Christian Voice to stage further protests against poetry book
Alison Flood
Christian activists are due to stage a protest outside the Welsh Assembly tomorrow over Patrick Jones's poetry collection Darkness Is Where the Stars Are, which they describe as "ugly, indecent and blasphemous".
Jones is scheduled to read his poetry at the Assembly's T Hywel building tomorrow at 12pm, but the group Christian Voice – which has already successfully campaigned against Jones launching his work at Waterstone's Cardiff branch last month – is planning "a public act of Christian witness" outside the building.
It has also emailed members urging them to apply for tickets for the Assembly event, and for a reading at Borders' Cardiff branch that evening, at which a protest is also planned.
"Say how much you would like an invitation to the event, but don't say you wish to protest!" the organisation said in an email. "Say whatever is needed to get alongside and get a ticket without bearing false witness. You cannot give a false name for either event as ID will be required. So Onward, Christian soldiers, Stand up, stand up for Jesus!"
Darkness Is Where the Stars Are is a collection of poems dealing with issues including domestic violence against men, war, religion and the environment.
Christian Voice objects particularly to one of the poems, which includes the "blasphemous assertion" of sex between Jesus and Mary Magdalene. Lines it objects to include "All I preach is deicide", "today I have become a born-again atheist" and "god does not die because he was never alive".
In a statement on its website, it adds: "The poems aren't actually much good, they hardly rhyme, they rarely scan or have rhythm, but they possibly have enough profanity and references to female genitalia to get the literati excited."
National director of Christian Voice Stephen Green said there would be a coach-load of protesters arriving tomorrow for the event. "It can never be wrong to do what is morally right," he said. "Of course [Jones] has the right to think what he likes and say what he likes in the privacy of his own lavatory, but he does not have the right to insult the saviour of the world two weeks before Christmas."
Jones and his publisher Cinnamon Press said they would be going ahead with the events as planned. "The poems to me are not blasphemous, they raise a debate," Jones said. "[The book is] a triumph of talking about my own personal struggle in life and I'm very proud of it, [but] now I just feel I have to constantly defend myself."
He said that he and his publisher "just weren't prepared" for the reaction the book, which took him 20 years to write, received. "It got out of control after Waterstone's gave in, then it snowballed, like with Jerry Springer the Opera," he added. "I almost can't quite believe it … It's legitimised because it's religious [and] we tiptoe around extremist religious activity."
Cinnamon Press, a small publisher founded three-and-a-half years ago, said it had been flooded with supportive emails, some from Christians. "I think this has given it a wider market," said editor Jan Fortune-Wood. "Poetry is a niche market, and if you sell a couple of hundred copies you're lucky – this has been extraordinary publicity."
On its website, Christian Voice wrote: "Should the event be cancelled, we shall have something to praise the Lord Jesus Christ for! On the other hand, should the Assembly choose to insult Him, we shall praise His holy name and pray to Him for mercy."
guardian.co.uk © Guardian News and Media Limited 2008
http://www.guardian.co.uk/books/2008/dec/10/poetry-christianity/print
2008/12/19
We're seeing the Christian faith attacked on all sides."
Christian group's poetry protest
Around 250 Christian activists have protested outside the Welsh assembly building about a poetry reading.
Patrick Jones was invited by two assembly members to read from his collection Darkness Is Where The Stars Are, which has already led to claims it is "obscene and blasphemous".
Stephen Green, director of Christian Voice, said: "This turnout shows the strength of feeling of people."
Mr Jones was "shocked" by the numbers but said it was good for free speech.
Protesters sang hymns and some held placards before the ticket-only event inside the Senedd building.
Mr Green added: We're seeing the Christian faith attacked on all sides."
"Now it's under attack in a seat of government in the UK."
Nick Bourne, leader of the Welsh Conservatives was at the demonstration, and was asked if he was showing his support.
He replied: "Yes, essentially."
"Our group opposed this {reading] at the home of Welsh democracy, promoting something which is anti-Christian and we would say that if it was any recognised religion."
Mr Jones was asked by Labour AM Lorraine Barrett and Liberal Democrat AM Peter Black, who said he wanted to make sure the poet was not "gagged".
