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secret satan Archives - Black Mass Appeal https://blackmassappeal.com/tag/secret-satan/ A podcast bringing modern Satanism to the masses Wed, 08 Jan 2025 02:15:00 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://i0.wp.com/blackmassappeal.com/wp-content/uploads/2017/07/cropped-black-mass-appeal-logo-horizontal-FINAL-1000x930-1.png?fit=32%2C32&ssl=1 secret satan Archives - Black Mass Appeal https://blackmassappeal.com/tag/secret-satan/ 32 32 140494027 Episode 186: Rosemary’s Baby Too https://blackmassappeal.com/2025/01/07/black-mass-appeal-rosemarys-baby-186/?utm_source=rss&utm_medium=rss&utm_campaign=black-mass-appeal-rosemarys-baby-186 https://blackmassappeal.com/2025/01/07/black-mass-appeal-rosemarys-baby-186/#respond Wed, 08 Jan 2025 02:14:17 +0000 https://blackmassappeal.com/?p=21382 The year is one! But no matter when it is, it’s time to rewind the reels on "Rosemary's Baby."

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The year is one! Or whatever number, we lost count. But no matter when it is, it’s time to revisit this most enduring classic of Satanic Sinema and rewind the reels on “Rosemary’s Baby.”

 

SHOW LINKS

  • From rosemary’s Baby, Film Site, 2018: Rosemary’s Baby is Polish director Roman Polanski’s first American feature film and his second horror film “Repulsion” in 1965, about a mentally-unstable, sexually-terrified woman left alone in her apartment. Polanski served as the scriptwriter and based the darkly atmospheric “Rosemary” upon Ira Levin’s best-selling novel of the same name. The film was produced by Paramount Studios and veteran, low-budget horror film maker William Castle, best known for gimmicky films such as House on Haunted Hill (1959), and Mr. Sardonicus (1961). A young newlywed move into a rambling old apartment building in Central Park West and become friendly with the next-door neighbors, an overly-solicitous and intrusive elderly couple, and soon the struggling husband’s acting career improves. But after a nightmarish dream of making love to a horned Beast, the paranoid, haunted, and hysterical Rosemary believes herself impregnated so that her baby could be used in the elderly New Yorkers’ evil cult rituals. She consults with a longtime friend who sends her a book about witchcraft, with suggestions that their neighbor was the son of a famous witch. After the birth of a baby boy, she ventures into the Castevet’s apartment and observes a coven celebrating the birth of the Antichrist. The creepy film ends with the devil’s flesh-and-blood baby being cared for by the new mother. The big-budget horror film grossed about $33.4 million on a budget of $2.3 million and received an Academy Award nominations for Best Adapted Screenplay, and Ruth Gordon won the Best Supporting Actress award for her performance as one of the “everyday” NYC neighbors. Quite a few of the smaller supporting roles were played by venerable actors, such as Ralph Bellamy as Rosemary’s doctor, Sidney Blackmer as Roman Castevet, and Tony Curtis, who makes a cameo as only a voice on the phone. It has been said that the film was one of the first horror films to be widely accepted by the public. This critically-acclaimed and commercially successful film was followed by an inferior, made-for-TV movie sequel in 1976 entitled Look What’s Happened to Rosemary’s Baby, aka Rosemary’s Baby II, with Ruth Gordon reprising her role. https://www.filmsite.org/rosem4.html 
  • From Afterword To rosemary’s Baby, Ira Levin, 2003: Having observed that the most suspenseful part of a horror story is before, not after, the horror, I was struck one day by the thought (while not listening to a lecture) that a fetus could be an effective horror if the reader knew it was growing into something malignly different from the baby expected. Nine whole months of anticipation, with the horror inside the heroine! I tried to figure out exactly what that fetus was growing into. I could imagine only two possibilities: my unfortunate heroine had to be impregnated either by an extraterrestrial or the Devil. E.T.s had already fathered children in The Midwich Cuckoos, a novel by John Wyndham, so I was stuck with Satan, in whom I believed not at all. But I had no other intriguing ideas and a family to support. I read up on witchcraft, and late in 1965 set to work. I anchored my unbelievable story in the reality of Manhattan in that season — as much to make myself believe it as to win the belief of readers. I saved the daily newspapers, checking back through them on the transit strike, the incoming shows, the mayoral election, writing always a few months ahead of Rosemary and Guy’s calendar. I wasn’t at all sure how the book would be received: I was well aware that what I was doing was standing the story of Mary and Jesus on its head, and I feared that editors and publishers might run me out of town. When I checked back through the newspapers for the events of the optimal date for the baby’s conception — so he would arrive exactly half the year ’round from Christmas — I found, on October 