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Jaune comme tes dents est allé voir KING DIAMOND le 17 octobre à l'Olympia, Montréal p.Q.

Jaune comme tes dents est allé voir KING DIAMOND le 17 octobre à l'Olympia, Montréal p.Q.

Jaune comme tes dents est allé voir KING DIAMOND le 17 octobre à l'Olympia, Montréal p.Q.

Jaune comme tes dents est allé voir KING DIAMOND le 17 octobre à l'Olympia, Montréal p.Q.

Jaune comme tes dents est allé voir KING DIAMOND le 17 octobre à l'Olympia, Montréal p.Q.

Jaune comme tes dents est allé voir KING DIAMOND le 17 octobre à l'Olympia, Montréal p.Q.

Jaune comme tes dents est allé voir KING DIAMOND le 17 octobre à l'Olympia, Montréal p.Q.

Jaune comme tes dents est allé voir KING DIAMOND le 17 octobre à l'Olympia, Montréal p.Q.

Jaune comme tes dents est allé voir KING DIAMOND le 17 octobre à l'Olympia, Montréal p.Q.

Jaune comme tes dents est allé voir KING DIAMOND le 17 octobre à l'Olympia, Montréal p.Q.

KING DIAMOND North American tour 2014

JAUNE COMME TES DENTS

Affaires courantes :


Photo Dumontier-Nault pour le livre 'Les marges détachables' de RALPH ELAWANI à paraître cet automne chez Poètes de brousse

Photo de RALPH ELAWANI par DUMONTIER-NAULT pour son livre Les marges détachables‬ à paraître cet automne chez Poètes de brousse.


CHRIST le 2 septembre MMXIV à la Casa del Popolo, Montréal p.Q.

Jaune comme tes dents est allé voir CHRIST le 2 septembre MMXIV à la Casa del Popolo, Montréal p.Q.


SOMBRE & AMER


LaVey

Les Sinners (1971) par LES SINNERS

Satan’s Sabbath / Le diable est parmi nous Jean Beaudin, Canada, 1972, 89 min


Dossier CROIR Proctor and Gamble

Dossier CROIR sur Proctor and Gamble

L’abbatiale de la LITURGIE APOCRYPHE et RALPH ELAWANI travaillent actuellement sur la représentation du satanisme dans les médias québécois durant la décennie 1980-1990. L’essai sera publié par Spectacular Optical, au sein d’un livre collectif commissionné et colligé par Kier-La Janisse, intitulé Satanic Panic.



VOOR 'Evil Metal' (1985)

L’évolution du métal québécois, No Speed Limit (1964-1989) de FÉLIX B. DESFOSSÉS

L’évolution du métal québécois, No Speed Limit (1964-1989) de FÉLIX B. DESFOSSÉS retrace la naissance d’un courant musical underground, mais omniprésent dans le panorama musical du Québec depuis plus de 30 ans. De manière consciente ou non, le métal d’ici s’est imprégné du rock garage primitif et provocateur des années 60, des envolées stratosphériques du rock psychédélique, des structures complexes du rock progressif, du poids du heavy rock, de la rébellion du punk et du hardcore, des démos cassette de speed/thrash metal local, la sauvagerie du crossover défonce ou des pionniers du death metal.


Ce récit est construit sur un squelette de citations tirées de près d’une centaine d’entrevues au centre duquel se trouve le coeur du métal québécois: VOÏVOD. Des HOU-LOPS à OFFENBACH et AUT’CHOSE, en passant par D.D.T., SWORD et DBC, jusqu’à OBLIVEON et GORGUTS, l’évolution du métal québécois est établie ici pour la toute première fois. Ce livre démontre hors de tout doute que le Québec représente une plaque tournante pour le métal.


Éditions du Quartz

BÖLZER

JAUNE COMME TES DENTS


Hommage au groupe suisse BÖLZER qui sera du Wings of Metal ce soir, sur scène à vingt heures quarante aux Katacombes, Montréal p.Q.


BÖLZER au Wings of Metal 2014, Montréal p.Q.

BÖLZER à leur arrivée à Montréal avec Wax, chauffeur désigné.

Le duo BÖLZER à son arrivée à Montréal accompagné de Wax, chauffeur désigné.





BÖLZER by Eisa.ch


Satan’s Sabbath / Le diable est parmi nous
Jean Beaudin, Canada, 1972, 89 min


The story of a man, 2 women and an inescapable pact made with the Devil. Following a friend’s apparent suicide, Paul (Pilon) begins to believe that something strange is going on. Following a series of harrowing events, Paul finds himself at a Black Mass where the truth will finally be discovered.


