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  • From Anthropology & Sacrifice, Phillips Stevens Jr, Diversity of Sacrifice, 2016: Perhaps the oldest interpretation of sacrifice is as economic exchange, modeled directly on human society; just as human social relationships are both established and maintained by economic means, so too are human-supernatural relationships, and EB Tylor explained religious sacrifice in terms of economic motives. From classical times to the present, the economic cost of sacrifice has been an issue; it would seem that the wealthy have an edge on supernatural favor. Hesiod had stated that “one must sacrifice according to one’s means,” and this issue leads to discussions on sacred morality and the tolerance of the gods for substitutes and their appreciation of intention over substance, etc. Frazer’s fanciful theory of sacrifice posited that the earliest sacrifices were human beings, specifically priests, because they were closest to the gods; then animals replaced people, and as agriculture spread, plant products became the dominant sacrificial material. These observations were topics of discussion among several of the twentieth-century European scholars. Many supernatural beings are conceptualized as either kin or broadly ancestral to the people, and the most important of all kinship obligations, sharing, may be a primary motive for sacrifice. Perhaps the most common explanation is atonement for some transgression; this explanation is widely applicable, as many supernatural recipients of offerings are regarded as supervisors and monitors of human social behavior. The sacrifice is often something of which the recipient is known to be particularly fond, and sometimes, through the magical principle of similarity, it is meant to link directly to some aspect of the nature of its recipient—ie, a black bull for the god of night or the underworld. The concentration of power at the exact point of sacrifice on the altar is like that experienced by Moses after his personal meeting with God, and around the world people construct shrine objects imbued with power the sole purpose to enhance the power of the altar. Burkert had famously said that sacrifice “is the basic experience of the sacred,” and that experience happens on an altar. 
  • No matter what it is, the fullest meaning of the sacrifice is symboli,  and there is nothing more deeply symbolic than blood. We cannot overstate the universal power and ritual significance of blood as the essence of life. A full appreciation of the cross-cultural meaning of blood is essential for the fullest understanding of sacrifice; blood is often regarded as the property of the divine, whereas flesh is shared among the supplicants Blood is the all-purpose sacrificial liquid, satisfying to all supernatural agencies in all imaginable occasions, and it is readily available to individuals in all situations. This is a good place to confront the gorilla in the room, what jumps to most minds when the word “sacrifice” is heard: The sacrifice of a human being represents the ultimate offering to the supernatural, and the idea of it is very probably universal. It dominated early scholarship. Frazer fostered the assumptions of a wide distribution of human sacrifice in the early world; ethnological research, however, has revealed that, like cannibalism, human sacrifice existed mostly as allegation and was far less common than assumed, [although] much has been made of the Aztec case. The fact of sacrifice has been used by itself as diagnostic of many things, especially as part of a European understanding of “savagery” among “primitive” peoples—but really, it is meaningful only within its broader ritual context. It is always part of something much larger, and mustn’t be separated from that whole. Sacrifice represents the human effort to keep the natural cycle going, sending a rush of life energy into the cosmos. Whatever else it is, sacrifice is always a return of life to its source and the resultant regeneration of that source.