4, 1965, Pope Paul’s visit to New York City and the Mass he celebrated at Yankee Stadium that night. I took it as a sign — though I don’t, of course, believe in signs — and kept writing. Sure enough my editor loved the new Baby. He suggested that Rosemary might be hit by a taxi on the way to a hospital and the baby disappear somehow, but I didn’t think that was a good idea. The book was favorably reviewed and became a best seller, thanks in large part to a generous quote from Truman Capote which Random House cannily printed on the front. The movie rights had been sold before publication. The result was possibly the most faithful adaptation ever made. It incorporates whole pages of the book’s dialogue and even uses specific colors mentioned. Rosemary’s Baby attracted some of the hostility I had worried about while writing the book: A woman screamed “Blasphemy!” in the lobby after the first New York preview, and I subsequently received scores of reprimanding letters from Catholic schoolgirls, all worded almost identically. The Legion of Decency condemned the film, but when it became a major hit despite or because of its rating the Legion disbanded. Lately I’ve had a new worry: If I hadn’t pursued an idea for a suspense novel almost forty years ago, would there be quite as many religious fundamentalists around today?
  • From The Satanic Screen, Nick Schreck, 2001: Strangeness had long been Alfred Hitchcock’s cup of tea. However, the galleys for this unpublished novel were going too far even for the master of suspense. The unshockable Hitchcock had, after all, been brought up as a good Roman Catholic. William Castle had none of Hitch’s moral misgivings: Castle placed his bet on Beelzebub and purchased the film rights for Rosemary’s Baby by Ira Levin for $100,000. Although it wasn’t a particularly accomplished work in terms of style, Levin’s book resonated with an undetected shadow zone in the 1960s zeitgeist. The tremendous commercial and artistic success of ROSEMARY’S BABY transformed the film into an unprecedented cultural phenomenon. Thanks to Rosemary’s Luciferian labour pains, housewives and harried hubbies were chatting about Devil worship at suburban cocktail parties. Like all media events that touch the collective unconscious, a mythology of its own was generated, which still has a life of its own. One of the most persistent of these romantic concepts is that Roman Polanski is himself a devotee of the Black Arts, and that his film was constructed as a diabolical manifesto. In fact, possessed of a deep European existentialist pessimism, Polanski has never evidenced the least interest in Satanism or witchcraft; it was the story’s themes of alienation, betrayal and isolation that attracted him. It’s interesting to note that many viewers of the film have reported seeing such traditional Satanic features as cloven hoofs and horns in the final shot of the baby despite the fact that nothing of the kind was actually filmed. Occultists and Christians of different stripes have looked in the film for hidden magical messages and authentic Satanic lore. Rumours have spread that the film-maker must have sought technical advice from “real” Satanists to imbue the film with authenticity. When he was interviewed by police after the Manson murders, Polanski speculated: “It could be some kind of witchcraft.” The pregnant woman menaced by supposed devil worshippers was seen by many as an example of life imitating art. That the true motives for the crime had nothing to do with Satanism did not dissuade these wild theories. 
  • From Little Book of Satanism, La Carmina, 2022: The dawn of the age of Satan coincided with the rise of diabolical novels and films. Ira Levin wrote his best-selling rosemary’s Baby in 1967. In the story, Rosemary and her actor husband moved into a New York apartment next door to an eccentric old couple; the plot turns to terror as she discovers that her husband is in league with the neighbors to claim her baby as their Antichrist. Rosemary’s Baby introduces audiences to the plausibility of devil worshipers next door, shouting “Hail Satan!” while weaving the plots to snatch your children. Then came The Exorcist, a novel that became one of the most profitable films of all time. Viewers were shocked by the possessed girl’s antics as she yelled blasphemies, spewed green vomit, and spun her head 360°. In 1975, would come The Omen, along with a growing societal paranoia about Satanism. The film focuses on a child who is in fact the Antichrist prophesied by The Book of Revelation. The Omen popularized the idea the Antichrist could be walking among us. Songs about Satan skyrocketed: Parents of course had long labeled teenage music Satanic: Jazz was the devil’s own orchestra in the Roaring Twenties. The following decade, blues guitarist Robert Johnson allegedly met the devil at the crossroads and sold his soul. In the 1950s, the thrusting rock of Elvis Presley and Jerry Lee Lewis was similarly regarded. In 1966, The Master of Margarita was published for the first time: It followed the devil as he arrived in Moscow with a naked witch and talking black cat and inspired the Rolling Stones’ 1968 song Sympathy for the Devil. Ironically, the fearful public was oblivious to the works actually connected to Satanism: LaVey ​​released several albms and avant-garde filmmaker Kenneth Anger created the erotic and demonically charged “Invocation of my Demon Brother” and “Lucifer rising.” Media succeeded in painting a shocking picture of Satanism that became deeply embedded in popular imagination. Over the following decades, heavy metal horror would inspire and be inspired by the culture of organized Satanism and also feed the anxieties that gave rise to the social chaos of the Satanic Panic.