Le Diable est parmi nous / Satan’s Sabbath (1972) by JEAN BEAUDIN

Satan's sabbath (1972) by JEAN BEAUDIN

Come and See (2014) de JACK & DINOS CHAPMAN à DHC/ART, Montréal p.Q.

Come and See (2014) de JACK & DINOS CHAPMAN à DHC/ART, Montréal p.Q.

Come and See (2014) de JACK & DINOS CHAPMAN à DHC/ART, Montréal p.Q.

Come and See (2014) de JACK & DINOS CHAPMAN à DHC/ART, Montréal p.Q.

Come and See (2014) de JACK & DINOS CHAPMAN à DHC/ART, Montréal p.Q.

Come and See (2014) de JACK & DINOS CHAPMAN à DHC/ART, Montréal p.Q.

Come and See (2014) de JACK & DINOS CHAPMAN à DHC/ART, Montréal p.Q.

Come and See (2014) de JACK & DINOS CHAPMAN à DHC/ART, Montréal p.Q.

Come and See (2014) de JACK & DINOS CHAPMAN à DHC/ART, Montréal p.Q.

Come and See (2014) de JACK & DINOS CHAPMAN à DHC/ART, Montréal p.Q.

Exposition


Depuis les années 90, les artistes britanniques JAKE et DINOS CHAPMAN n’ont cessé d’explorer les dessous de l’humanité à travers la sculpture, la peinture, le cinéma, la musique et la littérature. Cette nouvelle exposition, organisée en collaboration avec les Serpentine Galleries de Londres nous invite à revisiter la culture de consommation, la morale et l’histoire de l’art à travers des œuvres empreintes d’horreur, d’irrévérence et d’humour noir. Construite à partir d’œuvres existantes encore jamais présentées et d’œuvres nouvelles, incluant des itérations récentes issues des sombres et complexes dioramas Hell, l’exposition Come and See, présentée à DHC/ART, constitue la toute première exposition solo majeure de JAKE et DINOS CHAPMAN en Amérique du Nord.



Jake & Dinos Chapman: Come and See
Jusqu’au 31 août 2014


DHC/ART
451 & 465, rue Saint-Jean
Montréal (Québec) H2Y 2R5

Hans Ruedi Giger (1940-2014)

‘L’artiste suisse H.R. Giger est mort, lundi 12 mai, à l’âge de 74 ans.’



H.R. Giger Revealed
David N. Jahn, Czech Republic, 2009, 52 min


‘The film offers a unique insight into the world of Giger‘s creation and his private life. In addition to the interview with the artist himself, a considerable part of the documentary is formed by interviews with personalities such as Ernst Fuchs, Stanislav Grof and Debbie Harry. Though the authors do not avoid particular developmental periods of Giger‘s work, the main purpose was not to create the artist’s biography. In this case, it is more likely considered to be an authentic perspective on the peculiar world of this Swiss surrealist artist’




H.R. Giger’s Art in Motion
Petr Luksan, Czech Republic, 2010, 30 min


‘It is the first time you will be able to see Giger‘s paintings processed digitally in high resolution quality, 3D animated and together with original film music and surround sound. Watch ten moving image collages, where we used over 200 diapositives which cover the most important periods of his work. Each of those collages will be presented in an abstract story, which will tell us more about Giger‘s life and artistic work’


'The Spell IV' Painting by H.R. Giger

"Satan I" - Painting by H.R. Giger, used as the album art for Celtic Frost's "To Mega Therion"

VATICAN CITY — A darling of liberal Catholics and an advocate of inclusion and forgiveness, Pope Francis is hardly known for fire and brimstone.


Yet, in his words and deeds, the new pope is locked in an epic battle with the oldest enemy of God and creation: The Devil.


After his little more than a year atop the Throne of St. Peter, Francis’s teachings on Satan are already regarded as the most old school of any pope since at least Paul VI, whose papacy in the 1960s and 1970s fully embraced the notion of hellish forces plotting to deliver mankind unto damnation.


Largely under the radar, theologians and Vatican insiders say, Francis has not only dwelled far more on Satan in sermons and speeches than his recent predecessors have, but also sought to rekindle the Devil’s image as a supernatural entity with the forces­ of evil at his beck and call.


Last year, for instance, Francis laid hands on a man in a wheelchair who claimed to be possessed by demons, in what many saw as an impromptu act of cleansing. A few months later, he praised a group long viewed by some as the crazy uncles of the Roman Catholic Church — the International Association of Exorcists — for “helping people who suffer and are in need of liberation.”


