mountaineer-is-a-must-read-of-soviet-sci-fi "During the Stalin years, there were tight restrictions on science fiction in the Soviet Union. Writers were pressured and boxed in, urged to stick to themes of adventure, space travel and the glowing prospect of Soviet scientific and technological achievements. But after Stalin's death and the relaxation of censorship policies, people like Ivan Antonovich Yefremov and Boris and Arkady Strugatsky started breathing new life into the genre, which had decades of catching up to do. And if Russian sci-fi can be said to have a soul, it resides with the Brothers Strugatsky. The duo collaborated on dozens of smart and entertaining books, not the least of these being The Dead Mountaineer's Inn, out now in a first-ever English translation by Josh Billings."

Margus MeigoTõsilugu "First published in 1970, The Dead Mountaineer's Inn is a biting, deeply funny tale that sends its readers down unpredictable paths. Our hero is police inspector Peter Glebsky, a family man anticipating two weeks of leisure — his first vacation in four years. Soon after arriving at the titular inn, Inspector Glebsky finds out about a tragedy that occurred several years before — a man falling to his death on a nearby peak. Now, the inn has a museum housing many of the late climber's belongings, and a rambunctious St. Bernard, the last living remnant of the dead man, roams freely. Guests at the inn also include a famous magician, a physicist, a hypnotist and a nervous youth counselor with a bad case of tuberculosis. This bunch of oddballs eats together, they play billiards and cards, they ski — and occasionally they share personal accounts of the spookery they've encountered since setting foot in the inn. Apparently some sort of miscreant — or ghost, or something — is wandering the premises, stealing shoes, filling ashtrays with tobacco, and leaving the shower running. Arkady and Boris Strugatsky were acclaimed and beloved science fiction writers of the Soviet era. Together they wrote 25 novels, including Roadside Picnic, Snail on the Slope, Hard to Be a God, Monday Begins on Saturday and Definitely Maybe, as well as short fiction, essays, plays and film scripts.i Arkady and Boris Strugatsky were acclaimed and beloved science fiction writers of the Soviet era. Together they wrote 25 novels, including Roadside Picnic, Snail on the Slope, Hard to Be a God, Monday Begins on Saturday and Definitely Maybe, as well as short fiction, essays, plays and film scripts. Courtesy of Melville House Publishing As is characteristic of many a Strugatsky novel, strange things are afoot in The Dead Mountaineer's Inn. The characters, so emotionally disconnected from one another and their surroundings, reflect a time of lingering pessimism and spiritual isolation, a time that favored scientific progress over human connection. Bleak as they sound, these factors often make for the most layered and well-imagined art. To apply the term "weird" here would be to label water just a touch wet. One day Inspector Glebsky enters his room and finds a note. "MISTER INSPECTOR GLEBSKY: PLEASE BE INFORMED THAT A DANGEROUS GANGSTER, SADIST AND MANIAC IS CURRENTLY STAYING AT THE INN." The note goes on to claim that a certain guest is responsible for a pending crime, and MISTER INSPECTOR IS KINDLY REQUESTED TO TAKE SOME SORT OF ACTION. Finally, all the pranks and supposed practical jokes take on a more serious tone."

Margus MeigoJa lõpetuseks veel seda teises toonis asja ""There goes my vacation," the inspector says to himself. "There goes that freedom I've been waiting so long for." What is always striking about the Brothers Strugatsky is their penchant for misdirection: They can convince the reader that something is almost certainly true, only to disprove it the next minute to keep the mystery alive. In the world the Strugatskys create, everyone is a suspect and nothing is as it seems. And though the dead mountaineer informs much of the first part of the novel, things take a turn about halfway through: An avalanche cuts off the guests from the outside world, and a dead body surfaces. The reader becomes enveloped in a detective story, and Inspector Glebsky is the only one around who's capable of solving the puzzle. Even then, the narrative is fairly straightforward — that is, until the last section, when life morphs into a science fiction game and the Strugatskys rewrite history. While other Strugatsky works were subject to delays and government opposition, The Dead Mountaineer's Inn did not suffer that fate — possibly because it's not quite as edgy as books like Roadside Picnic and Definitely Maybe. Still, the comparatively inoffensive material that makes up Mountaineer is no less delightful, and a must-read for a new generation of sci-fi fans everywhere." st, meile, meeldivamas toonis kõlavana, kuid ka siin tasub silmi kissitada muiates ,suts ja vaadata... miks ja kuidas lubati ja milleks kasutati, iga rea vahel uuring.. kas kirjutaja hing oli lõpuni puhas, ideaalne. Nagu me olema peaksime, minimaalselt

