l amore tra due donne

“Ecce Homo” and “Mater Dolorosa” (1674-85) by PREDRO DE MENA

It is impossible to look at the bruised and bloody body of PREDRO DE MENA’s Christ without wincing in sympathy. And one would have to be stonyhearted to look unmoved on the Virgin Mary’s tears. Yet, until very recently, painted wood sculpture of this kind, produced in Baroque Spain, was ignored by most mainstream art historians, or even dismissed as religious kitsch. (…) Polychrome works by the most skilled and passionate of Spanish sculptors are therefore at the top of the Department of European Sculpture and Decorative Art’s list of sculptural desiderata, and the chance to acquire PREDRO DE MENA’s marvelously moving Ecce Homo and Mater Dolorosa was not to be missed.


“Ecce Homo” (1674-85) by PREDRO DE MENA

“Ecce Homo” (1674-85) by PREDRO DE MENA

“Ecce Homo” (1674-85) by PREDRO DE MENA

“Ecce Homo” (1674-85) by PREDRO DE MENA

“Ecce Homo” (1674-85) by PREDRO DE MENA

Because the half-length figures are slightly less than lifesize, and because they are given grand theatrical gestures and dramatically swirling draperies, they proclaim themselves as works of art. However, these pieces also bring the living figures of the tortured Christ and his grieving mother into our world, giving them a presence that feels almost unmediated by an artist. Not only are their facial expressions painfully vivid, the sculptures are colored with an extraordinary realism, with glass eyes and real hair used for the eyelashes. This coloring was also immensely skillful; Pedro belonged to the first generation of sculptors not forced by guild regulations to relinquish this responsibility. These are sculptures whose startling immediacy depends upon his brilliant craft.


Luke Syson
Iris and B. Gerald Cantor Chairman
Department of European Sculpture and Decorative Arts


“Mater Dolorosa” (1674-85) by PREDRO DE MENA

“Mater Dolorosa” (1674-85) by PREDRO DE MENA

“Mater Dolorosa” (1674-85) by PREDRO DE MENA

“Ecce Homo” and “Mater Dolorosa” (1674-85) by PREDRO DE MENA

PREDRO DE MENA’s “Ecce Homo” and “Mater Dolorosa” are on view in Gallery 611 of the Metropolitan Museum of Art (1000 Fifth Avenue, Upper East Side, Manhattan).


***


Treasures of Heaven: Saints, Relics and Devotion in Medieval Europe (March 23, 2011)
Religious Art at The Metropolitan Museum of Art (January 20, 2011)


WARNING SIGNS OF SATANIC BEHAVIOR

WARNING SIGNS OF SATANIC BEHAVIOR


Beloved LUCY


christiannightmares.tumblr.com


***


Fuck yeah, Churches! (January 31, 2013)
Fuck Yeah Tumblr (February 24, 2010)


Black Metal
Marilyn Watelet, Belgique, 1998, 48 min


Documentaire (…) qui nous fait entrer dans ce petit milieu du rock satanique de 1998 et, de concerts en rencontres, s’attache à suivre ces jeunes gens en rupture de société. Loin d’illustrer un jugement préconçu, MARILYN WATELET risque son film derrière l’image que les Black métals donnent d’eux-mêmes et que les médias et les politiques reprennent et amplifient.


C’est un voyage dans la Belgique des villages ordinaires où ont lieu les concerts Black Metal, rock violent et brutal aux messages ambigus. Vêtus de noir, maquillés, déguisés en barbares, des adolescents se retrouvent, dansent, boivent, se battent, essaient de draguer et partent dans la fièvre d’un concert, le temps d’un samedi soir. Ils disent avec des mots maladroits leur envie d’échapper au quotidien, au vide de leur vie. Ils ne savent rien de l’Histoire, rêvent d’un monde cruel tout en regrettant de faire peur aux filles. Parents et villageois pensent qu’il faut que jeunesse se passe et pour les organisateurs, ils sont un marché comme un autre. Dans ces rites de passage entre adolescence et âge adulte, l’ennui existe toujours et, de la violence de leur engagement, certains passeront à autre chose avec la même conviction. Certains se replieront sur la famille pour retrouver la tribu et pour d’autres, la tentation de se fixer dans ce discours extrémiste en fera la cible privilégiée d’une dérive d’extrême droite.


