Rilalities IV: The Rilalities


6175ASTTEDLThe Rilality for Album of the year goes to… Sufjan Stevens Illinois.  I know it came out in 2005, but with every critic going bonkers over it back then, I decided I would hate it circa 2005-2006.  In 2013, I realized I was wrong.

Runner up: Secret Chiefs Book of Souls Folio A. The most original album of the year by a mile. Folio A, like all Secret Chiefs’ albums, has very few lyrics.  So, if you’re a lyrics guy, this album isn’t for you. It does have some of the most complex arrangements I’ve heard on an album since… the last time Trey Spruance decided to put out a Chiefs’ album in 2004.

(For a longer review of this album, go here

In the age of iTunes, it appears that either it’s difficult for some artists to make complete albums, or it’s become increasingly difficult for me to listen to them, because iTunes has spoiled me into making my own shuffle albums out of the artists’ best individual tunes. ITunes has also opened my eyes to the filler that an artist loads his albums with, and I don’t listen to those individual tunes as often as I once did, just because they’re from “my guys”.

2013 was also a year where I moved past some of my guys, and once you’ve made the move past some of your guys, it’s difficult to go back. I used to hate it when people told me that they’ve just moved past Led Zeppelin. “They’re great and all, and I spent years listening to them, but I’m just done with them.”  How can one move past Led Zeppelin I wondered. Then I did, and then I moved past Radiohead, Alice in Chains, Verve, and Soundgarden. The latter three groups regrouped, and I tried to get back into them, but I realized that in some manner that’s hard to describe, I’ve moved on. I moved on in a manner that if they came out with the most brilliant album they, or anyone else, could produce, I wouldn’t think it wasn’t as good as the body of work they produced back when they were my guys. The groups I listen to now may not be better, in the truest sense of the word, but they’re different, and when you move past a group you need something different.

You-Are-NOt-So-SmartThe Rilality for Book of the Year goes to… You are Not so Smart by David McRaney.  Again, it came out in 2011, but I’m not a professional critic, and as such I’m not held to time constraints.

Runner Up: I Wear the Black, by Chuck Klosterman.  I disagreed with Klosterman as often as I agreed with him, and that’s exactly what everyone should want in a book.  Klosterman is not meek when offering his opinions, unless he is criticizing staples in our society… like Bruce Springsteen.

The Rilality for the book of the year, next year, will probably go to: Going Clear by Lawrence Wright.  The award winning writer of the terrorism tome The Looming Tower may have even topped that book with this one.  I’m about halfway through this exposé on the religion, called Scientology, and I am obsessed. Wright is a ‘Just the facts ma’am’, Hemingway type of writer. For those that enjoy writing more in the  Doris Kearns Goodwin mode, you may not enjoy this style of writing.  For those curious about this religion –that were too young when the actual revelations occurred– this book is an account that is proving to be invaluable to this ever-curious reader that enjoys the ‘just the fact ma’am’ Jack Webb approach.

There are very few fiction writers that shocked me with their modus operandi in 2013. The last one to do so was Chuck Palahniuk. He was shockingly good, but something shocking isn’t always good. It may be that Palahniuk, and all other fiction writers have simply tripped my tripwire so often that I cannot be shocked by their prowess anymore, but I couldn’t find any piece of fiction shockingly well written in 2013.

breaking_bad_by_motionshowcase-d5l3atmThe Rilality for TV show of the year goes toBreaking Bad. I would love to tell you the line that put the show over the top for me. I refer to it as the line, because the more I digested the subtext of what Walter White just said, the more my jaw continued to drop. Entertainment Weekly, Rolling Stone, and TV Guide focus on the moments of TV, but I focus on lines, and this was the best of the year in my humble opinion. It was such an incredible line that I wondered if Vince Gilligan, and his writers, had been sitting on the line for the past few seasons. I also wonder if Gilligan used the line in his pitch to the networks, as a way of summing up the series. I would love to tell you what this line is, but I don’t want to ruin it for all those people just now watching the series on Netflix, or DVD. The line needs to be heard, chewed, and digested individually for maximum effect. The line was so elemental to the series, that it separated Breaking Bad from all the gritty, new age style TV shows I have loved over the years, including, but not limited to, The Sopranos, Mad Men, and Justified.