  • From When Abraham Murdered Isaac, Haviv Gur, Times of Israel, 2012: When he first came to believe he had discovered how the Biblical forefather Isaac died, Bible scholar Tzemah Yoreh says he went into mourning. “I literally sat shiva for him, for the forefather I had lost,” said Yoreh, who was then just 21. The Biblical story we have inherited is not the original story, Yoreh believes. Using a variation of a well-known approach to Biblical scholarship, he sees hints of a bloodier version of Isaac’s binding that he finds too convincing to ignore. In the earliest layer of the Biblical text, Yoreh believes, Isaac was not rescued by an angel at the last moment, but was in fact murdered by his father, Abraham, as a sacrifice to God. One eye-opening hint at what he believes is the original story lies in Genesis 22:22. Previously, in verse 8, Abraham and Isaac had walked up the mountain together. But in verse 22, only Abraham returns. That strange contradiction, Yoreh says, may be why a few ancient midrash also assumed Isaac had been killed. In one homily quoted by a revered 11th-century French rabbi and commentator, “Isaac’s ashes are said to be suitable for repentance, just like the ashes of an [animal] sacrifice.” “That’s a very weird midrash,” Yoreh says, “since Isaac is clearly alive in the next chapter. But that’s the way midrash works. It analyzes episodes without larger context. That’s why you can have midrash about Isaac dying, because it doesn’t have to notice that he’s alive in the next chapter.” In verse 12, after staying Abraham’s knife-wielding hand in mid-air, the angel of god says, “I now know you fear god because you have not withheld your son, your only son, from me.” That phrase, “have not withheld your son,” could indicate Abraham was merely willing to sacrifice his son, OR that he actually did so, Yoreh says. One hint that it may have been the latter is contained in the names for god used in the story. The Biblical text calls the god who instructs Abraham to sacrifice his son “Elohim.” Only when the “angel ofgGod” leaps to Isaac’s rescue does God’s name suddenly change to the four-letter YHWH, a name Jews traditionally do not speak out loud. Elohim commands the sacrifice; YHWH stops it. But it is once again Elohim who approves of Abraham for having “not withheld your son from me.” These sorts of variations, rampant throughout the Bible, have led scholars to conclude that different names for god are used by different editors. Indeed, Isaac is never again mentioned in an Elohim verse. If you only read the parts that use the name Elohim, you don’t have to be a Bible scholar to see the story as one in which Isaac is killed in the sacrifice and disappears completely from the story. “Not that the YHWH portions make much of an effort to bring him back either,” Yoreh notes. Indeed, Isaac seems to fade into the background, with his life story recycled from Abraham’s life. In the earliest Biblical narrative, Yoreh believes Isaac died on the mountain. Far from setting an example in which god intervenes to end human sacrifice, Abraham is revealed as a man who can walk his own son to the altar and even wield the blade himself. 
  • From The Devil & The Jews, Rabbi Joshua Trachtenberg, 1943: What would seem to be the earliest instances of the blood libel charge occurs in a story that in 1096, a monk was abducted from a monastery and sold to jews who “crucified him in celebration of the Passover.” However, this report comes from a 13th century account. The first “ritual murder” [myths] had nothing to do with Passover, or indeed with any Jewish festival. Let us listen to a contemporary chronicler describing the fate of the very first boy martyr, William of Norwich, who disappeared in 1144: “The Jews of Norwich bought a Christian child before Easter and tortured him with all the tortures wherewith our lord was tortured, and on Long Friday hanged him on a rood in hatred of our lord, and afterwards buried him.” Not a very plausible story, but it was based on the statement of a Jewish convert, one Theobald of Canterbury, who obligingly came forward with the explanation that the Jews were required to sacrifice a Christian child annually at Easter; the choice of place was made, according to him, by a yearly conference of rabbis. His tale evidently did not command much credence at the time, for no Jews were tried or punished for the alleged crime, and indeed, there was no evidence that a murder had been committed. Yet the mere statement of this convert led to the bringing of identical charges in 1168; and similar charges were made at Blois in 1171, at Bury St. Edmonds in 1181, at Saragossa in 1182, and at Winchester in 1192. Theobald’s fable of the Easter sacrifice did not hold up for long, but his story of the annual rabbinical conference enjoyed a much hardier career. It struck a responsive chord in the public fancy, for it spread rapidly through Europe and was often repeated in connection with supposed Jewish crimes of this sort. In time it was expanded to make room for a secret Jewish society whose function it was to kidnap and kill Christian children and distribute the blood to the major Jewish communities, at the bidding of the Council, whose permanent meeting place was ultimately fixed in Spain. All sorts of traitorous criminal acts were laid at the door of this mythical body. 