  • From The Church of Satan, Michael Aquino, 1989: Rosemary’s Baby appeared at a time when a new topic of conversation was demanded, and now we encounter the legend that Anton LaVey served as advisor for the film and played the role of the Devil in it. In the early days of the Church of Satan this claim was accepted as fact, and because of the movie’s sensational impact was even paraded as one of Anton’s magical coups. Upon close examination, Rosemary’s Baby Producer William Castle devoted three chapters of his autobiography to the filming of that movie and nowhere is LaVey mentioned. In fact, Castle repeatedly stresses director Polanski’s insistence on filming the novel exactly as it was written by Levin, omitting only any sight of the baby on camera. Nor has any other member of the cast or crew ever mentioned any LaVey involvement. In uncut versions of the movie, two “Devil” eyes momentarily appear that were rumored to be Anton’s. When Rosemary’s Baby  was eventually released as a videocassette, it became possible to freeze those frames and examine the eyes closely. They are clearly artificial cat’s eyes. As for the devil suit, I had an opportunity to examine it closely: because of its small size, the six-foot, 200-pound LaVey could not possibly have worn it. Many years later ,Nikolas and Zeena Schreck chanced to meet the father of the actress who played Mia Farrow’s body-double. He recalled that a young, very slender professional dancer had worn the suit. The Schrecks also met Polanski’s close friend Gene Gutowski, who had worked with Polanski on producing the film. Gutowski confirmed that there was no “technical advisor.” None of the ritual scenes reflects practices of the Church of Satan, and the chanting of the coven is not one of the Enochian Keys. Nevertheless the timing of the story – and its highlighting of 1966 as the “Year One” of the reign of the Antichrist – made a lasting impression upon the Church: Long after the motion picture disappeared from theaters, Christopher Komeda’s famous lullaby, sung on the soundtrack by Mia Farrow, would inspire sentimental emotions in the most worldly of Satanists.
  • From Rosemary’s Body, Miranda Corcoran, 2018: Inserted into the Irish Constitution in 1983, the 8th Amendment, which supposedly affords equal protection to the right to life of both the mother and the unborn child, ushered in three decades of callous disregard for the lives of women and all those capable of becoming pregnant, as young girls with crisis pregnancies, rape victims, and couples diagnosed with fatal foetal abnormalities were forced to travel abroad for basic reproductive care. Beyond its inherent cruelty, the Irish prohibition against abortion has always been an intrusion of religious agendas onto the individual body. The invasive power of patriarchal authority and Catholic dogma have inhabited and taken root deep within the bodies of women. There was never safety or comfort, never a place of warmth or retreat, to be found in one’s own body: only shame, alienation and a cold, distant law. I mulled over the shifting Irish attitude towards reproductive rights while re-reading Rosemary’s Baby. I have long felt that Ira Levin infuses his work with an overtly feminist rhetoric that rivals anything produced by more contemporary genre-creators. Indeed, based on their initial reading of Levin’s other major contribution to popular culture, The Stepford Wives, many of my students assume the author must be female. So many of Levin’s male characters start out as loving, supportive husbands before transforming into abusers out of a desire for some signifier of conventional masculine dominance. In The Stepford Wives, Walter is entranced by the archetypal subservient ‘50s housewife; in Rosemary’s Baby, Guy relinquishes his wife’s freedom in exchange for a successful career. Constructing the desire for the accoutrements of hegemonic masculinity as inherently corrupting, Levin’s work repeatedly underscores how the demands of patriarchy, and the attendant requirement that men adhere to dominant notions of masculinity, can damage men and women. Rosemary’s autonomy is gradually undermined and eroded, as it becomes increasingly clear that her body is not her own but rather a vessel to be primed, manipulated and constrained: she is drugged by geriatric Satanist Minnie, and when Rosemary refuses the [suspect] dessert, Guy essentially gaslights