Margus MeigoJa siis veel näiteks: http://www.salon.com/2011/03/15/day_of_the_oprichnik_vladimir_sorokin/ "During its 70-year lifetime, the Soviet Union was the perfect Other for Westerners: a colossal enigma, alternately dystopian and utopian, onto which we could project all our fears, hopes and dreams; a funhouse mirror in which our own culture was reflected in amusingly warped fashion; an outré parallel continuum from which bizarre messages trickled out at irregular intervals, bearing cryptic hints of off-kilter wonders, quotidian strangeness and kludgy tech. The Iron Curtain was no mere metaphor, but rather an imposing information barrier like the force field around Coventry, Robert Heinlein’s land of dissidents, rogue ideologues, criminals and nonconformists. Barnes & Noble ReviewIn this ancient era, science fiction readers and writers had some vague notion that the speculative literature of the Soviet Union represented a bracingly alternate family of narratives, a non-Anglo, non-Euro, non-North American, non-Latin American tradition of proleptic storytelling that sprang from an alien lineage of fabulism. But solid examples of actual SF from the Communist Bloc were sparse on the ground. A few pioneering anthologies cropped up. Isaac Asimov, himself of Russian birth, introduced “Soviet Science Fiction” and “More Soviet Science Fiction,” both appearing in 1962; “Path Into the Unknown,” “Last Door to Aiya” and “The Ultimate Threshold” followed over the next eight years. Meanwhile, a few individual authors, such as Stanislaw Lem and the Strugatsky brothers, were plucked by Western translators like beet chunks from the Soviet borscht..."

Margus Meigo..."Just when it seemed as if Soviet SF might be gaining a faltering foothold in the consciousness of Western readers, the political empire collapsed, taking the Soviet cultural superstructure with it. Since 1992, interest in — and access to — translated SF from Russia and other ex-Bloc countries seems to have fallen nearly to pre-1962 levels. Only the novels of Victor Pelevin (“The Life of Insects”) and Sergey Lukyanenko (“Night Watch”) appear to have made even a dent in American perceptions. Now, with the publication of two new translations of the remarkable work of Russian satirist Vladimir Sorokin — jaunty, despairing, cynical, hopeful, traditional and postmodern by turns — an even more explosive impact seems likely. In his native country, Sorokin — born 1955 — is a figure of controversy and admiration, even occasionally spawning public protests against his bold and irreverent fiction, which was of course mostly suppressed under Communist rule. Reading his newest work, “Day of the Oprichnik,” part of a concerted publishing effort to introduce him to English-speaking readers, one encounters a Swiftian writer steeped in globally shared images out of science fiction, but whose sensibility is deeply rooted in Russian culture." Mis on vene kultuur?

