Friday, August 15, 2025

Polaris of Enlightenment

The Tibetan Book of the Dead

The ancient text read to the dead in Tibetan culture aims to help people deal with their inevitable fate in the best possible way.

Published 19 March 2023
– By Editorial Staff
Left: Ancient mandala pattern from the Bardo Thodol collection. Tibetan monks at Drepung Temple in Lhasa on the right.
6 minute read

The original texts were probably written sometime in the 7th century, discovered in the 14th century, and translated into English in the 20th century by the American scholar and anthropologist Walter Evans-Wentz (1878-1965). The translation became the standard English version that most people today know as The Tibetan Book of the Dead and is the one that other authors tend to refer to.

Evans-Wentz’s popularization of the work, including by relating it to the psychologist Carl Gustav Jung (1875-1961), has established the book as a kind of guide to understanding and altering consciousness. Many people find that the texts can help them free themselves from misconceptions that keep them bound to repeated cycles of self-destructive or self-limiting behavior. However, this was not the original purpose of Bardo Thodol.

Bardo Thodol roughly means “liberation by hearing in the intermediate state” and was written to be read to the spirit of the deceased in the intermediate state (“bardo”) at the stage when the soul leaves the body and faces the process of either being reborn in another form or being liberated from the cycle of rebirth and death (“samsara”). According to the Tibetan Buddhist philosophy of life, the consciousness of the dead person is confronted, among other things, with the deeds done in life, which are personified in the form of either angry or peaceful spirits. These spirits are considered to be frightening to the soul, and so a lama (Tibetan Buddhist monk) reads the scripture aloud next to the body of the dead person, partly to help the soul understand what it is encountering, and partly because this understanding enables a more harmonious transition from the intermediate state to a new form of life.

At the same time, the mythical writings have had other applications in the encounter with other cultures and beliefs. The texts, however they are interpreted, are based on the existence of an afterlife, providing comfort to those facing death. The scriptures are even used today in some places as a healthcare tool for patients who do not have long to live, to help them face the fears of death.

History of the scriptures

According to legend, the Bardo Thodol arose in the 7th century when the Lotus Guru Padmasambhava was invited to Tibet by the Emperor Trisong Detsen (755 – 797) who requested his help in ridding the country of the dark spirits that were believed to be preventing the acceptance of Buddhist teachings. Padmasambhava thus transformed these spirits from selfish and fearful obstacles into guardians of the cosmic law, “dharma”.

Among the first to embrace the Buddhist philosophy of life was Yeshe Tsogyal in the mid-8th century, who was either the wife or consort of Trisong Detsen. She may have been an early follower of the goddess Tara, one of the principal figures in the esoteric Buddhism of Padmasambhava. Tsogyal, often called the mother of Tibetan Buddhism, dutifully studied with Padmasambhava and helped the guru write the texts, which they then hid in various places to be found later by those who would reveal them when needed.

In the 14th century, the texts were discovered by Karma Lingpa, who is traditionally considered a reincarnation of one of Padmasambhava’s disciples. Lingpa discovered several texts, not just the Bardo Thodol, as noted by scholar Bryan J. Cuevas, among others.

These texts were taught orally by masters to students in the 15th century and then passed between students in the same way. Cuevas notes how “the transmission of religious knowledge, whether in the form of texts or direct oral instruction, was actually a rather fluid process in Tibet” at this time, and earlier. The texts were only printed in the 18th century when they began to circulate more widely and made their way to Western societies around the world.

In 1919, British officer Major W. L. Campbell, stationed in Sikkim, India, travelled around Tibet and bought a number of these printed texts. Campbell had an interest in Tibetan Buddhism and on his return to Sikkim, he shared them with Dr Walter Evans-Wentz, an anthropologist in the region who was studying the religious and spiritual aspects of the culture in Tibet. Evans-Wentz had a very poor command of the language and therefore enlisted the help of Lama Kazi Dawa Samdup (1868 – 1922) who was the headmaster and teacher at a local school.

Dawa Samdup already had an impressive reputation as a translator, having worked with the famous travel writer and spiritualist Alexandra David-Neel to translate Tibetan into English. He agreed to help Evans-Wentz with the writings, and they met to translate and interpret the texts until Dawa Samdup’s death in 1922. At this point, only Bardo Thodol’s funeral text was mostly translated. Evans-Wentz filled in the missing parts with his own interpretation and published the writings in 1927 under the title The Tibetan Book of the Dead to resonate with the title The Egyptian Book of the Dead, published in English in 1867 by the British Museum.