her; already Rosemary’s ability to trust her own body is undermined. The trivialisation of sexual assault evidenced here and the flippant suggestion that such a violation is a minor infraction on the part of a husband who is, by default, entitled to access his wife’s body at any time reinforces the notion that Rosemary’s body is not her own, that she does not have the power to prevent the transgression of her corporeal boundaries. When Rosemary becomes pregnant, her capacity to exert any form of control over either her body or her life is radically curtailed. The neighbouring Satanists encourage her to stay at home, and her body is constantly scrutinised. When Rosemary opts to get a stylish Vidal Sassoon haircut, aesthetically removed from the lengthy tresses that are generally held up as feminine beauty, her husband berates her. She is forbidden from reading books about pregnancy or speaking to her friends about their experiences. Levin, who was not Catholic and did not believe in the Devil, crafted a deeply unsettling tale out of the darkest facets of Catholic lore. As an Irish woman reading Rosemary’s Baby in the weeks after the referendum on the 8th Amendment, the novel spoke to me afresh. https://amiddleagedwitch.wordpress.com/2018/06/08/rosemarys-body-reproductive-rights-and-diabolical-deeds-in-ira-levins-rosemarys-baby/ 
  • From Rosemary’s Baby Was a Jewish Horror Movie, Nathan Abrams, Forward, 2018: Rosemary’s Baby” is laced with references to Catholicism: its protagonist, Rosemary Woodhouse, is a lapsed Catholic who dreams of nuns; the Pope’s visit to New York in October 1965 is discussed, as is the Kennedy family. But something in it stirs a sense of Jewish cultural identity as well:
  •  Polanski adapted [Jewish novelist] Ira Levin’s 1967 novel of the same name.
  • The film starred Mia Farrow, whose famous pixie haircut was provided by British Jewish hairdresser, Vidal Sassoon.
  • Jewish actor Tony Curtis voiced the actor Donald Baumgart whose sudden blindness allows Guy to replace him in the play that sets him on the path to success. 
  • Guy and Rosemary’s friend tells them about the Bramford and how “World War II filled the house up again,” to suggest that émigrés fleeing Nazism had taken over the apartment building. This group, in seeking to procure a child for Satan, echo age-old Judeophobic canards. 
  • The overbearing Castevets resemble nebbishy, loud, pushy, New York Jewish stereotypes. Their lack of decorum contrasts with Rosemary’s politeness and acquiescence. 
  • Roman is a wanderer, who has been “everywhere.” He has “piercing eyes,” and we learn that he has changed his name to hide his origins. The fact that he and Polanski have the same name seems too significant to avoid mentioning. 
  • In the first draft of the screenplay he describes Minnie as “big-nosed, with a sullen fleshy underlip. She wears pink-rimmed eye glasses on a neckchain that dips down from behind plain pearly earrings.” Minnie cooks and kibitzes, browbeating Guy and Rosemary until they cannot refuse. She nags her henpecked husband: “Just watch the carpet.” At one point, she can be heard through the walls of the apartment shouting at Roman.
  • Minnie manifests other stereotypical Jewish tics: Rosemary observes, “She’s the nosiest person I’ve ever seen. You know she actually asked the prices of things.”Gordon would go on to play a series of Jewish women, including a demented, overbearing Jewish mother in “Where’s Poppa?” 
  • Rosemary’s obstetrician, Dr. Abraham Sapirstein, is more obviously Jewish. In the novel, Minnie describes him as “A Jewish man who delivers all the Society babies,” while Roman says, “He’s a brilliant man with all the sensitivities of his much-tormented race.” When Guy asks Rosemary if Sapirstein is in the coven, she replies, “No, I don’t think he’s one of them, he’s Jewish.” 
  • Minnie introduces Rosemary to a “famous dentist” named Dr. Shand at a New Year’s party; Shand has made the chain for the charm that Minnie gave Rosemary earlier in the film. Both dentistry and jewelry were professions in which Jews enjoyed a significant presence. Phil Leeds, a well-known Jewish comedian, plays Shand. 
  • Rosemary’s friends, distraught over her appalling physical appearance during pregnancy, compare her to a concentration camp victim. Polanski layered the film with allusions that are hard not to interpret as autobiographical: He had survived the Holocaust by hiding, and the claustrophobia of this traumatic childhood returns in the film’s images of a victimized woman trapped in an apartment, compelled to be quiet out of grave fear of the neighbors, staying alive or being betrayed because of whom she chooses to trust. The image of a pregnant woman being dragged away by muscular male representatives of authority has echoes in the memory of his mother, who was taken to a camp when he was eight. https://forward.com/culture/398478/why-rosemarys-baby-was-really-a-jewish-horror-movie/ 