"I think this is a good day for democracy. We've head both sides - Patrick has had his poetry reading and it's also important for people to be able to make their views known."
One of the poems that has offended Christians, called Hymn, includes a reference to Mary Magdalene having sex with Jesus. It was read by an actress Stacey Daley, from Newport.
Mr Jones is the brother of Nicky Wire, of the Manic Street Preachers.
A books-signing launch event was cancelled at a Cardiff branch of Waterstone's last month after an earlier protest was planned.
He signed copies of the collection of 30 to 40 poems in the street instead.
Mr Jones, who has said he is "really proud" of the book said after the protest: "I was really shocked at the turnout and I think that's healthy for democracy but I don't think many of them have read the poem.
"A bit of a moral panic has been created but what happened at Waterstone's set a dangerous precedent."
He insisted he had not singled out Christianity in his poems, but was questioning beliefs in society.
Mr Green said: "I didn't want to get party political about this, but I've had a number of letters of support from members of the assembly.
"The Conservative group has come out against this locally and many Plaid Cymru members have too.
"I am not taking sides, I'm just telling it how it is."
Story from BBC NEWS:
http://news.bbc.co.uk/go/pr/fr/-/2/hi/uk_news/wales/7777157.stm
Published: 2008/12/11 13:02:30 GMT
© BBC MMVIII
Print Sponsor
http://newsvote.bbc.co.uk/mpapps/pagetools/print/news.bbc.co.uk/2/hi/uk_news/wales/7777157.stm?ad=1
Around 250 Christian activists have protested outside the Welsh assembly building about a poetry reading.
Patrick Jones was invited by two assembly members to read from his collection Darkness Is Where The Stars Are, which has already led to claims it is "obscene and blasphemous".
Stephen Green, director of Christian Voice, said: "This turnout shows the strength of feeling of people."
Mr Jones was "shocked" by the numbers but said it was good for free speech.
Protesters sang hymns and some held placards before the ticket-only event inside the Senedd building.
Mr Green added: We're seeing the Christian faith attacked on all sides."
"Now it's under attack in a seat of government in the UK."
Nick Bourne, leader of the Welsh Conservatives was at the demonstration, and was asked if he was showing his support.
He replied: "Yes, essentially."
"Our group opposed this {reading] at the home of Welsh democracy, promoting something which is anti-Christian and we would say that if it was any recognised religion."
Mr Jones was asked by Labour AM Lorraine Barrett and Liberal Democrat AM Peter Black, who said he wanted to make sure the poet was not "gagged".
"I think this is a good day for democracy. We've head both sides - Patrick has had his poetry reading and it's also important for people to be able to make their views known."
One of the poems that has offended Christians, called Hymn, includes a reference to Mary Magdalene having sex with Jesus. It was read by an actress Stacey Daley, from Newport.
Mr Jones is the brother of Nicky Wire, of the Manic Street Preachers.
A books-signing launch event was cancelled at a Cardiff branch of Waterstone's last month after an earlier protest was planned.
He signed copies of the collection of 30 to 40 poems in the street instead.
Mr Jones, who has said he is "really proud" of the book said after the protest: "I was really shocked at the turnout and I think that's healthy for democracy but I don't think many of them have read the poem.
"A bit of a moral panic has been created but what happened at Waterstone's set a dangerous precedent."
He insisted he had not singled out Christianity in his poems, but was questioning beliefs in society.
Mr Green said: "I didn't want to get party political about this, but I've had a number of letters of support from members of the assembly.
"The Conservative group has come out against this locally and many Plaid Cymru members have too.
"I am not taking sides, I'm just telling it how it is."