Life as a shaper of the death experience

At the center of Bardo Thodol is the Buddhist philosophy that all living things are interconnected as a constant cycle of change; that all things come and go according to their nature, and that human suffering arises from trying to maintain permanent states in a world where death is inevitable. Researcher Fung Kei Cheng elaborates:

“For Buddhists, life is considered not only a process but, more importantly, a “great process of becoming” with an unceasing cycle of living and dying, which suggests that individuals experience death countless times…. Depending on the individual response to reality, transcending suffering and alleviating death anxiety becomes possible when a person successfully searches for meaning in life and then prepares to die well by letting go of death.”

According to the Buddhist philosophy of life, it is a person’s response to reality in life that shapes their experience after death. In the afterlife, both the positive and negative energies in one’s life manifest as spirits that try to block or open one’s path in the intermediate state after the body dies. The Bardo Thodol is therefore read to the soul to help it understand what it is facing and what to expect next.

Once the ritual of the reading of the Bardo Thodol is complete, the family of the deceased is considered to have done their duty in respecting the dead and can then move on with their lives. Although it seems that some rituals only last for a week or sometimes a few days, the act itself is believed to have helped the deceased and prevent their spirit from returning to haunt the living with bad luck, illness or retribution.

Guidance in life and in death

The ritual of reading aloud to help the soul of the dead is the sole purpose of the original Tibetan text, but once translated by Dawa Samdup and published by Evans-Wentz, its texts were promoted as a source of guidance for the living as well. Evans-Wentz was inspired by the theosophy of Helena Blavatsky (1831 – 1891), which was based on the idea that the divine and immortal absolute resides within each soul, and drew much of its philosophy from Buddhism, particularly esoteric Buddhism. Tibet, as Blavatsky claimed, was “a seat of ancient wisdom”.

Evans-Wentz’s interpretation of the Bardo Thodol was therefore influenced by his theosophical beliefs – not just as a funeral rite but with content that could also help one live a better life on this plane of reality. In his introduction to The Tibetan Book of the Dead, Evans-Wentz writes:

“It is very sensible of Bardo Thodol to clarify the primacy of the dead soul, because that is the one thing that life does not clarify for us. We are so hemmed in by things that crowd and oppress that we never get a chance, in the midst of all these ‘given’ things, to wonder by whom they are ‘given’. It is from this world of ‘given’ things that the dead man liberates himself; and the purpose of instruction is to help him towards this liberation. We, if we put ourselves in his place, will get no less reward from it, because we learn from the very first paragraphs that the ‘giver’ of all ‘given’ things lives within us.”

Evans-Wentz’s approach has highlighted the perspective that The Tibetan Book of the Dead can thus be as valuable to the living as to the dead, something also emphasised by the Tibetan lama Sogyal Rinpoche. It is clear that Bardo Thodol’s texts were written to provide comfort and guidance to the dead in the afterlife, encouraging them to “do something about” death by engaging with the dying process. Today, it may meet the psychological need mentioned by Jung for a belief in the survival of bodily death, helping people in the process to let go and move on – regardless of what personal beliefs or philosophies one relates to.

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Time To Rock delivers

This year's edition of the rock festival Time To Rock took place in Knislinge, a small town in Skåne, southern Sweden. During four July days, The Nordic Times' cultural reporter Mikael Rasmussen was on site to experience a festival filled with emotional artistry that blends well with a strong familial community spirit – and of course: Loads of music!

Published 8 August 2025
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5 minute read

The four days were filled with community, appreciation and a tremendous amount of music. It’s friendly, cozy and the visitors who choose to attend Time To Rock do so with care. The festival is like a big family that welcomes and integrates. It strikes most visitors what a thoughtful spirit prevails within the constructed community called Time To Rock.

The musical acts are numerous and varied where many tastes are truly satisfied. It’s especially charming to observe when children also come along and show appreciation as well as provide humor in that way that only children can when, for example, their favorite band performs. Smash Into Pieces attracted children and adults alike where the entire festival area swayed as both seated and standing audience members sang along, applauded and smiled in agreement at how well everything fits like a glove.


Advertising partnership with Brokamåla


The promised land of camping life

The festival is also reaching its limit in terms of accommodation for those who choose to camp. There were 300 more overnight guests than last year and now the Time To Rock management needs to look for land alternatives. This means the festival can accommodate approximately 1,100 camping guests. But the land issue becomes a tough nut to crack, expresses Martin, the camping general maestro, who guided Mikael Rasmussen around the camping area in his fine golf cart. There’s a lot of recycling during these days where a collaboration with a dealer in Kristianstad, Sweden enables them to even return cans from Germany, for example, precisely because there’s such a quantity and the metal is valuable, just as valuable as the metal music that’s played and performed from the stages.