  • Sixteenth-century sources preserve a quite different plot based on the blood motif. “Nowadays,” runs the statement, “when the Jews, for fear of Christian justice, can no longer sacrifice humans, they have nevertheless found another way of offering up human blood, which they secure from surgeons; when they have put this in a glass vessel, and set it on burning coals, they conjure up by means of it demons, who do their bidding and answer all questions that are put to them, so long as the blood is kept boiling.” This became a typical bit of witch lore, and a woodcut published in 1575 depicts a Jew producing the devil from a vessel of blood obtained from a crucified child’s body. Sacrilegious usages were laid at the door of Jewish sorcerers as well as of heretics at the moment when the medieval heresies made their first open bid for popular support, and still more evidence of the similarity between the “demonic” Jew and the sorcerer/heretic/witch might be offered that in virtually every respect the “demonic” Jew whom we have in this book described was hardly distinguishable in the medieval mind from these Satanic and heretical enemies of Christendom; they are creatures of the devil, with whom they conclude secret pacts and whom they worship with obscene rites; offer sacrifices to demons; conduct secret meetings where they plot foul deeds against Christian society; and practice blasphemous ceremonies; they mock and despise the Christian faith and profane its sacred objects; they often wear a goat’s beard, and at their conventicles disguise themselves with goats’ head masks; their heads are adorned with horns, and their wives trail tails behind them; they suffer from secret ailments and deformities; they are cruel and rapacious; they buy or kidnap children and slaughter them in homage to Satan; they consume human flesh and blood; and they believe that the sacrifice of an innocent life will prolong their own lives.
  • From BLACK RELIGION AND `BLACK MAGIC’: PREJUDICE AND PROJECTION IN IMAGES OF AFRICAN-DERIVED RELIGIONS, Joseph M. Murphy, Journal of Religion, 1990: Writers and filmmakers who have little direct experience of black religions have portrayed them as `black magic’, wild and violent expressions of human malevolence. The very name `voodoo’ in the popular mind is a kind of generic term for `black magic’ and all of us in the field wage a barely successful struggle for our students to see voodoo as religion. Nearly every description of `savage’ communities encountered by Europeans into the nineteenth century included reports of incest, human sacrifice, and cannibalism. I do not mean to say that these things never happen but rather ask why people wish to see these acts as characteristic only of other “kinds” of people? These elements of `voodoography’ are crystallized nearly one hundred years later in the work of English diplomat Spenser St John, who in 1889 devoted over 70 pages of his 390-page portrait of Haiti to the subject of ‘Voodoo Worship and Cannibalism.’ . He writes of the adoration of serpents, and details a story told by a French priest at a dinner party in which the priest attended a ceremony with a sacrifice of a “goat without horns.” This is a human sacrifice, and St John divides the voodoo community into those who are satisfied with only the flesh and blood of animals and those that require the offering of the human “scapegoat.” To corroborate the French priest’s account, St John relies on an anonymous American journalist who also witnessed “hideous practices” and human sacrifice: Terrified, they fled from the scene, alive to tell their account in the New York World. The 1987 film The Believers  represents Voodoo and Santeria as an African cult of human sacrifice secretly permeating New York City, which has just imported the most potent high priest directly from Africa to empower its schemes. “Good” santeros practice what the movie portrays as well-meaning but ineffectual rites of protection. In movies like “Angel Heart,” black magic triumphs, while in films like “The Believers” the struggle must go on; in each case the hero is white and his security and very self-identity are threatened by black religion, black magic, and black identity.
  • From Red Nails, Robert E. Howard, Weird Tales, 1936: Conan glared down at the man on the iron rack. “What the devil are you doing on that thing?” Incoherent sounds issued from behind the gag and Conan tore it away, evoking a bellow of fear from the captive; “Be careful, for Set’s sake!” begged Olmec. “What for?” demanded Conan. “Do you think I care what happens to you? But I’m in a hurry. Where’s Valeria?” “Loose me!” urged Olmec, “I will tell you all! Tascela took her from me. I’ve never been anything but a puppet in Tascela’s hands. It’s worse than you think. Tascela is old—centuries old. She renews her life and her youth by the sacrifice of beautiful young women. That’s one thing that has reduced the clan to its present state. She will draw the essence of Valeria’s life into her own body, and bloom with fresh vigor and beauty.” “Are the doors locked?” asked Conan, thumbing his sword edge. “Aye! But I know a way to get in. Only Tascela and I know, and she thinks me helpless and you slain. Free me and I swear I will help you rescue Valeria. Without my help you cannot win. But when we have slain that witch, you and Valeria shall go free without harm.” Conan stooped and cut the ropes that held the prince, and Olmec rose, shaking his head like a bull and muttering imprecations. Standing shoulder to shoulder the two men presented a formidable picture of primitive power. “Lead on,” demanded Conan. “And keep ahead of me. I don’t trust you any farther than I can throw a bull by the tail.” Olmec hurried down one of the several stairs that wound down from the tower, and when they had descended a few feet, this stair changed into a narrow corridor that wound on for some distance. It ceased at a steep flight of steps leading downward. There Olmec paused. Up from below, muffled, but unmistakable, welled a woman’s scream, edged with fright, fury and shame. And Conan recognized Valeria’s voice!
