Kurt Cobain

Satans Little Helper?

Rock 'n' roll is the work of the devil. We have heard it so many times before. Now the link between the Charles Manson murders and the Beatles has been found. There was records that could be played backwards and you would hear cryptic messages, and there was LSD trips where you met the Devil, all mixed together by rock 'n' roll. Then there are the metal bands who preach the gospel of Satan. Black Sabbath, Slayer, Cradle Of Filth, and not the least Marilyn Manson. But... Kurt Cobain?

According to the September 1999 issue of British "MOJO - The Music Magazine," Kurt Cobain was one of 'Satan's little helpers.' The front-page story of the magazine is rock's dark past, and rock's links to the Charles Manson murders and other occulties.

"The Nirvana frontman was obsessed with Anton LaVey, the since deceased founder of The Church Of Satan. The first time Cobain came to San Francisco with his cronies from The Melvins, they repeatedly drove by LaVey's infamous 'Black House' (which, since his death, has been seized from his companion and current Church of Satan head, Blanche Barton), fascinated with the barbed wire that surrenced the mansion: rather than keeping intruders at bay, the fence was designed to keep the house's inhabitans in. Cobain knew that LaVey played cello, and attempted to contact him about playing on 'Nevermind.' LaVey never returned his calls."

Those interested in Nirvana will know that the cello part om "Something In The Way" on "Nevermind," the only song featuring that instrument, was not planned. When they decided to put a cello part on, they had to search the city they were recording in to find someone who knew how to play a cello. They found Kirk Canning, who wrote the cello lines and played on the album.

The source of the information used by "MOJO," Charles R. Cross, author of the acclaimed Nirvana books "The Making Of Nevermind" and "Heavier Than Heaven," says that the magazine has blown what he told them a little bit out of proportions:

"Kurt was fascinated by Lavey and wanted to get him to play on something. He said that several times when he visited San Francisco and went by the Melvins' house, which was just down the street from LaVey's. He had heard that he played cello. Kurt did want him to play on some future recording; he said this before they went into the studio for 'Nevermind.' It's a little far fetched to say he wanted him to play on 'Nevermind,' but it is accurate to say he wanted him on a future recording."

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