One interesting nugget from the general reviews of this show was that some of the seasons were filler. My guess is that they probably were, but I have to wonder what the general perception of the show would be if it were but a three season series. “We want more,” might be the general outcry, and the five season arc seems more satisfying. I think The Sopranos followed a similar arc. The first two seasons are action packed, the studio AMC and HBO respectively, cried out for more seasons, and the writers happily complied by introducing filler seasons to complete the previously planned three seasons. It’s just a theory, of course, but I think all parties concerned feel more satisfied with five to six seasons than they would three. 

Runner up: Justified. Boyd Crowder may be one of the most original, and finely crafted, bad guys ever created for TV. I know, I know, Crowder was created by Elmore Leonard for the short story Fire in the Hole. I read that story, and I recognized the gestational elements of the Crowder character there, but Justified’s writers Graham Yost, Chris Provenzano, Fred Golan, and actor Walter Goggins have taken the Boyd Crowder character to a level I’m guessing Leonard had to find impressive.  (Leonard obviously didn’t see the same possibilities of the Crowder character that the show’s writers did, as Leonard killed the Crowder character off in that short story.)

The other characters—Marshall Raylan Givens, played by actor Timothy Olyphant, and Chief Deputy U.S. Marshal Art Mullen, played by Nick Searcy—are also great, and dynamic, and almost as impressive, but the deliniations between great movies and shows is always the bad guy, and there aren’t any better on TV today than Goggins’ Boyd Crowder.

american-hustle-posterThe Rilality for movie of the year goes to… American Hustle. The movie wins based largely on the fact that I didn’t go to a lot of movies in 2013, and I wasn’t overly impressed with those I did. Bradley Cooper turned in a good performance, but Christian Bale did something different. It seems he does in just about every role he accepts, and that makes him the current, best actor in movies today.

Runner up: Blackfish. I may be biased in this area, since I’ve loved killer whales, Orcas, for most of my life, but when I started doing research on the elements in this movie, I knew that the movie makers reached me on a level that most don’t.

I’ve watched too many movies to continue to enjoy the important movies that I’m supposed to like, and I no longer watch actor vehicles that are done to impress Oscar voters. Most dramas seem to be as reductive in their problems as they do in their solutions. Action movies have a way of leaving me with the idea that I’ve already seen this movie so many times before. I see the formula from another action movie that influenced this movie, while I’m watching it. I spend the entire ninety minutes trying to shake off the idea that the original was better. This may give the reader insight into my age. It may also give readers some insight into what my fellow movie watchers, and TV show watchers, go through with me, but I have a problem shutting it off for just a little bit to enjoy most modern movies. Comedy, in general, is so derivative, and subjective that most movies now feel the need to go over the top to make their mark. Over the top can be funny, of course, but it’s difficult to maintain that level for an entire movie, and most of them do not do this well.

This may not be the best “best of” list for those seeking the best ofs, and if you want to consider it the cynical “best of” have at it, but I don’t consider most entertainment vehicles “must have, must see, must read, and must hear” anymore, and I find that the marketing departments that promote their vehicles in this manner tedious.

Broken Bells: After the Disco: A Review


Neither of the Broken Bells releases will cause you to question authority, reevaluate your identity, or question the role pop music can have in shaping geopolitics.  Neither of the releases takes a nuanced, meteoric direction in music from which there is no going back. For a path down those roads, one may want to consider purchasing one of Bryan Burton’s (AKA Danger Mouse) other, more complex projects, or, to a lesser extent, one of James Mercer’s albums with The Shins. Neither Broken Bells albums will make it to a Music Appreciation course in a university, nor will they remind one of the simplistic brilliance found on any of the albums of The Beatles, but that isn’t what Broken Bells is about. They’re more about a study in the simplistic brilliance of pop music.

Broken+Bells+x_23762e34If we could all conquer the simplistic brilliance of pop music, we would. Instead, George, John, and Paul… and sometimes Ringo, are held up as superhuman beings that once graced our planet with their combined talents. The simplistic brilliance they displayed on their early albums, taught the world that while we all know that brilliance can be defined by doing something more, it can also be achieved by dialing it back a couple notches to those simple artistic statements, that can achieve something tectonic for the world to ooh and awe at for generations to come.