***


How Much Black Metal Can You Take? (April 13, 2014)
One Man Metal (2012) presented by Noisey (December 20, 2012)
Xasthur par BRYAN SHEFFIELD, Self-Titled numéro 8 (June 23, 2011)
Black Metal Satanica (2008) by MATS LUNDBERG (June 13, 2011)
‘Black Metal’ (2005) photographs by STACY KRANITZ (June 4, 2011)
Svart Metall’ (2009) par GRANT WILLING (June 2, 2011)
Until the Light Takes Us (2009) by AARON AITES & AUDREY EWELL (June 1, 2011)
Norsk Black Metal (Norwegian Black Metal) (December 4, 2010)
Det Svarte Alvor (1994) A Black Metal Documentary (December 2, 2010)

SATANIC PANIC: POP-CULTURAL PARANOIA IN THE 1980s

Upcoming event at Drawn and Quarterly :

Kier-La Janisse and Paul Corupe launch Satanic Panic: Pop-Cultural Paranoia in the 1980s

Join us on Thursday, July 30th at 7:00 p.m. for the launch of the second Spectacular Optical book, Satanic Panic: Pop-Cultural Paranoia in the 1980s.


KIER-LA JANISSE and PAUL CORUPE launch Satanic Panic: Pop-Cultural Paranoia in the 1980s

Co-editors KIER-LA JANISSE and PAUL CORUPE (and some special guest contributing authors) will host the evening. There will be a talk and video presentation on this infamous era, and books will be for sale at the event.


Librairie Drawn & Quarterly
211 Bernard Ouest, Montréal H2T 2K5


Facebook event


***


In the 1980s, everywhere you turned there were warnings about a widespread evil conspiracy to indoctrinate the vulnerable through the media they consumed. This percolating cultural hysteria, now known as the “Satanic Panic,” was both illuminated and propagated through almost every pop culture pathway in the 1980s, from heavy metal music to Dungeons & Dragons role playing games, Christian comics, direct-to-VHS scare films, pulp paperbacks, Saturday morning cartoons and TV talk shows —and created its own fascinating cultural legacy of Satan-battling VHS tapes, music and literature. From con artists to pranksters and moralists to martyrs, Satanic Panic: Pop-Cultural Paranoia in the 1980s aims to capture the untold story of the how the Satanic Panic was fought on the pop culture frontlines and the serious consequences it had for many involved.


***


A new anthology book on how the fear of a Satanic conspiracy spread through 1980s pop culture
(June 15, 2015)
Satanic Panic: Pop-Cultural Paranoia in the 1980s (March 31, 2015)
Équinoxe d’Automne MMXIV (September 22, 2014)

'Egg Benedict' aka the 'Condom Pope' by NIKI JOHNSON

MILWAUKEE — It’s not unusual for a work of art to cause outrage, especially if it dips into the tender zones of race, gender, or religion. It is no surprise, then, that news of the Milwaukee Art Museum (MAM) acquiring a seven-foot-tall, double-sided portrait of Pope Benedict XVI woven from 17,000 condoms has caused consternation, 500 comments within the first day of a local newspaper article online, national coverage, and threats from museum members, donors, and docents to withdraw support.


Big deal. This is the art world, and it’s par for the course. Controversy is as much a part of art history as rabbit skin glue.


In a post-Mapplethorpe landscape, we know the routine — although of course it goes back further than that. CARAVAGGIO was considered vulgar for his mixing of real life models into religious scenes in the 17th century. One hardly needs to mention ANDRES SERRANO’s “Piss Christ” controversy in 1989 and the subsequent CHRIS OFILI “Holy Virgin Mary” scandal of 1999. More recently, the Hide/Seek exhibition of 2010–11, co-curated by Jonathan D. Katz and David C. Ward and shown at the National Portrait Gallery in Washington, DC, caused an uproar, not because it was a brilliant revisionist history of the role gay artists played in Modernism, but because one video by DAVID WOJNAROWICZ showed ants crawling on a crucifix. The video was removed from the exhibition.