Margus Meigoja veel.. et "In “Oprichnik,” it’s the year 2028, and Russia has reinstated the Tsar and the royal family, withdrawn from contact with the West behind new barriers, ceded Siberia to the Chinese in exchange for favorable trade conditions, and, most crucially for our story, instituted a new internal security elite called the “oprichniks,” of whom our narrator, Komiaga, is one. Given a free hand to repress dissent, the oprichniks have become a decadent pseudo-SS given to graft and self-indulgence, hypocritically masquerading under the guise of a monastic piety. As we follow Komiaga through the frenetic course of 24 jam-packed hours of brutality, venality, political chicanery and blind absurdism, we watch a country willfully plunge back into the worst excesses and injustices of the 19th century, while maintaining a postmodern, technocratic veneer. The oprichniks drive autonomous “Mercedovs,” get their news from holographic “bubbles” and employ ray guns and lasers in their depradations — as well as the old-fashioned torture rack and knives. The blend of antique and futuristic creates a fascinating literary estrangement, as well as symbolically representing our current global dilemma: tied between retrograde and forward-facing horses of stasis and change. The brilliant self-delivered portrait of Komiaga and his crowd is an achievement on a par with Ray Bradbury’s “Fahrenheit 451,” a book that is certainly the model for “Oprichnik.” In fact, a literal book-burning scene occurs in subtle fashion at one point, as if in homage to the classic Bradbury text. As with “Fahrenheit,” the transvaluation of values is so massively and convincingly portrayed that the topsy-turvy world of future Russia begins to assume a nightmare substantiality equal to our current milieu, casting its unborn shadow threateningly backward in time."

Margus Meigo/ Sorokin delights in an Orwellian buggering of language, even italicizing the worst perversions of speech. For instance, lighting a blacklisted nobleman’s house on fire is called bringing in “His Majesty’s red rooster,” while raping the wife of the disgraced man is “the way it’s usually done.” The oprichniks achieve a leering self-justification through such linguistic hypnosis. But Sorokin also dazzles with sheer science-fictional wordplay, along the lines of Lem in his “The Futurological Congress.” The section describing the sanctioned audio-video channels for tame dissidents is one such passage, reveling in babble such as “the behavioral model of Sugary Buratino, and medhermeutical adultery …” Likewise, Sorokin nods to famous SF works: A scene where the torturers ingest drugs via living fish injected into their veins recalls both Rudy Rucker’s drug Merge and Jeff Noon’s psychedelic feathers in Vurt. And who are some infamous enemies of the state? None other than “the cyberpunks.” It would be wrong to give the impression that this book is gray and grim. Despite all its too-plausible horrors, it remains a rollicking roller coaster of a tale, compulsively, LOL-ishly readable (the climactic gay oprichnik orgy is a tour de farce), full of unrepentant rude life force, much like Norman Spinrad’s classic faux-Nazi fantasy “The Iron Dream,” a debauched fever fugue featuring a womb-crazed return to some fairy tale past — and resembling, to our Western chagrin, a Tea Party convention where attendees dress like the Founding Fathers and spout reactionary bile. Sorokin’s “Ice Trilogy,” here translated piquantly by Jamey Gambrell, who also handled “Oprichnik,” was originally published in three parts from 2002 to 2005. It’s a Cossack of a different regiment entirely, with each installment displaying a contrasting storm of weirdness that add up to a cumulative gonzo hurricane.

Margus MeigoPart 1, “Bro,” starts out like an old-fashioned Tolstoyan bildungsroman. We are introduced to Alexander Snegirev, born in the year 1908 to a well-off family. From birth he’s an oddball, not fitting in, although he tries to play a part in the tumultuous history of the next 20 years. The naturalistic gravitas of this early section convinces you you’re reading a straight historical novel, and grounds the subsequent fantasy with deep roots. For when Snegirev tracks down the Tunguska meteorite that fell coincident with his birth (on an expedition that plays out like Kurosawa’s “Dersu Uzala”), his life veers off the rails. Touching the alien “ice,” he receives a revelation: He is one of an elite cohort, some 23,000 souls, nescient fallen angels trapped in mortal clay. His real name is “Bro,” and his mission is to reassemble his tribe prior to Armageddon. The rest of “Bro” reads as if Kurt Vonnegut, Doris Lessing and Thomas Pynchon had rescripted Hammer Films’ cult classic “Five Million Years to Earth,” after mainlining Robert Heinlein’s “Stranger in a Strange Land.” It’s a Gnostic odyssey down familiar 20th-century history rendered utterly Martian by Bro’s perspective and insider knowledge. His death by natural causes at the end of WWII culminates the first book.