  • […] Conan rose, blinking blood and dust out of his eyes. He was in the great throne room. A curious black altar stood before the throne-dais. Ranged about it, seven black candles sent up oozing spirals of thick green smoke, disturbingly scented. On the altar lay Valeria, stark naked, her white flesh gleaming in shocking contrast to the glistening ebon stone. She lay at full length, her arms stretched out above her head to their fullest extent. On the ivory throne, Tascela lolled. Bronze bowls of incense rolled their spirals about her; the wisps of smoke curled about her naked limbs. All eyes were glued on the altar and the white figure there; the crash of a thunderbolt could hardly have broken the spell, yet it was only a low cry that shattered the fixity of the scene and brought all whirling about—a low cry, yet one to make the hair stand up stiffly on the scalp. Framed in the door was a man with a tangle of white hair and a matted white beard. His skin was not like that of a normal human: There was a suggestion of scaliness about it, as if the owner had dwelt long under conditions almost antithetical to those under which human life ordinarily thrives. And there was nothing at all human about the eyes that blazed from the tangle of white hair. “Tolkemec!” whispered Tascela, livid, while the others crouched in speechless horror. “No myth, then! You have dwelt for twelve years in darkness among the bones of the dead! I see now why [the others] did not return from the catacombs—and never will return. But why have you waited so long to strike? Were you seeking something in the pits? Some secret weapon you knew was hidden there? And have you found it at last?” Hideous laughter was Tolkemec’s only reply, as he bounded into the room, for in the lean hand of Tolkemec now waved a curious jade-hued wand, on the end of which glowed a knob of crimson shaped like a pomegranate, and a beam of crimson fire lanced from it. Valeria rolled from the altar on the other side and started for the opposite wall on all fours, for hell had burst loose in the throneroom. Tolkemec was coming forward, his weird eyes ablaze, but he hesitated at the gleam of the knife in Conan’s hand. Back and forth they weaved, and the red flames leaped, searing Conan’s flank even as he hurled the knife. Old Tolkemec went down, truly slain at last. Tascela sprang—not toward Conan, but toward the wand where it shimmered like a live thing on the floor. But as she leaped, so did Valeria, with a dagger snatched from a dead man, and the blade impaled the princess between her breasts. Tascela screamed once and fell dead, and Valeria spurned the body with her heel as it fell. “I had to do that much, for my own self-respect!” panted Valeria.
  • From Human Sacrifice and Propaganda in Popular Media: Jason Tatlock, Journal of Popular Culture & Pedagogy, 2019: Human sacrifice has long fascinated audiences and spectators, many of whom have been enticed by morbid curiosity to become peripheral participants. A pro-colonial and pro-Christian view is propagated by Mel Gibson’s film Apocalypto, in which the main character, Jaguar Paw, is captured early in the film and taken to a Mayan city where a sacrificial scene occurs that is very reminiscent of the Aztec human sacrifices performed to rejuvenate the sun. Jaguar Paw escapes the sacrificial and blood-thirsty Mayans and is pursued back to his home, where his salvation comes at a beach upon which Europeans are coming ashore and the Mayans are too shocked to continue pursuing their prey. So because of the interference of the Europeans. The film represents Mayan culture as particularly bloodthirsty, with the implication that such brutality was a significant factor leading to the civilization’s end. In The Wicker Man, a police officer named Sergeant Howie has a faith infused with colonial aspirations for the Scottish island to which he is assigned to fall under mainland authority. When Howie is sacrificed by the islanders, he spends his final moments preaching, singing, and praying The victim’s adherence to a high-church-like Christianity can be regarded as strengthening the view that the film purposefully presents parallels between the islanders’ mystical understanding of Howie’s body and blood as a sacrifice on their behalf, and his faith in Jesus’ atoning death”. 2013’s The Purge demonstrates cultural divides and propagandistic aims reflected in popular expressions of human sacrifice, but in ways dissimilar to the other films, a story about maintaining law and order through social hostilities. Sacrificial imagery is steeped in ethnocentric conceptualizations that characterize the “other” as complicit in immoral, irreligious, or brutal, and for imperialistic enterprises, human sacrifice inhabits the category of practices that deserve foreign intervention and validate conquest. From the standpoint of propaganda, human sacrifice can be used to advance political goals, as well as to promote ethnocentric ideals and to further religious agendas.