Religious purists, in efforts to protect their sanctity, rise up in waves of predictable indignation. The arguments are generally reactionary and simple-minded, disregarding the artist’s investment of thought, time, and professionalism in a complex, socially engaged attempt to communicate the way only art can — via a premise rather than polemics. The ‘Condom Pope’ has been quickly dismissed by an internet public as a stunt, an offense and a childish prank to garner public attention.


Archbishop of Milwaukee Jerome E. Listecki wrote:


An artist who claims his or her work is some great social commentary and a museum that accepts it, insults a religious leader of a church, whose charitable outreach through its missionaries and ministers has eased the pain of those who suffer throughout the world, must understand the rejection of this local action by the believers who themselves have been insulted.

William A. Donahue, of the Catholic League, has also chimed in.


“This is yet another diversionary tactic of a right wing increasingly aware it is on the wrong side of history,” said curator Jonathan Katz. “Borrowing a language of discrimination from the left, they try to make it seem as if they are the wounded party. But tell me, who has been the subject — the continuing subject, I might add — of centuries of legal and and physical abuse aided and abetted by religion?”

But it seems as if everyone loses during these flare-ups. At the same time that conservatives defensively misinterpret the meaning and value of the work, the more liberal art world confuses the viral spotlight for empowerment. The valuable message of the work becomes muffled by the sensationalism of the controversy. The ‘Condom Pope’ has not even gone on view at the museum yet. The MAM’s permanent collection is currently closed for remodeling and reinstallation and will open in November with the Pope tucked between CHUCK CLOSE’s “Nancy” (1968) and DUANE HANSON’s “Janitor” (1973), a rather clinical contextual nod to photorealism and the portrait — a safer positioning than within the more amorphous contemporary collection.


'Eggs Benedict' aka the 'Condom Pope (2013) NIKI JOHNSON

Eggs Benedict, Latex embroidery on steel mesh, wood, plexiglass, 83”x 60”x 14”, 2013, In the permanent collection of the Milwaukee Art Museum


The artist NIKI JOHNSON (b. 1977, Wisconsin) made this double-sided portrait of Pope Benedict XVI, actually titled “Eggs Benedict,” out of 17,000 multicolored condoms. The piece is a response to a statement made by the conservative German former Pope in 2009 that condom use would not stem the spread of AIDS in Africa. In all of her work, JOHNSON, who earned her MFA in 2012 from the University of Wisconsin-Madison, is interested in feminist and social issues and how the media disseminates information and shapes opinion.


“Eggs Benedict” was first exhibited in 2013 at my art gallery in Milwaukee, Portrait Society, a space dedicated to reexamining issues related to the genre of portraiture. The novelty of this work and the promotional acumen of the artist caused a viral, international response then, with the ‘Condom Pope’ being written about nearly worldwide. Locally, it received positive print and television media attention; the majority of international attention was positive as well. Visitors to the gallery, both Catholic and not, applauded the technical finesse of the piece as well as its respectful portrayal of the Pope. His image, culled from a newspaper photograph, is representational. JOHNSON wove the condoms through a mesh, much like a rag rug, to achieve the effect, acknowledging the process of weaving and its relationship to traditional women’s craft. She sometimes doubled two condom colors to achieve a more complex palette. The back of the piece shows the dangling ends of the condoms and appears as an almost abstract composition.


'Egg Benedict' aka the 'Condom Pope' by NIKI JOHNSON

During its debut at the gallery, visitors lingered and wanted to converse about the piece. Strangers spoke to strangers about issues ranging from birth control and the role of church and state in contraception and abortion to the stigma regarding condoms (it’s still hard to talk to your teenagers about them) and HIV prevention. It became a selfie zone. It was within this context that the Milwaukee Art Museum accepted the sculpture into its collection. “We did not think the work would spark this much interest,” MAM Director Dan Keegan told Hyperallergic. “However, we did anticipate that it would stimulate conversation and discussion. That’s what good art does.”