  • From Awakening to Satanic Conspiracy: Rosemary’s Baby and the Cult Next Door David Frankfurter University of New Hampshire, 2008: In the 1960s, before the “cult” scare, at a time when Christian demonology was still quite marginalized, and set in a city where nobody could expect cultural homogeneity anyway, Rosemary’s plight could almost be read as a sendup of the various weird and conflicting encounters pregnant women will have in urban society. By the late 1980s, however, everybody seemed to know what dangers Satanists next door might pose to the innocent and unsuspecting. A cacophony of media revelations, from Geraldo Rivera to the recovered-memory narrative Michelle Remembers, created a mood in which Satanism and Devil worship became a familiar and modern discourse. Satanism had come to serve, on the one hand, as a “symptom” of a culture in decline, and on the other hand as a cluster-point for perennial social anxieties, like child safety, the nature of the family, and the identification of deviance. In this historical context, Levin’s work, especially his evocation of suspicion and intimate Satanic conspiracy, becomes quite prescient and to a limited degree causal. America, we should recognize, has long had an obsession with themes of conspiracy. As organizations flourish and institutions get more powerful, we have kept an eye perpetually cocked for suggestions of suspicion, deceit, and even counter-institutions behind it all. We might recall not only the appeal of movies like The Manchurian Candidate (1962) but also the popularity of stories of international white-slavery rings and the perpetual rumors of Catholic, Masonic, Mormon, Jewish, and even extraterrestrial conspiracy over American history. In the 1960s, when Levin wrote Rosemary’s Baby, it was traditional institutions—communists, Catholics, corporations—that posed the threats. From at least the early Roman period, the epitome of conspiracy and moral subversion lay in illegitimate, subversive rituals especially when they seemed to function cohesively for some alien group. But by the late 1970s, in the face of a great variety of discomfiting events, Americans began to feel an increasing strain: Despite our austere Puritan legacy, social scientific enlightenment would not allow us to cast Charles Manson, Jim Jones, and David Berkowitz out of the realm of moral comprehensibility. We very much craved a discourse of evil to which we could relegate these most extreme figures. Satanism became the perfect conspiracy. Rosemary’s Baby was ahead of its time in offering such a revelation of Satanic conspiracy; many of the ideas it raises were picked up 20 years later. The revelatory experience it offers the audience—that psychological shift from innocence to “cultic” predation—is one that arose time and time again for television viewers, therapists and their patients, and law enforcement specialists over the 1980s and early 1990s. Conspiracy offers not only terror but also the likelihood that there exists something else beneath the experiences and encounters we have, that randomness is not the way things work, but that another, more powerful realm is at work, controlling things. Maybe it’s a positive realm—God and his angels, or aliens, as many believe—or maybe an inverse, evil realm, but [either way] the excitement comes in peering into it.
  • From Vidal Sassoon? I did my pixie cut myself, says Mia Farrow DAILY MAIL STAFF,  2013: It is one of the best-known haircuts of all time: In 1968 British stylist Vidal Sassoon was acclaimed for creating the ‘pixie cut’ for actress Mia Farrow in her career defining role in Rosemary’s Baby. The urchin style look became an instant hit and today is still copied, most recently by Emma Watson. When Sassoon died last year at the age of 84 almost all the obituaries mentioned the role in the 1968 horror film. Now after almost 50 years Farrow says she came up with the boyish look and used a pair of nail scissors to cut her own hair: “I intend no disrespect to Mr Sassoon, but he had nothing to do with my haircut.” She said he was only responsible for trimming her hair as part of a publicity stunt for the film, as his name was mentioned in it. (When asked about the cut, Farrow’s character says, ‘It’s Vidal Sassoon. It’s very in.’) The actress set the record straight after the New York Times newspaper carried a recent article about career changing haircuts. It said Farrow had long, blonde hair until Sassoon gave her the pixie cut for the film.  It also said her husband at the time, Frank Sinatra, was so against the boyish look that he divorced her. After Farrow’s daughter-in-law contacted the paper to ask for a correction, editors on the paper reached out to Farrow. She wrote to the paper to set the record straight and they published her reply. Sassoon never said anything to dispel the myth that he had created the pixie cut for Farrow. He said he was invited to Hollywood to give Farrow a new style for the film. Farrow’s two year marriage to Sinatra ended shortly after the film came out, but she says it was unrelated. https://www.dailymail.co.uk/tvshowbiz/article-2269357/Vidal-Sassoon-I-did-pixie-cut-says-Mia-Farrow-hairdressers-signature-style.html 