As a person that is just north of the casual listener, and not quite a Beatlemaniac, I have to imagine that the members of The Beatles wanted to add something more to the songs on their early albums. I have to imagine that their desire to write the magnum opus every time out was only contained by their desire to conquer the world with music, and that each song contained their brilliance, as often as it contained their brilliance. I have to imagine that there was some interplay between the members, and producer George Martin, that encouraged each member to push the boundaries of their era’s definition of pop music, but that those voices that called for some restraint were just as prominent.

The early Beatles albums, in particular, were composed of simplistic pop tunes that would prove to be so catchy that they could not be ignored. It would lead a generation of young minds to think, “I can do that.” Their influence became so profound, that someone once said that “Not everyone saw The Beatles performance on The Ed Sullivan Show, but most of those that did —that were of a certain, influential age group— started a band.”

John Lennon, in particular, was known to have an unquenchable desire to write more complex, more experimental, message music. He apparently, wanted personal music that delved into his personal complexities, and he later came to despise a number of the more simplistic pop songs that he, and Paul, wrote to conquer the world.

Creating pop music, it could be said, can be the equivalent of telling a joke, in that some people prefer their jokes to be cute, simple and funny.  The old joke “Why did the chicken cross the road?” has a myriad of answers that say as much about the diversity of the base of that joke as it does the diversity of the joke tellers. Some of the punch lines, to this age old joke, are cute and simple. Those punch lines may make us smile but little more, but there is a certain satisfaction that cute joke tellers gain by making us smile.  Others may prefer a clever twist on that age old joke, and they may repeat it to get us all giggling, and sharing it on Facebook. These people gain a certain satisfaction from their friends telling other friends that they heard it from them first. “Where did you hear that?”  “I saw it on Jenny’s Facebook page.” Even though that clever twist of a punch line wasn’t ours, or we didn’t think of it, we own that joke among those people that heard it from us first. Others go for hilarious punch lines. These punch lines may reference prominent politicians, a reference to some popular starlet’s drug problems, or a reference to an historical figure. Hilarious, and poignant jokes of this type are not going to be received well by all, but the hilarious joke teller knows this is the price to pay for telling a complex and hilarious joke. It may provide some confusion, and it may be so far off the nose that those without a complex understanding of the issue at the heart of the punch line just don’t understand why it’s supposed to be funny, but to the joke teller this is worth it to avoid the universality of the cute and funny punch lines that evoke grins.

Why some people go for the hilarious, as opposed to the cute and silly, may have something to do with their psychological complexity, that they’ve just heard so many jokes, for so many years, that they have to go beyond simplicity and silliness to get to some greater, and more complex definition of their identity? Or, it may have something to do with the fact that they don’t have the talent to execute simplicity in the manner some do, so they go beyond the norm to prove that they are more complex than those simple minded folks to avoid anyone asking the question if they have the basic talent to execute simplicity.

Bryan Burton, aka Danger Mouse, and James Mercer, of the Shins, have proven throughout their careers that they can produce some of the more difficult, complex, and challenging music available on the market. With these bona fides behind them, their current music challenges the notion that artistic brilliance doesn’t always have to be defined by doing something more, but in the restraint and simplicity. While very few would compare either Broken Bells albums with any of The Beatles albums, the first Broken Bells album was a monument to the simplicity of pop music, a statement against the definition for more, bigger and better complexity, and the artistic thirst for the grand artistic statement that is complex and grand. Their second album, After the Disco is not nearly as earth shattering as the first, self-titled album Broken Bells album was, and it’s not as great as Bryan Burton’s album with Daniel Luppi simply called Rome, but it does continue with the theme that artistic brilliance can be pronounced through simplicity and restraint.

The first, self-titled album of Broken Bells asks the artistic equivalent of the age old joke “Why did the chicken cross the road?” with the simplistic, artistic answer:  “To get to the other side”. Some of us prefer the complexity, and we love to listen to those albums that challenge us to twenty to thirty rotations before we can fully grasp its artistic intentions, but even we admit that there’s nothing better than a brilliantly executed pop album that is short, and sweet, and composed with restraint in mind. Broken Bells and After the Disco may never cause you to slap a knee with appreciation, but their simplicity will definitely stick in your head in the manner most brilliantly composed simplicity does.