Story from BBC NEWS:
http://news.bbc.co.uk/go/pr/fr/-/2/hi/uk_news/wales/7777157.stm
Published: 2008/12/11 13:02:30 GMT
© BBC MMVIII
Print Sponsor
http://newsvote.bbc.co.uk/mpapps/pagetools/print/news.bbc.co.uk/2/hi/uk_news/wales/7777157.stm?ad=1
Darkness Is Where The Stars Are-Blasphemy
Poetry launch cancelled after Christian protest
13 Nov 08, 10:04 AM
The launch of a new book of poems in the Waterstone's bookstore in Cardiff has been cancelled because a conservative Christian campaign group called on the chain to removes copies of the book from its stores. Darkness Is Where The Stars Are by Patrick Jones was to be launched at 7.30 p.m. yesterday, but Patrick Jones says the event was cancelled because of a 'threats of disruption' to the store.
Christian Voice's leader Stephen Green led an e-mail campaign against the book, and encouraged Waterstones to cancel the launch, because he regards some of the poems within the collection as 'obscene and blasphemous'.
Even though the event had been cancelled, Patrick Jones went to the Waterstones bookstore at The Hayes in Cardiff and signed copies of his book in the street. Mr Jones is plainly a poet who addresses political and religious themes in his work. In this collection, some poems explore the portrayal of women and some deal with the relationship between Jesus and Mary Magdalene. He uses language that is, at times, raw. He would not be the first poet to address these themes or to use raw language.
As one might expect, Christian Voice have now given Patrick Jones a much larger audience than he might previously have expected for his book. We'll see how this story pans out over the next few days, but I expect that the controversy provoked by the cancellation of this book launch will increase sales and name recognition for this poet.
Speaking of which, here's his bio:
Patrick is a poet, playwright, human rights activist and filmmaker. His work includes the poetry collections The Guerilla tapestry and Fuse, the CD of spoken word and music Commemoration and Amnesia and the plays Everything Must Go, Unprotected Sex, The War is Dead long live the war and Sing to Me. He has also directed short films and videos for the bands The Manic Street Preachers and Lethargy. Patrick is also committed to taking words to the whole of the community and has developed writing groups for young people in Wales and beyond, developed and co-ordinated writing and drama workshops for people of all ages and from a mixed background, attended many different organisations from community groups to universities to speak about writing and give readings of work. Set-up various writing projects for people with specific needs, for example hospice patients, school non-attendees, mental health patients and most recently the young homeless.He has worked with various communty based projects with NCH, The Welsh National Opera, St. David's Foundation Hospice Care and The Dyn Project (advocacy for men who have experienced domestic violence) and The Prison Service.
William Crawley
http://www.bbc.co.uk/blogs/ni/2008/11/poetry_launch_cancelled_after.html
13 Nov 08, 10:04 AM
The launch of a new book of poems in the Waterstone's bookstore in Cardiff has been cancelled because a conservative Christian campaign group called on the chain to removes copies of the book from its stores. Darkness Is Where The Stars Are by Patrick Jones was to be launched at 7.30 p.m. yesterday, but Patrick Jones says the event was cancelled because of a 'threats of disruption' to the store.
Christian Voice's leader Stephen Green led an e-mail campaign against the book, and encouraged Waterstones to cancel the launch, because he regards some of the poems within the collection as 'obscene and blasphemous'.
Even though the event had been cancelled, Patrick Jones went to the Waterstones bookstore at The Hayes in Cardiff and signed copies of his book in the street. Mr Jones is plainly a poet who addresses political and religious themes in his work. In this collection, some poems explore the portrayal of women and some deal with the relationship between Jesus and Mary Magdalene. He uses language that is, at times, raw. He would not be the first poet to address these themes or to use raw language.
As one might expect, Christian Voice have now given Patrick Jones a much larger audience than he might previously have expected for his book. We'll see how this story pans out over the next few days, but I expect that the controversy provoked by the cancellation of this book launch will increase sales and name recognition for this poet.
Speaking of which, here's his bio:
Patrick is a poet, playwright, human rights activist and filmmaker. His work includes the poetry collections The Guerilla tapestry and Fuse, the CD of spoken word and music Commemoration and Amnesia and the plays Everything Must Go, Unprotected Sex, The War is Dead long live the war and Sing to Me. He has also directed short films and videos for the bands The Manic Street Preachers and Lethargy. Patrick is also committed to taking words to the whole of the community and has developed writing groups for young people in Wales and beyond, developed and co-ordinated writing and drama workshops for people of all ages and from a mixed background, attended many different organisations from community groups to universities to speak about writing and give readings of work. Set-up various writing projects for people with specific needs, for example hospice patients, school non-attendees, mental health patients and most recently the young homeless.He has worked with various communty based projects with NCH, The Welsh National Opera, St. David's Foundation Hospice Care and The Dyn Project (advocacy for men who have experienced domestic violence) and The Prison Service.