 

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Episode 183: Deadly Sins – Satanic Gluttony https://blackmassappeal.com/2024/11/27/black-mass-appeal-satanic-gluttony/?utm_source=rss&utm_medium=rss&utm_campaign=black-mass-appeal-satanic-gluttony https://blackmassappeal.com/2024/11/27/black-mass-appeal-satanic-gluttony/#respond Wed, 27 Nov 2024 16:50:03 +0000 https://blackmassappeal.com/?p=21367 We're getting our fill as Bonnie from Beelzebunz Bakery helps us dig into the Deadly Sin of Gluttony.

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We’re getting our fill as Bonnie from Beelzebunz Bakery helps us dig into the Deadly Sin of Gluttony.

 

SHOW LINKS

  • Beelzebunz! https://www.beelzebunz.com
  • From Satanism, Anatomy of a Radical Subculture, Chris Mathews, 2009: Satan was necessary for a monotheistic premodern religion, for it needed to find a way to explain the presence of evil. Complex arguments on the nature of free will may have satisfied church intellectuals, but they weren’t particularly effective on illiterate peasants. By elevating and elaborating Satan’s role, Christianity absolved God of evil. As a consequence, Satan is associated with a number of very real, very human desires and emotions. It’s no coincidence the Seven Deadly Sins are all sins of self-indulgence: lust, gluttony, greed, sloth, wrath, envy, and pride. In so closely aligning the devil with the temptations that ordinary people felt, the Church was warning its flock of the dangers that lurked beyond its protection. Satan’s role as scapegoat and association with all-too-human desires had the effect of making him attractive to marginalized members of society and helps explain the small pockets of purported devil-worship throughout history. Any individual who feels a weakness to more earthly desires, to fleshly pleasures, is automatically aligned with Satan. The Bible explicitly placed the spirit and the flesh in opposition: “But I say, walk by the Spirit, and you will not gratify the desires of the flesh. For the desires of the flesh are against the Spirit: sexual immorality, impurity, sensuality, idolatry, sorcery, enmity, strife, jealousy,anger, rivalries, dissensions, divisions, envy, drunkenness, orgies, and things like these.” For anyone who wished to escape the repression of the dominant teachings, invoking the devil as a justification of natural desires was a logical and predictable step. The repression itself resulted in a legitimization of the dissident groups.
    • From Morality In Job, Pope Gregory I, 595: For the tempting vices, which fight against us in invisible contest in behalf of the pride which reigns over them, some of them go first, like captains, others follow, after the manner of an army, for all faults do not occupy the heart with equal access. Pride is the beginning of all sin. but seven principal vices spring from this poisonous root: vainglory, envy, anger, melancholy, avarice, gluttony, lust. For, because He grieved that we were held captive by these seven sins of pride, therefore our Redeemer came to our liberation. Pride begets envy; envy also generates anger; melancholy also arises from anger and runs down into avarice. It is plain to all that lust springs from gluttony, when in the very distribution of the members the genitals appear beneath the belly. And hence when the belly is inordinately pampered, the other is doubtless excited to wantonness. Gluttony is also wont to exhort the conquered heart, as if with reason, when it says, God has created all things clean, in order to be eaten, and he who refuses to fill himself with food, what else does he do but gainsay the gift that has been granted him? Lust also is wont to exhort when it says, Why enlargest thou not thyself now in thy pleasure, when thou knowest not what may follow? The hapless soul, once captured by the principal vices, is turned to madness, laid waste with brutal cruelty. the soldier of God, since he endeavors to pursue the contests with vices, smells the battle afar off; while he considers, with anxious thought, what power the leading evils possess to persuade the mind, he detects, by the sagacity of scent, the exhortation of the leaders, and by foreseeing them afar off, he finds out the scent of this howling army.
      • From Summa Theologica, Thomas Aquinas, 1496: It would seem that gluttony is not a sin, for our Lord said: “Not that which goeth into the mouth defileth a man.” Further, “No man sins in what he cannot avoid” Gluttony is immoderation in food, and man cannot avoid this, for Gregory says, “Since in eating pleasure and necessity go together, we fail to discern between the call of necessity and the seduction of pleasure,” and Augustine says, “Who is it, Lord, that does not eat a little more than necessary?” Therefore gluttony is not a sin. Further, in every kind of sin the first movement is a sin. But the first movement in taking food is not a sin, else hunger and thirst would be sinful. On the contrary, Gregory says that “unless we first tame the enemy dwelling within us, namely our gluttonous appetite, we have not even stood up to engage in the spiritual combat.” But I answer that Gluttony denotes not any desire of eating and drinking, but an inordinate desire. Desire is said to be inordinate through leaving of reason; that which goes into man by way of food, by reason of its substance and nature, does not defile a man spiritually, but the Jews, against whom our lord is speaking, and the Manichees deemed certain foods to make a man unclean. It is the inordinate desire of food that defiles a man spiritually. Gluttony does not regard the substance of food, but in the desire thereof not being regulated by reason. It is a case of gluttony only when a man knowingly exceeds the measure in eating, from a desire for the pleasures of the palate. The appetite is twofold: There is the natural appetite, which belongs to the powers of the vegetable soul. In these powers virtue and vice are impossible, since they cannot be subject to reason. But there is another, sensitive appetite, and it is in this appetite that the vice of gluttony consists. Hence the first movement of gluttony denotes inordinateness in the sensitive appetite, and this is not without sin.
    • From Purgatorio, Digital Dante, Columbia University, 2019: The souls on the terrace of gluttony are emaciated. They suffer a punishment that involves immense craving for the fruit of trees that they can never eat. This linkage between desire felt by the soul and emaciation experienced by the body was already flagged as a thorny issue in Purgatorio 23: Dante posed the question: “Who would believe that the odor of a fruit and the odor of the water could, by generating desire, so reduce a soul?” How one who does not need nourishment — in other words, the virtual body of a non-living soul — can be made thin by not eating? The question prompts a discussion of the divine creation of virtual bodies as well as discussion of the divinely-governed biological creation of physical bodies. The discourse on embryology of Purgatorio 25 can be viewed as a key installment in an ongoing Dantean insistence on the indissolubility of body and soul. In effect, Dante invents a theory whereby human souls possess bodies as they await the resurrection of the flesh at the Last Judgment. It is interesting to note that Dante’s afterlife theory of the body reverses the order of creation. This is of course a key issue for one who constructed a “virtual reality” in his poem. Dante has in some fashion anticipated our expression “virtual reality” in his description of the “virtual” bodies of the souls in the afterlife. Purgatorio 25 concludes with the arrival of the wayfarers at the seventh and last terrace, the terrace of lust, and the pilgrim fears the flames on one side and the precipice on the other. He sees spirits walking within the flames and hears their voices calling out examples of chastity.