Rasputin III: The Murder of Rasputin


“They stabbed him, poisoned him, beat him, shot him five times, and they even tried drowning him,” our History teacher said to start class, “yet Grigori Rasputin, also known as the Mad Monk, refused to die.”

That intro silenced an otherwise rowdy class of sixteen-year-old boys. He was a decent teacher for most of the semester, but he never showed such dramatic flair before this presentation. The pause that followed showed us all how effective a pause can be in an oral presentation, and he followed it up with a thorough rundown of the Russian Empire. I don’t remember anything he said after that intro, I don’t think anyone did, but that intro reached us. No one was whispering jokes to one another, sitting with glazed eyes, or even doodling while he spoke. We were on the edge of our seats awaiting the dramatic conclusion to the cinematic, “The Man who Couldn’t be Killed” intro.

We had no idea that World History could be this compelling. Some of us realized, for the first time, that in the hands of a gifted storyteller, the stories of history could be riveting. As soon as our teacher concluded with the bullet points of this chapter in World History, he returned to the tale of “The Man who Couldn’t be Killed”, and his conclusion did not disappoint.

“After Rasputin’s assassins believed they finally murdered Grigori Rasputin, they rolled his body up in a carpet. They tied this carpet up with chains, connected to concrete blocks that they hoped would bound him to the bottom of the Malaya Nekva River when they threw him in. Due to the weather, Russian officials were not able to search the river for the body for some time. When they were finally able to search it, they found the carpet, the cinder blocks, and the chains, but they found no body.” “Is he alive today?” one of my fellow students asked.    “They never found a body,” our teacher answered.
Soon after he dropped that line on us, the silence of the sixteen-year-olds ended. Some of us looked at each other with “Holy Crud!” faces on, but the rest of us immediately began speculating about what happened. Is he dead? How could he not be, it’s been over 100 years? Well, what if he was evil incarnate? “You can’t kill something that was never alive,” someone said to fuel the fire. Was this The Man who Couldn’t be Killed theme the real life influence for Dracula, Halloween, Friday the 13th, and A Nightmare on Elm Street? As horrifying as those movies were, this thing really happened, and we didn’t hear about it from some crackpot on a late night radio show. We heard this from an esteemed World History teacher. “If you doubt me,” we would later tell our friends, “take it up with my History teacher.” Most teachers will try to lower the volume in their classroom in the aftermath. He didn’t. He knew he just gave birth to some History geeks. He sat back and enjoyed the looks on our faces, the excited tones of our discussion, and all of the other results of his pitch-perfect presentation on Grigori Yefimovich Rasputin, “The Man who Couldn’t be Killed”.

The Truth of Raputin’s Murder

“The truth of Rasputin’s murder,” Rasputin: The Untold Story author Joseph T. Fuhrman suggests, “was not as amazing as the mythology that has surrounded it.”

RasputinWhile it may be true that all of the attempts to kill Rasputin occurred in the manner our History teacher detailed, it is not true, as our History teacher’s verbal commas suggest, that they all occurred on separate occasions.

It is true that Rasputin was stabbed on one occasion, by a prostitute without a nose, but that did not prove fatal. He was shot at five times in the course of one night by a team of nobles led by Felix Yusupov, the richest man in Russia, but two of those shots missed, and two of them penetrated locations that would not prove immediately fatal to any other mortal. It is also true that the conspirators, who would take his life on this fatal night, tried to poison Rasputin, by lacing his tea and cake with cyanide, but it’s conceivable that they failed give him a lethal amount of the poison. When Rasputin showed no signs of succumbing to the cyanide, they upped the dose they put it in his wine. As with every other poison, varying factors can cause cyanide to act differently. The effect of cyanide on a person is so relative and unpredictable that it can cause anywhere from hours to days to take effect. We can imagine that once the assassins began trying to put their plan into effect, and it did not produce immediate results, they panicked. They began shooting Rasputin, and he did survive, but it wasn’t the real life Freddy Krueger/Michael Meyers-style resurrection my classmates and I imagined. It was more about the location of the shots in Rasputin’s body, than anything supernatural, or mystical. One of the bullets, Fuhrmann notes –citing autopsies performed on Rasputin’s body– passed through Rasputin’s stomach and liver, and another passed through his kidney. Neither of those bullets proved immediately fatal, as they wouldn’t have on any other mere mortal, but they would’ve … given enough time.