But beyond the yawningly predictable controversy as “Eggs Benedict” enters the public sphere is another story about how it got there and perhaps about why more politically charged, socially engaged work so infrequently makes it into the permanent collections of art museums. As curator Jonathan Katz told Hyperallergic, “The art world has long been party to a significant confusion: it mistakes avant-garde style for avant-garde politics and then claps itself on the back for being so progressive. But the rare art that dares to address politics is almost always denied a place at the table until enough decades have passed to blunt its bite.”


To get a place at the table these days, it doesn’t take a village; it takes a liberal patron. And in Milwaukee, as elsewhere, they are precious few.


Joseph Pabst, descendant of the Pabst Brewing Co. family, has been involved in LGBTQ organizations and supported AIDS research for more than a decade. But his love of art and degrees in art history and design have inspired a different kind of activism too. Pabst understands the role that art plays in culture, absorbing and reflecting the conditions of its time, both directly and indirectly. He knows he can use his financial ability and passion for contemporary issues to ensure that the underrepresented, the victimized, and the oppressed receive a place within the regulated vaults of the public art world. When the Milwaukee Art Museum hosted an exhibition of more than 40 historic American quilts from the Winterthur Collection in 2010, for example, Pabst conceived of and funded a parallel exhibition of nine NAMES Project AIDS Quilts, which was shown around the corner . In 2011, after seeing a TARYN SIMON exhibition at the Milwaukee Art Museum, Pabst purchased her photograph of a vial of live HIV virus and gifted it to MAM with the stipulation that it be shown every year on World AIDS Day. He also purchased a suite of photographs of gay hate crime murder sites by artist PAUL BAKER PRINDLE and gave them to the regional Museum of Wisconsin Art.


It would have been unlikely that the Milwaukee Art Museum would have put forth $25,000 to purchase “Eggs Benedict.” When Pabst heard that the gallery was considering selling the work to a private collector, he stepped in and advocated that because of the potency of the piece’s message, it must be placed in a public institution, to “reach the greatest number of people … to do the most good,” he commented at the time. Pabst offered to buy the work and gift it. After a national search for a museum recipient, the MAM agreed. While both the Leslie Lohman Museum of Gay and Lesbian Art and the Museum of Sex in New York expressed interest, Pabst preferred to see it housed in a museum with a more general audience as well as in the city where he lives.


“I’m interested in many issues, including art, LGBT issues, HIV and AIDS, and issues of violence, including sexual violence,” Pabst said. “It’s ironic that the church and I should share such similar concerns. How could I not buy this piece when it covers a parallel social spectrum?”


Milwaukee, the city of beer, cheese, cream puffs, and bratwurst, has been under a conservative assault for four years with Republican Governor Scott Walker in office. Most of the news coming from here has been bad. Walker has undermined the unions, cut funding for education, advocated for new abortion constraints, and loosened gun laws in a city that is replete with violent crime. It is heartening that a scion of the city’s early brewing pioneers is working to keep earnest conversation, debate, and inquiry an integral part of the local culture.


“I’m thrilled that the artwork is doing what it should do: prompting people into a conversation — one that I hope is productive,” Pabst said. “This is a historic moment that is taking place in Milwaukee, Wisconsin, for the world to see. A work of art is stirring a global conversation. Hopefully, once the piece is on public view, it will stimulate the conversation that was intended by the artist and the patron. That conversation is about HIV/AIDS.”