William Crawley
http://www.bbc.co.uk/blogs/ni/2008/11/poetry_launch_cancelled_after.html
2008/12/17
THE BLASPHEMOUS JACK BLACK AS JESUS
Jack Black as Jesus
09/12/08 | Posted by MattPage
School of Rock star Jack Black has appeared playing Jesus in an internet film. Prop 8 - The Musical was written by Marc Shaiman (Hairspray) as a protest against a new piece of Californian legislation limiting gay rights. Black appears to a bunch of evangelical Christians (played by John C. Reilly and West Wing's Allison Janney) and points out that they seem to pick and choose which parts of the Bible they follow. Jesus goes on to suggest that they should pick the bits that talk about love and not those that are about hate.The film gained an incredible 1.2 million hits in its first day, and reached the 2.5 million mark within just 5 days.
Jack Black
Black’s not the first, seemingly unlikely, comedian to play Jesus. Back in 1999 Will Ferrell had a brief cameo as Jesus in Superstar, and Steve Coogan also starred as school teacher playing Jesus in Hamlet 2 due for release in the UK in February next year (it was released in the US back in August). All of which got me thinking about various actors who would make a really good, or a really bad Jesus. Who do you think would portray a really good/bad film Jesus and why?
http://www.rejesus.co.uk/blog/post/jack_black_as_jesus/
09/12/08 | Posted by MattPage
School of Rock star Jack Black has appeared playing Jesus in an internet film. Prop 8 - The Musical was written by Marc Shaiman (Hairspray) as a protest against a new piece of Californian legislation limiting gay rights. Black appears to a bunch of evangelical Christians (played by John C. Reilly and West Wing's Allison Janney) and points out that they seem to pick and choose which parts of the Bible they follow. Jesus goes on to suggest that they should pick the bits that talk about love and not those that are about hate.The film gained an incredible 1.2 million hits in its first day, and reached the 2.5 million mark within just 5 days.
Jack Black
Black’s not the first, seemingly unlikely, comedian to play Jesus. Back in 1999 Will Ferrell had a brief cameo as Jesus in Superstar, and Steve Coogan also starred as school teacher playing Jesus in Hamlet 2 due for release in the UK in February next year (it was released in the US back in August). All of which got me thinking about various actors who would make a really good, or a really bad Jesus. Who do you think would portray a really good/bad film Jesus and why?
http://www.rejesus.co.uk/blog/post/jack_black_as_jesus/
THE BLASPHEMOUS PROP 8
Prop 8: The Musical, created by award-winning Hairspray composer Marc Shaiman, features stars such as Jack Black and John C Reilly lampooning backers of the constitutional amendment, which limits marriage to a union between a man and a woman.
The ban was passed by voters during the November election, five months after gay weddings were legalised in the nation’s most populous state.
A number of legal challenges are seeking to overturn the amendment, which was opposed by Hollywood heavyweights including Brad Pitt and Steven Spielberg as well as President-Elect Barack Obama and California governor Arnold Schwarzenegger.
Its passage sparked protests nationwide.
Prop 8: The Musical, directed and staged by Hairspray director Adam Shankman, features well-known stage and screen actors taking part in a Sacramento community college threatre group production.
It opens with the colourfully-dressed “California Gays and The People That Love Them” dancing and celebrating a “brand new bright Obama day” and “happy days for the gays”.
Then a black-clad crowd led by John C Reilly and Allison Janney describes how they will “spread some hate and put it in the constitution” via Proposition 8.
They claim the Bible says gay love is a sin. But Jesus Christ, played by Jack Black, intervenes to point out the Bible “says a lot of things”, including that shellfish is an abomination and it is acceptable to stone your wife or sell your daughter into slavery.