For example, the German veteran band Dirkschneider performed with Udo Dirkschneider and his characteristic workshop height that thereby lifted the entire atmosphere to the audience’s delight. Their repertoire on this occasion was to play all the songs from the legendary album Balls To The Wall which celebrated its 40th anniversary. There was also an opportunity for the audience to rock out to Dirkschneider’s encore conducting the song Princess Of The Dawn.

Three stages with 47 bands where most of the playing schedule held up health-wise except for Black Ingvars who we missed with their interpretations of children’s songs, schlager and dance band swing in incredibly heavy hard rock arrangements. At short notice, the band Alien replaced Black Ingvars’ absence instead. It’s enjoyment for all the senses with all the bands that perform. There are wonderful bands like Quireboys who offered beautiful southern rock with elements of very competent rock harmonica. The band Oomph thundered like Rammstein and the singer offered theatrical looks and expressions. More senses were also satisfied when Cobra Spell performed in latex, leather and managed to conceal the most intimate parts in kinky leather and latex as well as their instruments.

Crescendo on the fourth day

Clearly the best was the last day of the festival’s four fully packed days of beer, food, camping and musical equilibrium. Always equally fantastic to see and hear Mikkey Dee from legendary King Diamond then Motörhead and now frequently touring with Scorpions, where he traveled from Hannover to Knislinge, Sweden to perform songs from the time with Motörhead.

It’s a shame about the bands that have to perform bad songs to empty audiences while well-composed melodies are a pride to perform such as Ace Of Spades, said Mikkey with a twinkle in his eye.

What song should we play now then, Mikkey asked the audience. Ace of Base, came the joking response from the audience.

The program continued and was followed thereafter by, for example, Jean Beauvoir, the children’s favorite Smash Into Pieces with delicious catchy songs, cool computer graphics and fire show. Then Majestica with fantastic guitar equilibrium by Tommy Johansson like Yngwie Malmsteen and with a singing voice that in its highest registers conjures images of Judas Priest’s Rob Halford himself. Yes, these are truly powerful experiences and the program delivers and then tops it off with Myrath who alternates oriental dance and musical elements in their metal-based melodic compositions.

The charismatic theater and drama-dressed singer Noora Louhimo in Battle Beast gives her band and the festival’s visitors new dimensions and it would be desirable if the musicians also knew to match the artistic drama queen Noora. New as master of ceremonies this year was Orvar Säfström.

Welcome to your comfortable comfort zone! Orvar encouraged the audience in a hymn to the legendary departed Lemmy from Motörhead. The audience was urged to look up to the sky because that’s where he is, stated Säfström, and nowhere else!

Another encounter that touches my soul and heart is with one of the festival’s most frequent visitors. The person is named Jens Björk and we can all see him usually sitting in his wheelchair on the designated wheelchair ramps with a good view of the stages and artists. At regular intervals, Jens wants to film with his smartphone or stand up and groove to the rhythmically heavy hard rock and metal songs that reach him perhaps deeper than the rest of us. Jens suffered a stroke and subsequent aphasia about 10 years ago and has since undergone various therapeutic treatments.

Jens constantly works on practicing language, movements and social contexts. It feels extra nice when trust is built up and our mutual patience means we understand each other and music is like wisdom at such a frequency that it can only be perceived. Therefore music can be healing and curative, and despite the high sound volume streaming from the speakers at Time To Rock, the ears are not damaged but instead the tones reach deep into the audience’s bodies. And Jens texts me a couple of days after Time To Rock packed up and writes like this:

“Good evening! Jens here with the wheelchair. Now I’ve woken up after a wonderful festival in Knislinge and the last band Sonata Arctica – really lovely end to the festival”.

This certainly puts a finger on how important these fantastic festivals are!

Bows & curtseys

So thanks to the entire Time To Rock management with festival general Andreas Martinsson at the helm, press manager and everyone’s Andreas Hygge Hügard to all those who built up the festival environment, host and security personnel, emergency services such as police and ambulance who also like the church had a welcoming event element where those who wanted to familiarize themselves with its so important functions. These good people were Time To Rock 2025 and visitors already express a longing for Knislinge’s oasis. May all good energies flow!

And we also put in a request for next year — the fantastic goth rock band Fields Of The Nephilim. Thanks in advance!