  •  From Satanic Panic, Jeffrey Victor, 1993: In the spring of 1988, rumors about a dangerous Satanic cult spread throughout the rural areas of western New York, northwestern Pennsylvania, and eastern Ohio. The rumor stories made claims about secret ritual meetings, the killing of cats, dogs, and other animals, and the drinking of animal blood, and they predicted the imminent kidnapping and sacrifice of a blond, blue-eyed virgin. The stories focussed upon specific, local circumstances from town to town, yet they carried remarkably similar symbolic content. Many parents held their children home from school out of fear that they might be kidnapped by “‘the cult,” as they called the threat. Absences from elementary school were three to four times greater than average, according to school attendance records. Over one hundred cars showed up at a wooded park, rumored to be a Satanic cult ritual meeting site, where they were stopped by police barricades awaiting them. Some of the cars had weapons in them, such as guns, knives, and clubs. At another location rumored to be a “cult” meeting site, an unused factory warehouse, about $4,000 damage was done to the musical equipment belonging to bands which practiced there and to the interior walls of the building. Several teenagers rumored to be members of the supposed “cult,” perhaps because of their countercultural appearance, were victims of anonymous death threats and other types of telephone harassment. Groups with baseball bats were seen wandering around in the downtown area during the evening hours. 
  • Many of the kidnapping stories take the form of predictions, but others claim that such crimes have already taken place secretly and have been concealed from public knowledge by the police and newspapers. Interestingly, about 40 percent of these kidnapping stories specifically mention blond, blue-eyed children or virgins. Why do these particular kidnapping stories feature a blond, blue-eyed virgin, rather than, for example, a dark-haired, dark-eyed victim, or perhaps a sexually promiscuous girl? The answer lies in the symbolism: In European cultures, the blond virgin has been a symbol of innocence, purity, and rare beauty in folklore stories and in folk ballads. At a deeper level, the blond virgin is a symbol for people’s cherished ideals. Stories about the kidnapping and murder of a blond virgin are metaphors for attacks upon our most cherished traditional values. Such attacks arise only from the opposite of innocence and purity, from that which is most “‘evil.”’ These rumors are parables about evil forces in our society. The rumor metaphor bespeaks this collective complaint: “Our most cherished values are in danger from mysterious forces of evil.” Now it can be understood why the Satanic cult rumors were meaningful and relevant to so many people. Their hidden meaning coveys the complaint that the moral order of our society is being threatened, and we are losing faith in our institutions and authorities to deal with the threat. it seems to me that these stories about Satanism, which circulate in rumors, claims, and allegations, are no trivial matter. I believe that they are “omens” of deep-seated problems in American society. Much like nightmares, they have something important to tell us.
  • From The Church of Satan, Michael Aquino, 2013: Satanists of the Dennis Wheatley type are presumed to have a penchant for Human Sacrifice, so Anton addressed the notion of sacrifice in general and of human sacrifice in particular. At its most elemental level, sacrifice implies the giving up of something precious to oneself in return for some other benefit. Humans being selfish creatures, it’s always been preferable to give something precious to others in order to obtain the expected benefit instead. In the past this may have taken the form of ritual murder, but civilization has succeeded in refining it to the scale of modern international wars with little trouble. And so Anton’s first prescription was simply that one should not destroy an animal or human being to avenge or appease self-generated insecurities. If a sacrifice is deemed necessary for a magical ritual, sacrifice should be a true one involving the magician himself. Less to be thought that he was advocating suicide, anton Houston to point out that a true Satanist, no subconscious hatred toward himself, would have no reason to seek self-destruction. What about the destruction of others, per the law of the Jungle? After all, the Satanic Bible seems to say that Vengeance was not only acceptable but admirable. For the fledgling Satanist, he recommended a ritual exercise in the passing of divine judgment by the symbolic destruction of individuals determined to deserve it. The idea was that the magician, forced to confront a mock reality of his wishes, would become increasingly more objective and attain a truly Divine perspective of judging the conduct of others. Again and again a Satanist begins their magical careers reciting long lists of curse victims but gradually decides they were being rather excessive in their condemnations. Finally they would become extremely discriminating in wishing any harm at all on others, realizing that clashes between human beings occur for many reasons besides unwarranted personal hatred. The most advanced Satanist included almost no curses at all. This is a law of the Jungle in its higher sense, as perhaps Kipling meant to express when he wrote his Jungle Books.