Margus MeigoPart 2, “Ice,” immediately throws us for a loop. As with most middle volumes of any trilogy, it’s somewhat protracted and bridgelike. The book opens in contemporary times, and Bro’s recruiters are still active, continuing to search out the missing 23,000. But the conspirators seem to have devolved somehow from the plateau of Bro’s nobility, becoming more violent and meaner, heedless of the “meat machines” (all the humans other than the chosen Brotherhood of Light). In stripped-down, punkish prose, Sorokin offers some Russian mob doings (gangsters have become entangled in the Tunguska ice trade) and details post-WWII Brotherhood history through the eyes of a woman named Khram, the new leader of the fallen angels. We end this installment with the appearance of a young boy who seems destined for large things.

Margus MeigoPart 3, “23,000,” confounds our expectations again by following immediately upon the last sentence of its predecessor. The mysterious boy is kidnapped by the Brotherhood, subjected to the awakening initiation, and christened Gorn. He is instrumental in the completion of the sect’s century-old quest, a denouement for which Sorokin pulls out all the outrageous stops, masterfully employing two new human viewpoint characters, Olga and Bjorn, whose lives have brushed up against the Brotherhood in the past. Brashly and shamelessly, the author even manages to redeem what amounts to the biggest SF cliché of all times, the “Adam and Eve” New Genesis ending. Amid all this apocalyptic adventuring, the “Ice Trilogy” provides a surprisingly trenchant examination of all cults and belief systems and nascent religions, from Mormonism to Jonestown, Scientology to Mayan 2012 Eschatology. There’s a comic-book quality to much of the action (consider how close Sorokin’s story is to that of the X-Men and their Cerebro scanning device that seeks out mutants), but Sorokin uses it to frame genuine philosophical debates about serious ontological conundrums. Ultimately, his trilogy delves with great subtlety into the idea of a life powered by mystical rapture — a notion whose fascinations and dangers require no translation. // Just... aga nüüd alati pidage meeles, kuidas riigi propakanda, alati proovib leida maksimum kasu, igast fantaasiast ja leiutisest, jutust ja loost. Seega, arvestage ja oodake, kasvõi kalevipoja meeldivat sidumist millegi noortepärasega, .. mis mõtted viib ikka Rooma

Margus Meigo/(muid tegelasi mida uurida, psühhoanalüüsi jaoks: https://en.wikipedia.org/wiki/Russian_science_fiction_and_fantasy )

Margus MeigoJällegi, mitte otseselt seotud need lood /(kuigi, võivad olla) vaid meelte laienduseks, millega tuleb arvestada. Sellest pole suurt abi, kui sina arvad, et Sinu reaalne reaalsus on maapeal sedasi ja et nii ongi kui samal ajal suur hulk üle maa, toetab Sinu vastas olevat, kes räägib talle, et Sa lihtsalt oled madalamas vibratsioonis, reaalsuses kinni ning, et Sinuga vaja kaasa mängida mõnda aega kuid sisemuses ignoreerida.. seega vaja ennast hoida kursis erinevate reaalsustega, ka väljamõeldistega mille nimel inimesed võimelised surema lihtsasti, ja mitte selle pärast, et nad puudulikud ilmselgelt oleks. Saionotooogia ka, nagu tead mille põhjal on tehtud.. kuid Väga võimas grupp, otse sõjaväega ka koostööd tegev, viisnurgaga siis... ja võimu neil piisavalt, et vene riigi tuuma otsuse surusid vene omas kohtus alla ning usas maksu politseile ütlesid Nemad, kuidas olema hakkab (usas maksumendid väga võimsal kohal, väheseid kes võivad presidendi kukutada)