 

Mikael Rasmussen alias Artist Razz

The Hobbit first edition discovered in UK home fetches €50000

Published 7 August 2025
– By Editorial Staff
The first edition released in 1937 was printed in only 1,500 copies.
2 minute read

A rare first edition of J.R.R. Tolkien’s “The Hobbit” has been sold for £43,000 (approximately €50,000). The book was discovered by chance in a house in Bristol, England.

“The Hobbit”, which was later followed by “The Lord of the Rings”, tells the story of the hobbit Bilbo Baggins who embarks on an adventure with a group of dwarves to reclaim treasure from the dragon Smaug. The book has become immensely popular, selling over one hundred million copies and has also been adapted into films during the 2010s. The first edition of the book, released in 1937, was originally printed in only 1,500 copies. Today, only about a hundred copies of the first edition are believed to remain in the world.

During a routine house clearance conducted by auction house Auctioneum, the book was discovered by chance in a house in Bristol, England. Caitlin Riley, the auction house’s specialist in rare books, randomly pulled out a green book from the bookshelf.

It was clearly an early Hobbit at first glance, so I just pulled it out and began to flick through it, never expecting it to be a true first edition, she told The Guardian.

“Very special book”

The copy is bound in light green cloth and features black and white illustrations by Tolkien. Riley soon realized it was a first edition. It was also in incredibly fine condition, which is uncommon since most of these books are usually worn, especially since it’s a children’s book.

The book was auctioned with a starting price of £10,000, equivalent to approximately €11,500. Bidders from around the world drove the price up to more than four times what the auction house had expected. Finally, the book sold for £43,000, approximately €50,000.

It’s a wonderful result for a very special book.

A poem about the children in Gaza while the world watches

The genocide in Gaza

The children cry from hunger and dream of peace – but the world remains silent. Swedish artist and poet Malin Sellergren depicts the unbearable reality of children in this poem.

Published 5 August 2025
2 minute read

Daily terror, daily pain,
children cry in Gaza’s rain.
Six thousand trucks with food denied,
they starve while waiting on the side.

The bombs fall hard, the homes are gone,
on the cold ground they sleep until dawn.
At night they scream from endless fear,
by day they cry with hunger near.

When will this torment find its end?
When will the broken hearts still find mend?
No bread to eat, no life to live,
a mother’s boy had love to give.

He thought, I made it, almost there!
but bullets struck and stilled his air.
So many tried for food that day,
the soldiers came and shot their way.

And in the streets, so many fall,
just children, innocent through all.
For they were born in Palestine,
their lives erased, erased in line.

The world’s afraid, its leaders weak,
they whisper low, but dare not speak.
Sanctions stall, while time runs thin,
should we boycott oranges… or tangerines?

Yet weapons flow from west to east,
while crumbs are dropped, a guilty feast.
Millions starve, their hope is small,
the world looks on, and does not call.

No one dares to say “Enough!”
Israel’s hand is far too tough.
And those who speak are smeared with hate,
their voices drowned, their words too late.

Meanwhile children pay the price,
their lives are bartered, sacrificed.
Leaders claim this land their own,
they crush the seeds the kids have sown.

But still, among the ash and flame,
the children whisper freedom’s name.
Though caught in Gaza on the street
some of their hearts still beat.

 

Malin Sellergren, PoeticArtstories

Artists flee Spotify after Ek’s defense investment

The future of AI

Published 30 July 2025
– By Editorial Staff
1 minute read

Spotify founder Daniel Ek’s investment in the German defense company Helsing is now prompting several international artists to leave the music streaming service in protest. The Australian psychedelic rock band King Gizzard and the Lizard Wizard is the latest name to remove their music from the platform.

Daniel Ek, who is also chairman of the board at Helsing, led an investment of €600 million earlier this year in the German company that specializes in AI-driven autonomous combat solutions. The technology is used for drones and underwater surveillance systems, among other applications.

King Gizzard and the Lizard Wizard announced the decision on Instagram with the words “Fuck Spotify”, explaining that their latest demo recordings will only be available on Bandcamp.

“Spotify CEO Daniel Ek invests millions in Al military drone technology. We just removed our music from the platform”, the band wrote.

The California-based band Xiu Xiu and San Francisco group Deerhoof have made the same choice. Deerhoof expressed their position clearly: “We don’t want our music killing people. We don’t want our success being tied to AI battle tech”.

The protest reflects the music industry’s long-standing ambivalence toward Spotify’s dominant position and impact on artists.

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