In the intervening minutes that occurred after the first shot –that went through his stomach and liver– Rasputin did manage to regain his feet and make a move on his assailant, but all Rasputin ended up doing, was grabbing his assailant’s shoulder and tearing an epaulet off his uniform. He did not, as some speculate, reach up and begin choking his assailant. He grabbed his assailant’s shoulder, tore the epaulet off, began grumbling the assailant’s name, and fled into the snowy night.

While attempting to flee, Rasputin was shot at four more times, two missed, one struck him in the back and traveled through the kidney, and he dropped. The other, the fifth and fatal shot, went through his forehead. Some have it that that final shot occurred from a distance, but the autopsies suggest it was delivered execution-style, due to the gun residue located at the entry point on Rasputin’s forehead. Some autopsies suggest that there was water in Rasputin’s lungs to suggest that he was alive when he hit the water, as his assailants attempted to drown him after the shooting. Fuhrmann suggests that the greater evidence disputes that notion and suggests that Rasputin was, in fact, dead before he hit the water. 

As for my History teacher suggesting that they tried beating him to death, the evidence derived from the post-mortem examination suggest that the bumps and bruises Rasputin received all occurred as a result of the beating his body received after death. The execution-style gun blast to the forehead ended the story of Grigori Yefimovich Rasputin, but the mythology surrounding the man was just beginning. 

The shock we experience when we hear how difficult it was to kill Rasputin speaks to our fears of how easy we think it is to kill a person. Our modern movies and TV shows leave the impression that when the good guy shoots at a bad guy, the bullet always hits, and it almost always finds their most delicate and vulnerable locations. That bad guy is then dead within milliseconds. The good guys then run behind bunkers, amid a flurry of bad guy bullets unharmed. The good guys then reload and take out eight more with eight shots. This happens so often, in the movies and TV, that we’re almost conditioned to believe that good guys are hard to kill and bad guys aren’t. When a story, such as Rasputin’s, show that a bad guy displays that they are just as capable of surviving an errant shot, we immediately assign supernatural qualities to them.  

Our teacher also told us that Rasputin’s presumed dead body was thrown in the water, with a stone tied to him, and that the Russians dragged the lake and found the ropes and the stone, but they never found Rasputin’s body. This is not true, as it turns out, but it added a necessary ingredient to the “he who never lives can never die” narrative our History teacher was building. I still don’t know if my teacher was such a great storyteller that he wanted to avoid the facts of his narrative, or if he believed what he was telling us, but the captivating details he laid out, in the manner he did, have led me to be almost obsessed with this story ever since.

To those of us who love great stories, and the mythology that grows around them, it was disappointing to learn that Rasputin’s body was as vulnerable to foreign agents as anyone else’s. We consider it much more interesting to speculate about the differences between history’s good guys, and bad guys, and how history’s bad guys escape that which the rest of us are more susceptible. On a certain level, we all know that none of this is true, but it’s more interesting, and fun, to speculate and mythologize an otherwise normal, albeit brutal tale regarding one’s demise by leaving out key details.

The Parables of History

“Those who don’t study history, are doomed to repeat it,” George Santayana said to give history teachers a gift that keeps on giving. 

“All right, but I wouldn’t have fallen for that,” a cynical student of history might say, when learning of Santayana’s quote, in conjunction with some of history’s greatest failings. They might use this mindset in response to the Romanovs’ involvement with Rasputin. “We’re not as hyper-religious as those in the Russian Empire were at the turn of the century, so we’re not going to be as vulnerable to a charlatan who states that he knows scripture backwards and forwards, who states he has God’s ear, and thus gains a Svengali-like hold on the minds of the citizens.”

“As opposed to the messages in modern media, history is replete with charlatans, both religious and non,” that History teacher might respond. “It’s also replete with victims who fail to learn from the mistakes made in history and proceed to repeat the same mistakes when the next charlatan comes along with a different set of promises of something bigger and better. If your takeaway from this lesson is that a charlatan follows a uniform code of conduct, or that you can locate a charlatan by spotting a cross in their ensemble, you’re more likely to become one of history’s next victims.”

“How could they have been so stupid?” will still be on the lips, and in the minds, of these cynical students reading through the history of the Romanov Empire, just as it will be when they learn of the lead up to the Japanese attack on Pearl Harbor. Now that we know the outcome, we can’t help but feel superior to those who ignored, or misread, the tea leaves that led up to one of the great deceptions in history.