Margus MeigoMuidugi eelmise jutu lisaks, militaarliku saiontoloogia osas, võib vaadata ka lihtsalt, froidilikult ""Auditing would address a guy's entire sex life. It was an incredible preoccupation. ... You have complete control over someone if you have every detail of his sex life and fantasy life on record. In Scientology the focus is on sex. Sex, sex, sex. The first thing we wanted to know about someone we were auditing was his sexual deviations. All you've got to do is find a person's kinks, whatever they might be. Their dreams and fantasies. Then you can fit a ring through their noses and take them anywhere. You promise to fulfill their fantasies or you threaten to expose them ... very simple."" kuid võib ka vaadata niipidi: "Scientology and all the other cults are one-dimensional, and we live in a three-dimensional world. Cults are as dangerous as drugs. They commit the highest crime: the rape of the soul." L. Ron Hubbard Jr. mida aitab siis rakendada arusaamad nagu: Hubbard called the physical world MEST (an acronym of "Matter, Energy, Space and Time"), which thetans (souls) temporarily operating "meat bodies" are meant to transcend and conquer.[23][24] New recruits to the church are often classified as "raw meat" or "raw public".Scientologists refer to their bodies as "meat bodies". Scientology emphasizes attaining "cause over MEST", and attaining the ability to abandon one's body via "exteriorization" and ultimately by becoming an Operating Thetan Clear and a Cleared Theta Clear (see kõik võin tunduda mõnele maapealsele "veider" ebaoluline, kuid samas see on "elementaarne" sest nii ju ongi, suure hulga millionite jaoks ja paljudes erinevates noorte ja vanade Vene-koolkonna uskumustes, mis hoopis muude nimedega... bioenergia koolid tulevad meelde, mida ka eestis palju rakendatakse) ---- Võrdle seda nüüd järgmise, Penthouse looga: http://www.playboy.com/articles/playboy-interview-tom-cruise https://en.wikipedia.org/wiki/Scientology_and_sex#cite_note-morton-22 See millest siin juttu: http://www.godlikeproductions.com/forum1/message674682/pg1?disclaimer=1 Ma ise olen eri maadel mitmel koral auditud viimase 10 a jooksul, kuid vastustes vist liiga aus olin, et huvi tekitada millest kinni haarata, kuid noh... awardy psy profiil on ikkagi neil, tasub arvestada Otsige ka German Scientology meeting, või siis anti scientoloogia, ex liikmete miiting, päris karme tõdesika sures plaanis räägitakse avalikult, ja see seo nüüd jällegi.. kolmetäheliste organisatsioonide ja nende taga olevate suur illusioonidega, plaanidega, millest nad .. greeka-rooma heebria vastane gey-s-ririik.. pole kunagi loobunud