  • From Satanic Temple threatens to sue Netflix over goat god statue, CBC Radio, 2018: The Satanic Temple is threatening legal action against Netflix for the use of a Baphomet statue strikingly similar to theirs in the new series The Chilling Adventures of Sabrina. The Temple’s co-founder and spokesperson Lucien Greaves tweeted Sunday that their monument design is copyrighted and that the show “appropriated” it. The new show, which premiered this month and stars Kiernan Shipka as a young Sabrina the Teenage Witch, has been well-received by audiences and critics so far, beyond this dispute. When a Twitter user suggested that the show’s use of the icon could be considered free publicity, Greaves replied, “Having one’s central icon associated with human sacrifice in an evil patriarchal cult is hardly good exposure and hardly a frivolous complaint. The show’s creators did not utilize a generic Sabbatic goat that is commonly used in many occult circles, such as the image created by Eliphas Levi, but instead created one easily identifiable with  TST’s statue,” Greaves tells Rolling Stone. Given the show’s utilization of the Baphomet statue to represent an evil cannibalistic cult, TST would have denied its use to the show creators, he says. The Satanic Temple has been at the center of high profile legal battles and controversies in the past, such as creating After School Satan Clubs to protest the presence of Evangelical afterschool programs at public schools. The Satanic Temple is not to be confused with the Church of Satan, founded in 1966; the two organizations have publicly feuded and denounced each other. Sources at Netflix declined to comment on their use of the Baphomet image, noting that no official claim has been filed as of this time. https://www.rollingstone.com/culture/culture-news/satanic-temple-suing-netflix-sabrina-statue-design-750868/ 
  • From Rosemary’s Baby: The Satanic Temple and Abortion, Heidi Beedle, Colorado Times Recorder, 2023: While conservative Christians have been quick to label many things “Satanic” or “demonic” — LGBTQ people, furries, rock and roll music, dungeons and dragons — they have consistently accused abortion advocates of working under the influence of the devil. For example, during his run for the Republican nomination for a Colorado congressional seat last year, Tim Reichert came under scrutiny for his past statements comparing abortion to human sacrifice. “Every abortion is a human sacrifice,” Reichert said in a 2021 acceptance speech for an award from Catholic Charities of Denver. “Every abortion feeds the demonic and thereby contributes directly to the demise of the church, the demise of America, and the demise of the West.” During a 2022, presentation at Colorado Christian University, anti-abortion activist Seth Gruber invoked the story Moloch, a Canaanite deity associated in biblical sources with the practice of child sacrifice, during a presentation that also compared transgender people to the Christian heresy of gnosticism. Last Thursday, the Satanic Temple announced the launch of a Satanic Abortion Clinic to provide medical abortion medication through the mail. The conservative response has been predictable: “The fact that the Satanic Temple plans to set up a n abortion clinic in New Mexico speaks volumes about who is really behind the abortion agenda,” Elisa Martinez, founder of New Mexico Alliance for Life, told LifeNews, an anti-abortion news blog. “Their willingness to flaunt the practice of ending innocent human life as a ritualistic sacrifice shows how New Mexico public officials have cooperated with this evil. Former members of TST’s St. Louis congregation note TST’s legal advocacy is not always effective, and others have criticized TST’s fundraising around abortion-related causes, especially in the aftermath of the Dobbs decision. Despite the controversy, TST will continue to engage in advocacy. “All we can really do is affirm who we are and who we aren’t,” says spokesperson Chalice Blythe. “Our actions are a reflection of our deeply held values. Those values do not include things like child sacrifice or anything like that. We understand people’s fears, but that fear and that discomfort cannot stop us from seeking justice.” https://coloradotimesrecorder.com/2023/02/rosemarys-baby-the-satanic-temple-and-abortion/51771/ 

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The post Episode 195 – Satanic Sacrifices appeared first on Black Mass Appeal.