Are we superior now, after learning history’s lessons, or will future students of history be shaking their heads, and condemning our generation, for missing all of the undeniable signs of inevitability that led to the terrorist attack on 9/11/01? “How did your generation’s leaders fall for all that?” these future students may ask. “There were so many signs. How could they have been so stupid?”

“All I can tell you,” we may say to that member of another generation studying our history, “is that you have the advantage of hindsight. You weren’t there.”

Other than the rise to influence that Grigori Rasputin attained in the Russian Empire, and the healing of Alexis Romanov at the miracle at Spala, Rasputin’s name is etched into history by the manner in which he was murdered, and the mythology that surrounds it.

The Mythology of the Mad Monk

The lone mythology of the murder of the “Mad Monk” that Fuhrmann willingly entertains is the idea that the British Secret Intelligence Service (the BSIS) either organized the plot to kill Rasputin, or they encouraged it. He states that what lends this speculation plausibility is the idea that Britain may have believed that Rasputin was influencing Russian Tsar Nicholas II to end Russia’s participation in World War I (WWI).

“Rasputin was not doing this,” Fuhrmann writes, “but Britain may not have known this, and Britain needed [WWI adversary] Germany concentrating at least some of their forces on Russia, until the United States would enter the war.” Fuhrmann further states that “Britain’s Military Intelligence, Section Six, [MI6], promised to publish its files on Rasputin’s murder, but it decided to delay it, we can assume, to avoid cooled relations between Moscow and London.”

Those who portray Rasputin as a towering figure that loomed over the Russian Empire may be putting too much weight in the characterizations put forth by Rasputin fans, and those who seek to characterize the man as a monster for the benefit of their monster stories.

In our mind’s eye, we project Rasputin as a looming figure 6’5” in height with broad shoulders, but objective reports state that Rasputin was 5’9” and relatively thin. We might also project some scintillating and overpowering intellect with the Svengali-like powers of manipulation to Rasputin, but while reports suggest he was not an illiterate peasant his whole life, he died having never achieved what observers would call a well-educated background, even for his era. Those same reporters concede that he did make the most of that limited education however.

Romanticized notions suggest that Rasputin had an artist’s disregard for earthly possessions, and that he had no need for status. Secondhand reports suggest that he not only accepted gifts from the Romanovs and their loyalists, but he showed them off with child-like glee. Witnesses characterized this glee as similar to that which a dog may display after receiving treats for performing tricks, and like that dog Rasputin failed to see that the treats were laced with unintended condescension.

These attempts at objective reporting, also suggest that if Rasputin ever towered over the Russian Empire, in the manner some historians suggest, it was dealt a hefty blow when the girl without a nose stabbed him. Favorable renditions claim that Rasputin recovered quickly, and they leave it at that to further the mythology surrounding him. Rasputin did recover physically, but it took a considerable amount of time during which Rasputin could be found wounded, sick, and frail. Mentally, they suggest, he was so wounded by the attack that he was paranoid from that point forward. In that state of mind, these reports suggest, he lost whatever influence he may have had at one time. Even if all of these objective reports are true, it could still be stated that Rasputin achieved a position that was light years above the station his friends and family in Pokrovskoye ever knew.

The Politics of Grigori Rasputin

Reflecting on the life of Grigori Rasputin, some historians suggest that he was nothing more than a “right place, right time” opportunist who wasn’t as proactive in shaping his story as others suggest. Fuhrmann refutes that, to some degree, by writing that Rasputin “exhibited a politician’s ability to make connections,” and that he was unusually adept at choosing those connections that would prove most conducive to advancing him into an influential position.

He also managed to persuade those in power, in a political manner, to change his name from Rasputin to Rasputin-Novyi, or “New Rasputin”. The modus operandi for doing this, according to Fuhrmann, was that the name Rasputin carried some negative connotations within the Russian Empire of the day. Rasputin further managed, as some “more adept” modern politicians have done, to persuade those in the Empire to deem it “unethical” for anyone to use his true name. Rasputin later stated that it was never his idea to change his name, but Fuhrmann states that the name change was made as a result of Rasputin’s petition to Tsar Nicholas II. Rasputin also managed to have the Tsarista Alexandra refer to Rasputin, in the letters she wrote of him, with a capital ‘H’ on the pronoun him, a convention of the English language most reserve only for God. Thus, it could be said, Rasputin did have some hand in manipulating the legacy we know today, in that he knew how to manipulate his perception in ways the modern culture will when they attempt to soften perceptions of criminals and terrorists with more pleasing terms, even if those calculated manipulations tend to appear inconsequential at the time.