“ ‘But Father, how old-fashioned you are to speak about the Devil in the 21st century,’ ” Francis, quoting those who have noted his frequent mentions of the Devil, said last month while presiding over Mass at the Vatican’s chapel in St. Martha’s House. He warned those gathered on that chilly morning to be vigilant and not be fooled by the hidden face of Satan in the modern world. “Look out because the Devil is present,” he said.


Since its foundation, the church has taught the existence of the Devil. But in recent decades, progressive priests and bishops, particularly in the United States and Western Europe, have tended to couch Satan in more allegorical terms. Evil became less the wicked plan of the master of hell than the nasty byproduct of humanity’s free will. Even Pope Emeritus Benedict XVI, a lofty German theologian, often painted evil with a broad brush.


Enter the plain-talking first pope from Latin America, where mystical views of Satan still hold sway in broad areas of the region. During his time as cardinal of Buenos Aires before rising to the papacy, Francis was known for stark warnings against “the tempter” and “the father of lies.” Now, his focus on the Devil is raising eyebrows even within the normally unquestioning walls of Vatican City.


“Pope Francis never stops talking about the Devil; it’s constant,” said one senior bishop in Vatican City who spoke on the condition of anonymity in order to speak freely. “Had Pope Benedict done this, the media would have clobbered him.”


Yet, as with so many of his actions, Francis may simply be correctly reading the winds of the Catholic Church.



Rising demand for exorcists


Although it is difficult to measure, Vatican officials talk about a resurgence of mystical rites in the church, including exorcism — or the alleged act of evicting demons from a living host. Cardinals in Milan; Turin, Italy; and Madrid, for instance, recently moved to expand the number of exorcists in their dioceses to cope with what they have categorized as surging demand.


But by focusing on old-school interpretations of the Devil, some progressive theologians complain, the pope is undermining his reputation as a leader who in so many other ways appears to be more in step with modern society than his predecessor.


“He is opening the door to superstition,” said Vito Mancuso, a Catholic theologian and writer.


Among the things lurking behind that door is the alleged gateway to hell guarded by the small cluster of officially anointed exorcists of the Roman Catholic Church.


By most accounts, the ranks of official exorcists number between 500 and 600 in a global church of more than 1 billion Catholics, with the vast majority operating in Latin America and Eastern Europe. This week, at the ninth and largest Vatican-sanctioned convention on exorcism, attendees gushed about the fresh recognition being afforded the field.


Almost 200 delegates — most of them priests and nuns — from more than two dozen nations talked about how Satanic cults are spreading like wildfire in the age of the Internet.


The new pope, exorcists say, has become their champion in the face of modern skeptics, many of them within the Catholic faith. Officially, those claiming to be possessed must first undergo psychiatric evaluations. But exorcists say that liberal Catholic bishops have often rejected their services even after such due diligence.


“The sad truth is that there are many bishops and priests in our church who do not really believe in the Devil,” said the Rev. Gabriele Amorth, the 89-year-old priest who is perhaps the closest thing the church has to a Hollywood-style exorcist. “I believe Pope Francis is speaking to them. Because when you don’t believe, the Devil wins.”


During the conference, the Rev. Cesar Truqui, an exorcist based in Switzerland, recounted one experience he had aboard a Swissair flight. “Two lesbians,” he said, had sat behind him on the plane. Soon afterward, he said, he felt Satan’s presence. As he silently sought to repel the evil spirit through prayer, one of the women, he said, began growling demonically and threw chocolates at his head.


Asked how he knew the woman was possessed, he said that “once you hear a Satanic growl, you never forget it. It’s like smelling Margherita pizza for the first time. It’s something you never forget.”


From his small room in a south Rome rectory fitted with a hospital bed, Amorth praised Francis for so fully embracing the biblical notion of the Devil as the personified overlord of hell.


Unlike in the movies, he said, the process of driving demons out typically takes multiple sessions over many years.



An exorcist in action


In a rare glimpse of an official exorcism last week, in a white-tiled room outfitted with images of Jesus Christ and the Virgin Mary, Amorth wrapped his purple sash around a Neapolitan housewife in her 40s who said she was afflicted by multiple demons. He then began chanting in Latin, commanding the devils inside her to reveal themselves.


“Tell me your name!” he demanded.


“No, no,” hissed the woman, shaking her head and speaking in an altered voice as her eyes rolled to the back of her head. “I will not!”