    • From The Seven Deadly Sins in Our Time, rev Gaius Florius Aetius, 2012: In our relativistic times, when many take the attitude that there is neither good nor evil, that everything is “somehow” a matter of opinion, we are naturally very skeptical about the theory of evil, sins, and vices. For a purely materialistic person, the question of “sin” does not arise at all. In the rational view of materialism, there can only be the question of expediency, of which attitudes or actions are conducive to an end. Even if there are certainly atheists and materialists who are quite virtuous, morality per se is irrational. The reason for this is easy to grasp: because in the end there is no reasonable reason at all to be good, except the fear of punishment. If it would be individual, then morality would lose its character as morality, and would be only custom or individual usefulness. Therefore a materialistic morality is completely impossible. In the Church’s belief, the Deadly Sins are not sins themselves but actually attitudes that lead to sinful actions. Sin cannot be an emotion, since we are not masters of our emotions; sin can only be an action that we commit consciously. Gluttony and selfishness are often substitute actions: We stuff ourselves with chocolate because we lack love and affection; we indulge ourselves with goods because we lack self-esteem. While LUXURIA arises from an excess of self-satisfaction, GULA, gluttony, arises from a lack of self-esteem, and we want to stuff this lack. But since external goods never remove an internal lack, it is an endless desire that never ends because it can never be satisfied. Gluttony becomes endless because the real lack is not addressed at all. In the end, egoism becomes excessive, always born out of the fear of falling short, of having received too little. The big egoists are always small dwarfs in the heart, full of fear to come too short, to have too little and so they stuff everything into themselves, grab and take everything to themselves without measure and end. https://www.academia.edu/107015645/The_Seven_Deadly_Sins_in_Our_Time 
    • From The Joy of Sin, Simon Laham, 2012: Gregory made it impossible to gain any pleasure at all out of eating when he listed not one, but five ways to sin by gluttony. We have the obvious ‘too greedily’ and ‘too much’, but we also have less straightforwardly condemnable modes of eating: ‘too early’, ‘too expensively’ and ‘with too much focus on how the food is prepared’. This pleasure-maximizing attitude towards food was anathema in those Middle Ages monasteries in which the deadly sins were codified. When gluttony was deemed deadly in the Middle Ages, pleasurable overindulgence in food and drink spoke of an ungodly preoccupation with earthly, bodily pleasures, which came at the expense of a more proper focus on the divine and spiritual. These days, of course, gluttony is no longer the multi-headed beast that Gregory condemned: Gluttony is now one-dimensional; it is all about eating too much and is moralized because of obesity. For many, ‘gluttony’ is synonymous with ‘fat’, fostering a one-dimensional, puritan and boring view of food and eating. Social psychologists have long known that human behavior of all kinds is at the mercy of the environment. Eating is no exception. The relationship between the gluttonous drive to consume and its impact on the body depends crucially on one’s surroundings. Put simply: gluttony is adaptive in environments in which calories are scarce, like the African savannas of our deep evolutionary history, but not in those in which calories are plentiful, like Mississippi. We evolved to eat much and do little–a sensible evolutionary strategy.
    • From Fasting, Fat Shaming and Finding Christ, Ashley O’Mara, Jesuit Review, 2018: After I took too many pieces of French toast for breakfast one morning when I was 12, my mom suggested I was, perhaps, getting a bit overweight? With these words, she introduced me to a body I had never really looked at before. My mother’s comments about other women’s weight always carried a moral judgment: The “overweight” girls in ballet class had bad parents who let them eat too much; my religion teacher did not eat “right”; “obese” people generally are a drain on the healthcare system. Fat people wear their supposed sins in public, my mother reasoned, and so their bodies were available for public comment. Before the French toast incident, I did not believe that I could be fat. I did not have a sophisticated sense of morality, but I was convinced that I was a good person. But when Mom observed that I was overweight, she verbalized my body into existence. I started biking obsessively: For a short while, I lost a little weight, but my lackluster follow-through deteriorated into an unhealthy obsession with food. The more forbidden a brownie was, the less I was able to resist the temptation; Instead of Commandments, I memorized calorie counts. My doctor and after-school TV programs told me to look at the women around me and understand that fleshliness was normal. But to my perfectionist mind normal did not mean good. The Madonna is said to have instructed her followers to fast from everything but bread and water twice a week until the end times. With the stress of starting my master’s studies and teaching for the first time, caring for my body was no longer a priority. One evening, skipping dinner in order to lesson-plan, I glanced at an article from a unit on fat-shaming that a fellow instructor had developed: it connected descriptions of systems of oppression like sexism and ableism to sizeism. I was reminded of the medieval women mystics I was reading about, saints who tried to recreate Christ’s pain in their flesh. Was I really trying to make myself healthier, as my mom tried to tell me, or was I just participating in a system of oppression? I only recently realized that I was never truly what many people would consider to be “fat,” and my struggles did not measure up to those of many plus-size women. I still find my body to be endlessly frustrating, as it continues to do things without my consent. After celebrating mass one Christmas Eve with more anxiety about my worthiness than joy, I fumbled for a friend’s assurances, called out into a body whose matter was carbon, oxygen, bone and blood and muscle—the only things that made it matter. https://www.americamagazine.org/faith/2018/02/07/fasting-fat-shaming-and-finding-christ-my-body 