Margus MeigoLugemiseks: Penthouse: Did it attract young people as much as cults today? Hubbard: Yes. We attracted quite a few hippies but we tried to stay a way from them, because they didn't have any money. Penthouse: A poor man can't be a Scientologist? Hubbard: No, oh no. Penthouse: What do you think of the great popularity of cults in this country? Hubbard: I think they're very dangerous and destructive. I don't think that anyone should think for you. And that's exactly what cults do. All cults, including Scientology, say, "I am your mind, I am your brain. I've done all the work for you, I've laid the path open for you. All you have to do is turn your mind off and walk down the path I have created." Well, I have learned that there's great strength in diversity, that a clamorous discussion or debate is very healthy and should be encouraged. That's why I like our political setup in the United States: simply because you can fight and argue and jump up and down and shout and scream and have all kinds of viewpoints, regardless of how wrongheaded or ridiculous they might be. People here don't have to give up their right to perceive things the way they believe. Scientology and all the other cults are one-dimensional, and we live in a three-dimensional world. Cults are as dangerous as drugs. They commit the highest crime: the rape of the soul. Penthouse: You mentioned that Scientology attracted a great many well-known or important people. Can you give us some examples? Hubbard: Two of the people we were involved with in the late fifties in England were Errol Flynn and a man who was high up in the Labor Party at the time. My father and Errol Flynn were very similar. They were only interested in money, sex, booze, and drugs. At that time, in the late fifties, Flynn was pretty much of a burned-out hulk. But he was involved in smuggling deals with my father: gold from the Mediterranean, and some drugs --mostly cocaine. They were both just a little larger than life. I had to admire my father from one standpoint. As I've said, he was a down-and-out, broke science-fiction writer, and then he writes one book of science-fiction and convinces the world it's true. He sells it to millions of people and gets billions of dollars and everyone thinks he's some sort of deity. He was really bigger than life. Flynn was like that, too. You could say many negative things about the two of them, but they did as they pleased and lived as they pleased. It was always fun to sit there at dinner and listen to these two guys rap. Wild people. Errol Flynn was like my father also in that he would do anything for money. He would take anything to bed --boys, girls, Fifty-year-old women, ten-year-old boys, Flynn and my father had insatiable appetites. Tons of mistresses. They lived very high on the hog. Penthouse: And what about this Labor Party official? Hubbard: He was a double agent for the KGB and for the British intelligence agency. He was also a raging homosexual. He wanted my father to use his black-magic, soul-cracking, brainwashing techniques on young boys. He wanted these boys as his own sexual slaves. He wanted to use my father's techniques to crack people's heads open because he was very influential in and around the British government --plus he was selling information to the Russians. And so was my father. Penthouse: Your father was selling information to the Soviets? Hubbard: Yes. That's where my father got the money to buy St. Hill Manor in East Grinstead, Sussex, which is the English headquarters of Scientology today. Penthouse: What information did your father have to sell the Soviet government? Hubbard: He didn't do any spying himself. What he normally did was allow these strange little people to go into the offices and into his home at odd hours of the night. He told me that he was allowing the KGB to go through our files, and that he was charging £40,000 for it. This was the money he used for the purchase of St. Hill Manor. Penthouse: Do you know any specific information that the KGB got from your father that might have been harmful to security? Hubbard: The plans for an infrared heat-seeking missile in the early fifties. They obtained the information by extensive auditing of the guy who was one of the head engineers. There were great infiltrations clear to this day. There has always been an inordinate interest on the part of Scientology in military and government personnel. There's no way for me to prove it sitting here, but I believe that the KGB trained East German agents who came via Denmark to London to the United States who were, supposedly, Scientologists. They made very good Scientologists. They were very well trained. Penthouse: Did your father do this just for money? Hubbard: Yes. The more he made, the more he wanted. He became greedy. He was really just interested in the use of money and power, wherever it was or whosoever's it was. Morality and politics made no difference to him at all. Penthouse: Did the Labor Party official get any of his young men via Scientology? Hubbard: Yes. The British were ripe for Scientology. The British school system fosters lesbianism and homosexuality, because from the time you're born until you're in your twenties, all you see is the same sex. The schools are so segretated. And you'll notice in Scientology the focus on sex. Sex, sex, sex. The first thing we wanted to know about someone we were auditing was his sexual deviations. You know, in actual fact, very few people exclusively practice missionary-style sex. So all you've got to do is find a person's kinks, whatever they might be. Their dreams and their fantasies. And if you find that central core, their sexual drives and desires and fantasies, then you can fit a ring through their noses and take them anywnere. http://www.lermanet.com/scientologynews/penthouse-LRonHubbardJr-interview-1983.htm

Margus Meigosee muidugi üks näide paljudest, kes sama vihmavarju all on, kuid hea näide, mis avalikult kättesaadav, igast muud tulnuka relgioonid ja õpetused liiga avalikuse eest peidetud ja laialivalguvad tunduvad, et neid tava inimene ohuna või tõsiseltvõetavana suudaks ette kujutada, et miks ja kudias nad olulised ja kasutatav ja organiseeritud on... arvataks, et need asjad iseseisvalt, ise jooksevad ja toimetavad.. ilma suurema koondplaanita... likvideerida rahvused, iidsed relgioosed loodust ja naist austavad kultuurid.. ja muidugi , ka Eesti Anonüümne