“Tell me your name!” he kept repeating, until finally she spat out, “Asmodeus,” the name of an ancient demon and hellish spokesman.


“How many are you?” he yelled, repeating the question as she grunted and shook her head violently.


Finally, she defiantly said, “We are five!”


After his bout with the demons, the diminutive Amorth simply shrugged.


“That,” he said, “was a light one.”


Following the session, the woman and her husband, who gave their names only as Antonella and Michele, said they had been going through a living hell for years. They had begged bishops to authorize an exorcism when Antonella began having uncontrollable fits after receiving Holy Communion and became violent around religious prayers. But they were repeatedly denied.


It was only after they were referred to Amorth and began sessions four years ago, Antonella said, that her condition finally began to improve.


“The Devil exists, and thanks to this treatment, I have gotten back my faith,” she said. “I think Pope Francis is telling us it’s okay to believe.”



Anthony Faiola
The Washington Post


Murder Music: A History of Black Metal
David Kenny, United Kingdom, 2007, 64 min


‘Murder Music: A History of Black Metal is a heavy metal music documentary aired on British pay-per-view channel Rockworld TV. Murder Music centers around the controversial black metal subgenre. It was written by renowned metal journalist Malcolm Dome and hosted by Rockworld TV’s and Contraband Candy’s René Ackermann, who was also the documentary’s associate producer.


The main themes of Murder Music are: the musical origins of black metal, from Birmingham, UK heavy metal group BLACK SABBATH to Newcastle extreme metal pioneers VENOM; the anti-Christian sentiment of its practitioners; the controversies surrounding the criminal acts (arson and murder) of the early Norwegian scene; and the paradox of a Christian form of black metal, represented by Scandinavian band FROSTHARDR.


Musicians from some key contemporary bands in the scene are interviewed, such as SATYRICON, IMMORTAL, MAYHEM, DIMMU BORGIR and CRADLE OF FILTH. Some non-musicians are interviewed as well, including Terrorizer magazine editor Jonathan Selzer and Didrik Søderlind, co-author of the Lords of Chaos book.




Black Metal: The Norwegian Legacy?
Bill Zebub, USA, 2008, 90 min


‘The term ‘black metal’ was coined by the band VENOM but the meaning has changed. It now refers to a style that was developed by Norwegians. But some argue that the music is from Sweden because BATHORY created the quintessence of Black Metal. This documentary discards the sensationalism and conducts riveting chats with bands like ENSLAVED, DARK FUNERAL, NAGLFAR, ROTTING CHRIST, BLOODTHORN, DIMMU BORGIR and other dark artists. Exclusive footage of live performances spices up the enjoyment.’

***


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)

Vivek Venkatesh presents
Grimposium: Trve Kvlt Arts, Films, Sounds and Texts in Extreme Metal
April 11 & 12 2014, 9am-5pm, Concordia University, Montreal


Grimposium: Trve Kvlt Arts, Films, Sounds and Texts in Extreme Metal

Grimposium is organised by Vivek Venkatesh, Associate Dean at the School of Graduate Studies and Associate Professor of Eduational Technology at Concordia University.


Grimposium is Vivek’s ode to the extreme metal scene – a ritual offering that Vivek is making to the men and women who define, redefine and stretch the artistic boundaries of what this niche scene has become. The event will be held at the de Sève cinema at Concordia University in Montreal on April 11 and 12, 2014.


It features key members of the global extreme metal scene including filmmakers, musicians, journalists, visual artists, authors, creative writers, musicologists and academics. The event will feature film screenings, book launches, panel sessions, art exhibitions and much, much more. Stay grim, posers.


Download the schedule.


Viy: Or The Spirit of Evil
Georgi Kropachyov, Soviet Union, 1967, 77 min


‘While losing himself, wandering home whilst on leave from his seminary, novice monk Khoma stays in the barn of an old woman. A scuffle breaks out. Later, he is summonsed to stand and prey over a young dead woman, in the local church, for three nights. It is here that while in the long, dark nights, of the locked doors, that the dead regain life, the souls of Hell taunt the young monk to near terrifying insanity and the test of Faith will be as powerful as the witches, monsters and the mighty demon Viy who haunt his every step and bay for his very soul.’ — IMDb


Viy: Or The Spirit of Evil (1967) by GEORGI KROPACHYOV

Viy: Or The Spirit of Evil (1967) by GEORGI KROPACHYOV

Viy: Or The Spirit of Evil (1967) by GEORGI KROPACHYOV

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".