Debra Brehmer
Hyperallergic


***


PAUL FRYER (April 8, 2014)
La Nona Ora (1999) de MAURIZIO CATTELAN (February 12, 2013)
Destruction de «Piss Christ»: «Je ne m’y attendais pas, surtout en France» (April 18, 2011)
A Fire in My Belly ‘Original’ (1986-87) by DAVID WOJNAROWICZ (December 22, 2010)
Ant-covered Jesus video removed from Smithsonian after Catholic League complains
(December 2, 2010)


BOUC EMISSAIRE : MANIFESTATIONS OF SATANIC ANXIETY IN QUEBEC by RALPH ELAWANI & GIL NAULT

BOUC EMISSAIRE : MANIFESTATIONS OF SATANIC ANXIETY IN QUEBEC by RALPH ELAWANI & GIL NAULT

BOUC EMISSAIRE : MANIFESTATIONS OF SATANIC ANXIETY IN QUEBEC by RALPH ELAWANI & GIL NAULT








TESLA COIL

ALEISTER CROWLEY OZ 77 LP

PHI-NI

SOMBRE & AMER, Montréal, p.Q.

SOMBRE & AMER, Montréal, p.Q.


Co-presented by David Hall from Handshake Inc., as well as HEAVY MONTRÉAL represented by Jean-Francois Michaud, Peter Dehais, Heidy Proulx Hadden, Caroline Guertin and Caroline Audet.


Grimposium: The Resurrection (2015)

DETAILS


***


Grimposium: Trve Kvlt Arts, Films, Sounds and Texts in Extreme Metal (March 22, 2014)


Rock ‘n’ Roll Nightmare
John Fasano, Canada, 1987, 83 min


Recording some new music in an isolated farmhouse, the band Triton gets more than they bargained for when something horrifying stirs in the darkness. Eternal evil haunts this place and the band members start turning into demons from Hell itself! After a day of making music – and making love – this band is starting to break up… one by one… limb by limb. The band’s lead singer, John (JON-MIKL THOR) Triton, holds the key to defeating this horror once and for all – a secret that culminates in a battle between good and evil! Triton versus the Devil himself!


Rock 'n' Roll Nightmare (1987) by JOHN FASANO

Rock 'n' Roll Nightmare (1987) by JOHN FASANO

History professor YUVAL NOAH HARARI — author of Sapiens: A Brief History of Mankind — explains why humans have dominated Earth.


70,000 years ago humans were insignificant animals. The most important thing to know about prehistoric humans is that they were unimportant. Their impact on the world was very small, less than that of jellyfish, woodpeckers or bumblebees.


Today, however, humans control this planet. How did we reach from there to here? What was our secret of success, that turned us from insignificant apes minding their own business in a corner of Africa, into the rulers of the world?


We often look for the difference between us and other animals on the individual level. We want to believe that there is something special about the human body or human brain that makes each individual human vastly superior to a dog, or a pig, or a chimpanzee. But the fact is that one-on-one, humans are embarrassingly similar to chimpanzees. If you place me and a chimpanzee together on a lone island, to see who survives better, I would definitely place my bets on the chimp.


The real difference between us and other animals is on the collective level. Humans control the world because we are the only animal that can cooperate flexibly in large numbers. Ants and bees can also work together in large numbers, but they do so in a very rigid way. If a beehive is facing a new threat or a new opportunity, the bees cannot reinvent their social system overnight in order to cope better. They cannot, for example, execute the queen and establish a republic. Wolves and chimpanzees cooperate far more flexibly than ants, but they can do so only with small numbers of intimately known individuals. Among wolves and chimps, cooperation is based on personal acquaintance. If I am a chimp and I want to cooperate with you, I must know you personally: What kind of chimp are you? Are you a nice chimp? Are you an evil chimp? How can I cooperate with you if I don’t know you?


Only Homo sapiens can cooperate in extremely flexible ways with countless numbers of strangers. One-on-one or ten-on-ten, chimpanzees may be better than us. But pit 1,000 Sapiens against 1,000 chimps, and the Sapiens will win easily, for the simple reason that 1,000 chimps can never cooperate effectively. Put 100,000 chimps in Wall Street or Yankee Stadium, and you’ll get chaos. Put 100,000 humans there, and you’ll get trade networks and sports contests.