“If I die, or you abandon me,” Rasputin is reported to have told Nicholas II, “you will lose your son, and your crown in six months.” 

This has been regarded as an ominous prophecy by Rasputin, based on the fact that the Romanov rule would end seventy-five days after Rasputin’s murder. If one dissects the timeline, however, they realize that once the one that plagued the empire was out of the way, the excuses for the failures of the ruling family would be gone too, and the Romanovs would then become the center of the focus for any of Russia’s failures.

Rasputin’s Legacy and the Clash of History with Subjectivity

As fascinating as our History teacher’s provocative “The Man who Couldn’t be Killed” intro was, those of us who did our own research on Rasputin in the years that followed learned that speculation and uncertainty looms over just about every event that occurred in the life of Grigori Rasputin, including his death. Interested parties can now read numerous books, watch numerous documentaries on the Bio Channel and Discovery, and learn different perspectives on just about every story told about the man on the internet. Some stories contradict all prior stories and others contradict the contradictions. My personal favorite resource, as should be obvious to the reader at this point, is Joseph T. Fuhrmann’s excellent book Rasputin: The Untold Story. Fuhrman approaches each tale with what I view as detailed, and well-sourced, skepticism that is more measured than the typical contradictory biographer who claims, “Everyone else is wrong, and my book should, heretofore, be regarded as the preeminent source.” Fuhrman chose to synthesize archival sources with published documents, memoirs, and other studies of Rasputin into a single, comprehensive work. Should we regard Rasputin: The Untold Story the preeminent source of all things Rasputin, or is it just another in a long line of books about the man? We don’t know. You don’t know, and I don’t know, but Fuhrman did go to great pains to avoid speculation, and many of what I believe are his fact-based theories are as negative as they are positive. We don’t know how many copies of this book he sold, but we can speculate that a Rasputin: The Mad Monk, the Monster title probably would’ve sold better. Fuhrman chose what I view as a more fact-based approach to answer the questions, was Rasputin truly evil, or was he an innocent pawn used by the monarchy as a scapegoat? How much influence did he have on the Russian empire? Was Rasputin an opportunist who seized upon a vulnerable empire with a level of political savvy that allowed him to manipulate some of the most educated, most influential people of his day as well as any manipulator in history has? Fuhrman’s book on Rasputin does contain salacious material, but it is delivered in a rational manner that does not involve the type of subtext one normally associates with an agenda, a marketing gimmick, or an approach other than the search for truth. Having said that, as Colin Wilson states, we’ll never know if Fuhrman, or anyone else at this point, can know with 100% certitude the facts regarding what Rasputin did or did not do in his involvement with the Russian Monarchy, or his eventual murder.   

“No figure in modern history has provoked such a mass of sensational and unreliable literature as Grigori Rasputin,” writer Colin Wilson states. “More than a hundred books have been written about him, and not a single one can be accepted as a sober presentation of his personality. There is an enormous amount of material on him, and most of it is full of invention or willful inaccuracy. Rasputin’s life, then, is not ‘history’; it is the clash of history with subjectivity.”

Some Rasputin historians suggest that while the Romanovs weren’t successful at much, but one thing they were successful at was keeping state’s secrets secret, and they were so successful that we’ll never know the 100% bona fide, no questions asked, truth about Grigori Rasputin, the Romanovs, or the Russian Empire of that era. Thus, we must come to the conclusion that no matter how interested we are in learning the truth, we’ll never know, but that doesn’t stop us from considering “the truth” we do know as of the most interesting and intoxicating stories in history. It’s so interesting and intoxicating that it trained the focus of a perpetually, and perhaps medically, distracted classroom of raging hormones and testosterone for one day of one year, and gave birth to at least one history aficionado.  

This article is part three of a series of articles on Rasputin, the first two are: Part I: Rasputin Rises and Part II: A Miracle at Spala