He urges them to “choose love instead of hate”.
The musical finishes with Neil Patrick Harris telling the Proposition 8 crowd about the “money to be made” from gay marriage before the entire cast unites in opposition to the ban, declaring that “gay marriages will save the economy”.
Mr Shaiman says in a note introducing the video that he is releasing the musical “six weeks later than he shoulda”.
http://www.telegraph.co.uk/news/worldnews/northamerica/usa/3546924/Jack-Black-is-Jesus-in-Hollywoods-Prop-8-The-Musical-gay-marriage-ban-satire.html
The ban was passed by voters during the November election, five months after gay weddings were legalised in the nation’s most populous state.
A number of legal challenges are seeking to overturn the amendment, which was opposed by Hollywood heavyweights including Brad Pitt and Steven Spielberg as well as President-Elect Barack Obama and California governor Arnold Schwarzenegger.
Its passage sparked protests nationwide.
Prop 8: The Musical, directed and staged by Hairspray director Adam Shankman, features well-known stage and screen actors taking part in a Sacramento community college threatre group production.
It opens with the colourfully-dressed “California Gays and The People That Love Them” dancing and celebrating a “brand new bright Obama day” and “happy days for the gays”.
Then a black-clad crowd led by John C Reilly and Allison Janney describes how they will “spread some hate and put it in the constitution” via Proposition 8.
They claim the Bible says gay love is a sin. But Jesus Christ, played by Jack Black, intervenes to point out the Bible “says a lot of things”, including that shellfish is an abomination and it is acceptable to stone your wife or sell your daughter into slavery.
He urges them to “choose love instead of hate”.
The musical finishes with Neil Patrick Harris telling the Proposition 8 crowd about the “money to be made” from gay marriage before the entire cast unites in opposition to the ban, declaring that “gay marriages will save the economy”.
Mr Shaiman says in a note introducing the video that he is releasing the musical “six weeks later than he shoulda”.
http://www.telegraph.co.uk/news/worldnews/northamerica/usa/3546924/Jack-Black-is-Jesus-in-Hollywoods-Prop-8-The-Musical-gay-marriage-ban-satire.html
BLASPHEMY: Jack Black is Jesus in "Prop 8: The Musical"
12/04/2008
Jack Black is Jesus in "Prop 8: The Musical"
A new video on FunnyorDie.com has caused a stir not just for its controversial content, but also its star-studded cast. "Prop 8: The Musical" stars Jack Black as Jesus, Neil Patrick Harrs, John C. Reilly, Margaret Cho and many more.
The three-minute video is the brainchild of Marc Shaiman, the composer of "Hairspray" and South Park: Bigger, Longer & Uncut." Shaiman pulled "Hairspray" from the California Musical Theatre after director Scott Eckern donated to "Yes on 8" campaign.
Shaiman said of "Prop 8: The Musical", "It was like, `Eureka! That's right, that's what I do! If I'm going to stand on the soap box, at least let me sing and dance."
http://www.shortnews.com/start.cfm?id=75286
Jack Black is Jesus in "Prop 8: The Musical"
A new video on FunnyorDie.com has caused a stir not just for its controversial content, but also its star-studded cast. "Prop 8: The Musical" stars Jack Black as Jesus, Neil Patrick Harrs, John C. Reilly, Margaret Cho and many more.
The three-minute video is the brainchild of Marc Shaiman, the composer of "Hairspray" and South Park: Bigger, Longer & Uncut." Shaiman pulled "Hairspray" from the California Musical Theatre after director Scott Eckern donated to "Yes on 8" campaign.
Shaiman said of "Prop 8: The Musical", "It was like, `Eureka! That's right, that's what I do! If I'm going to stand on the soap box, at least let me sing and dance."
http://www.shortnews.com/start.cfm?id=75286
2008/11/29
THE BLASPHEMOUS JERRY SPRINGER SHOW
The Jerry Springer Show-Wikipedia
The Jerry Springer Show is a television tabloid talk show hosted by Jerry Springer, a former politician, broadcast in the United States and other countries.[1] It is videotaped at the NBC Tower studios of WMAQ-TV in Chicago and is distributed by NBC Universal, although it is not currently broadcast on any NBC-owned stations. It has been broadcasted in syndication during the high morning, afternoon, and late night hours of many TV stations since the early 1990s.