Margus Meigo/( Link: https://www.youtube.com/watch?v=QniBGU5I97w ) Asjakohane jällegi üldise mõtte millega seotud osas, rohkem kui detailide endaga, otseselt, alati vaata laialt, info kobarat millega detailid seotud Suures plaanis ja mis valguses siis need asjad on meie asja osas mida ajame, teeme ja majandame, mõtleme unistame, mille suunal ja kasuks Võitleme, armastuses

Margus Meigoet kui noor on metsas, kännu otsas, räägid talle tuki puhtusest, samal ajal mehel on kotid hapud ja mõtleb oma nutikat näppides uuest Telegrammi uudisest Siiriuse osas, siis kui oluliselt ta keskenduda saab sellele vanamoelisele struktuurile, mis tundub meelte pidurdus olema, alusmüüri ehitamise asemel

Margus Meigoehk siis lahendus, peab olema teadlik, ka sellest lõputust kosmosest kuid veelgi enam, sellest, et see siin on aluspind, mida kaitstes, saame liikuda kuhu iganes, kui valmis koorume, kosmos ise, aga ehitatud sedasi, et seda võidgi jääda lendama, ja ega sa pärale ei jõua mujale ja kergemale tööle kus rohkem päris elu kokkupuudet saaks olla ja pikemat reaalsust kui see, mis /(arvatvasti!) siin kingitud, või millesse me vangistatud või sünnitud... ja ega sünni kanalist tulemine ka lihtne polnud, ... ja kui arvasid, et See Sul raske, siis proovi mõelda, kui kerge see Su valmistajale oli... et kas Sa ise suudaksid, julgeksid sellele teele minna, et inimkonda hoida.. või arvad, et see ongi võrdne, et sa lihtsalt katust ja isegi mitte söögimaad vaid raha tood, lood ainult? Et siis on nagu võrdne, 50/50 Sinu osa suhtes sama austusväärsed Sinu looja peaks olema? Et jah... tõepoolest, raske, tõsidust hoida suures uues generatsioonis, kui uskuma hakataks,e et inimesed on bioloogilised robotid... et nagu kõik, on. Mitte, et roboteid poleks... seda ei tasu uskuda veendunult, et pole, enne kui Sa all ja ülal ilmades pole olnud positsioonidel, kust saad kindlat kinnitust, mis siia loodud kunagi on ja kudias ja miks... seni kuni Sul aint selle ilma külastus ja usk on.. siis lihtsalt hoia vakka ennast suurtemate teemade osas ja ära narrita ennast arulageda lausega nagu " teadus tõestanud.. /(ja mida iganes, ta siis on või pole tõestanud, tuleb arusaada, et me teaduse ligipääs, kasutus, arusaam, on ÜKS osakond, teadustest, milleks SEDA teadust siin erinevatel tasemetel kasutatakse... sest ega pole lihtne töö kõike ja kõiki inimnahas olijaid omavahel toimima saada, nii, et kõrgemad madalamaid ei sööks, ka otseses mõttes, sest maitse hea.. ja sest madalam selleks loa annab ise pimedana süües mida iganes ette juhtub, veel üleolevalt, peenutsedes või tigedana lausa, mõni, et nagu tal õigus... on siis või ?) "

Margus Meigo/(need pole otseselt oluliseks loodud nimed, kui nimed ise, aga kui oleks, ega sa ei teaks ka... või teaksid v?)

Margus MeigoJa veelgi tähtsam kui relv, peaks Nr. 82 osas olema Riist. Ja see peaks juba VÄga selge ja olulisel kohal olema igale Eestimaisele, alates neljandast klassist miinimum.

Margus Meigopäriselt ka, uhkuse ja enesekindlusega, see meie kuldse soo jätkamiSeks oluline, sest muumaiselt kes neid ilmu siin reguleerivad ja meid päriselt kaitsta suudavad, neid asju järgitakse rohkem kui enamust ning seega pikas plaanis need asjad ka tasuvamad tulevad ja saavad olema. Sissesüstitud valehäbi meie keha, meha, ja selle osas mida vaja teha osas, tuleb puhastada