Cooperation is not always nice, of course. All the terrible things humans have been doing throughout history are also the product of mass cooperation. Prisons, slaughterhouses and concentration camps are also systems of mass cooperation. Chimpanzees don’t have prisons, slaughterhouses or concentration camps.


Yet how come humans alone of all the animals are capable of cooperating flexibly in large numbers, be it in order to play, to trade or to slaughter? The answer is our imagination. We can cooperate with numerous strangers because we can invent fictional stories, spread them around, and convince millions of strangers to believe in them. As long as everybody believes in the same fictions, we all obey the same laws, and can thereby cooperate effectively.


This is something only humans can do. You can never convince a chimpanzee to give you a banana by promising that after he dies, he will go to Chimpanzee Heaven and there receive countless bananas for his good deeds. No chimp will ever believe such a story. Only humans believe such stories. This is why we rule the world, whereas chimps are locked up in zoos and research laboratories.


It is relatively easy to accept that religious networks of cooperation are based on fictional stories. People build a cathedral together or go on crusade together because they believe the same stories about God and Heaven. But the same is true of all other types of large-scale human cooperation. Take for example our legal systems. Today, most legal systems are based on a belief in human rights. But human rights are a fiction, just like God and Heaven. In reality, humans have no rights, just as chimps or wolves have no rights. Cut open a human, and you won’t find there any rights. The only place where human rights exist is in the stories we invent and tell one another. Human rights may be a very attractive story, but it is only a story.


The same mechanism is at work in politics. Like gods and human rights, nations are fictions. A mountain is something real. You can see it, touch it, smell it. But the United States or Israel are not a physical reality. You cannot see them, touch them or smell them. They are just stories that humans invented and then became extremely attached to.


It is the same with economic networks of cooperation. Take a dollar bill, for example. It has no value in itself. You cannot eat it, drink it or wear it. But now come along some master storytellers like the Chair of the Federal Reserve and the President of the United States, and convince us to believe that this green piece of paper is worth five bananas. As long as millions of people believe this story, that green piece of paper really is worth five bananas. I can now go to the supermarket, hand a worthless piece of paper to a complete stranger whom I have never met before, and get real bananas in return. Try doing that with a chimpanzee.


Indeed, money is probably the most successful fiction ever invented by humans. Not all people believe in God, or in human rights, or in the United States of America. But everybody believes in money, and everybody believes in the dollar bill. Even Osama bin Laden. He hated American religion, American politics and American culture — but he was quite fond of American dollars. He had no objection to that story.


To conclude, whereas all other animals live in an objective world of rivers, trees and lions, we humans live in dual world. Yes, there are rivers, trees and lions in our world. But on top of that objective reality, we have constructed a second layer of make-believe reality, comprising fictional entities such as the European Union, God, the dollar and human rights.


And as time passes, these fictional entities have become ever more powerful, so that today they are the most powerful forces in the world. The very survival of trees, rivers and animals now depends on the wishes and decisions of fictional entities such as the United States and the World Bank — entities that exist only in our own imagination.



Yuval Noah Harari
ideas.ted.com


***


The Trap: What Happened to Our Dream of Freedom (2007) produit par ADAM CURTIS
(December 9, 2011)
In girum imus nocte et consumimur igni (1978) de GUY DEBORD (October 22, 2011)
The Century Of Self (2002) by ADAM CURTIS (December 23, 2010)


SATANIC PANIC: POP-CULTURAL
PARANOIA IN THE 1980s

Satanic Panic: Pop-Cultural Paranoia in the 1980s features new essays and interviews by 20 emerging and established writers who address the ways the widespread fear of a Satanic conspiracy was both illuminated and propagated through almost every pop culture pathway in the 1980s, from heavy metal music to Dungeons & Dragons role playing games, Christian comics, direct-to-VHS scare films, pulp paperbacks, Saturday morning cartoons, TV talk shows and even home computers. The book also features case studies on McMartin, Thee Temple ov Psychick Youth and Long Island “acid king” killer Ricky Kasso. From con artists to pranksters and moralists to martyrs, the book aims to capture the untold story of the how the Satanic Panic was fought on the pop culture frontlines and the serious consequences it had for many involved.