    From The Connection Between Diet Culture and Purity Culture, Charles Stiles, Evergreen Counseling, 2020: When I began un-learning diet culture, I found there was another layer of shame about my body- one that went deeper than size or shape. This deeper layer was about my body being essentially sinful and dangerous, and not to be trusted. I grew up in an evangelical home where my body was policed for multiple reasons – it wasn’t just my fatness or my thinness, but how “sexy” I dressed. The messages around weight stigma blurred with the messages around keeping my body pure and virginal. Multiple clients I work with were raised with “purity culture” along with diet culture. The premise is that we must keep our bodies pure and virginal for marriage. I do believe that the connections between purity culture and diet culture can be harmful and shameful. Messages that both purity culture and diet culture share include that your body is the source of sin, your natural impulses and desires will lead to sinful and “bad” things your body is shameful, it wants things it “shouldn’t” want or looks how it “shouldn’t” look, you are supposed to have control and mastery over your body, we cannot trust our instincts, which are body-based, other people know best and we need to follow, etc. In general, this promotes mind/body disconnection. Understandably, when we are disconnected from our bodies, it can possibly lead to shame, Eating disorders, Sexual confusion, Denial, Dissociation, Fear of intimacy, Difficulty with boundaries, Low self-worth, and other physical symptoms. We need to un-learn purity culture, perhaps with the guidance of a therapist, coach, or instructor. It means building self compassion to counteract the shame we’ve internalized. Overall, it means befriending our bodies and ourselves. I speak from experience when I say this path is absolutely possible. https://evergreencounseling.com/the-connection-between-diet-culture-and-purity-culture/

 

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Episode 159 – Satanists Read the Book of Mormon https://blackmassappeal.com/2023/12/26/black-mass-appeal-159-satanists-book-of-mormon/?utm_source=rss&utm_medium=rss&utm_campaign=black-mass-appeal-159-satanists-book-of-mormon https://blackmassappeal.com/2023/12/26/black-mass-appeal-159-satanists-book-of-mormon/#respond Tue, 26 Dec 2023 23:21:48 +0000 https://blackmassappeal.com/?p=21242 We've tested Testaments new and old, and so it came to pass that we delve into the most fundamentally American of all fundamentalist American religions and meet their really weird devil.

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We’ve tested Testaments new and old, and so it came to pass that we delve into the most fundamentally American of all fundamentalist American religions and meet their really weird devil.

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