PREORDER HERE


***


FOREWORD
By Adam Parfrey


INTRODUCTION
By Kier-La Janisse


REMEMBERING MICHELLE REMEMBER
By Alexandra Heller-Nicholas


THE UNHOLY PASSION: SEX AND GENDER ANXIETY IN RUSS MARTIN’S EROTIC HORROR PAPERBACKS
By Alison Nastasi


DICING WITH THE DEVIL: THE CRUSADE AGAINST GAMING
By Gavin Baddeley


20-SIDED SINS: HOW JACK T. CHICK WAS DRAWN INTO THE RPG WAR
By Paul Corupe


MASTERS OF THE IMAGINATION: FUNDAMENTALIST READINGS OF THE OCCULT IN CARTOONS OF THE 1980s
By Joshua Graham


DEVIL ON THE LINE: TECHNOLOGY AND THE SATANIC FILM
By Kevin L. Ferguson


ALL HAIL THE ACID KING: THE RICKY KASSO CASE IN POPULAR CULTURE
By Leslie Hatton


“WHAT ABOUT THESE 10,000 SOULS, BUSTER?” GERALDO’S DEVIL WORSHIP SPECIAL
By Alison Lang


THE FILTHY 15: WHEN VENOM AND KING DIAMOND MET THE WASHINGTON WIVES
By Liisa Ladouceur


SCAPEGOAT OF A NATION: THE DEMONIZATION OF MTV AND THE MUSIC VIDEO
BY Stacy Rusnak


TRICK OR TREAT: HEAVY METAL AND DEVIL WORSHIP IN 80s CULT CINEMA
By Samm Deighan


STEALING THE DEVIL’S MUSIC: THE RISE OF CHRISTIAN METAL AND PUNK
By David Bertrand


THE TRACKING OF EVIL: HOME VIDEO AND THE PROLIFERATION OF SATANIC PANIC
By Wm. Conley


BEDEVILING BOB: PRANKING “TALK BACK WITH BOB LARSON”
By Forrest Jackson


CONFESSIONS OF A CREATURE FEATURE PREACHER: OR, HOW I LEARNED TO LOVE MIKE WARNKE AND STOP WORRYING ABOUT SATANISM
By David Canfield


BOUC EMISSAIRE: MANIFESTATIONS OF SATANIC ANXIETY IN QUEBEC
By Ralph Elawani and Gil Nault


THE DEVIL DOWN UNDER: SATANIC PANIC IN AUSTRALIA, FROM ROSALEEN NORTON TO ALISON’S BIRTHDAY
By Alexandra Heller-Nicholas


GUILTLESS: BRITAIN’S MORAL PANICS, SATANIC HYSTERIA AND THE STRANGE CASE OF GENESIS P-ORRIDGE
By David Flint


FALSE HISTORY SYNDROME: HBO’s INDICTMENT: THE MCMARTIN TRIAL
By Adrian Mack


END OF THE 80s: PARANOIA AS COMIC CATHARSIS IN JOE DANTE’S THE ‘BURBS
By Kurt Halfyard


AFTERWORD
By John Schooley


***


Satanic Panic: Pop-Cultural Paranoia in the 1980s (March 31, 2015)
Équinoxe d’Automne MMXIV (September 22, 2014)

Liturgie Apocryphe

"The production of nervous force is directly connected with the diet of an individual, and its refining depends on the very purity of this diet, allied to appropriate breathing exercises.

The diet most calculated to act effectively on the nervous force is that which contains the least quantity of animal matter; therefore the Pythagorean diet, in this connection, is the most suitable.

...

The main object was to avoid introducing into the organism what Descartes called 'animal spirits'. Thus, all animals that had to serve for the nourishment of the priests were slaughtered according to special rites, they were not murdered, as is the case nowadays".