The show is ostensibly a talk show where troubled or dysfunctional families come to discuss their problems before a studio audience so that the audience or host can offer suggestions on what can be done to resolve their situations. In actuality, the show has come to epitomize the so-called "trash TV talk show"[1], as each episode of the show focuses on topics such as adultery, bestiality[2], divorce, homophobia, homosexuality, incest, infidelity, pedophilia, pornography, racism, strange fetishes, or transvestism, which frequently result in fighting between guests. At one point, the show proudly boasted that it was voted the "Worst TV Show Ever" by TV Guide magazine. Currently, the show's slogan is "an hour of your life you'll never get back". The Jerry Springer Show has received widespread criticism and caused many controversies for a variety of reasons including its elements of prurience, foul language and the exploitation of the vulnerable.[3]
On July 15, 2007, it was announced that Springer was picked up by NBC-Universal through the 2009-2010 season.[4
typical episode of Springer begins with a title card warning parents that the show may contain content inappropriate for children. The warning often has sound effects; for example, in Season 17, it can be either a crying clown or a toilet flushing. The warning is followed by the opening sequence, which since the fifteenth season has usually consisted of clips from past Springer episodes. After the opening sequence, the screen cuts to Springer entering the stage, usually being greeted by audience applause and the "Je-rry, Je-rry" chant. Once the audience settles down, he welcomes the viewer to the show, introduces a particular situation, and interviews a guest who is experiencing it. After finishing the interview, Springer announces the entrance of another guest whom the first guest would like to confront. The second guest enters the stage, and a confrontation between the two guests usually occurs, often breaking down into a brawl that is eventually broken up by on-set security personnel. Once the fight is broken up, Springer interviews the second guest about the situation faced by the first guest.
This cycle is repeated about twice for other sets of guests on the show. Once all guests have told their stories, there is a "question and answer" segment where audience members ask guests questions relevant to their situations, although usually their questions come to insult a guest. Finally, Springer ends the show with a segment titled "Final Thought"[5], in which he shares his feelings about the stories he has heard for the day's show. He ends the segment with the concluding statement, "Until next time, take care of yourselves and each other".
Generally, Springer tends to present his program standing up in the stands rather than the main stage. (This is probably to protect himself from the potential violent fights occurring)[5]
Sometimes the show will have a look back at an early episode. These have been rebranded as Classic Springer. These shows are interspersed with commentary from Springer, usually before and after commercial breaks.
The program is taped at the NBC Tower operated by NBC television station WMAQ in Chicago, Illinois. The set for the show has changed twice since its current layout. When the show first started in 1991, it was very bland with white walls and bright colored shapes. Jerry himself also looked like a banker. In 1993 when everything changed (including the format of the show) the studio received a makeover to make it look a bit warmer and more inviting. The stage walls were given projected outward into the audience, making room for a catwalk. In late 2000, the whole set changed again, to its current "industrial" look.
http://en.wikipedia.org/wiki/The_Jerry_Springer_Show
The Jerry Springer Show is a television tabloid talk show hosted by Jerry Springer, a former politician, broadcast in the United States and other countries.[1] It is videotaped at the NBC Tower studios of WMAQ-TV in Chicago and is distributed by NBC Universal, although it is not currently broadcast on any NBC-owned stations. It has been broadcasted in syndication during the high morning, afternoon, and late night hours of many TV stations since the early 1990s.
The show is ostensibly a talk show where troubled or dysfunctional families come to discuss their problems before a studio audience so that the audience or host can offer suggestions on what can be done to resolve their situations. In actuality, the show has come to epitomize the so-called "trash TV talk show"[1], as each episode of the show focuses on topics such as adultery, bestiality[2], divorce, homophobia, homosexuality, incest, infidelity, pedophilia, pornography, racism, strange fetishes, or transvestism, which frequently result in fighting between guests. At one point, the show proudly boasted that it was voted the "Worst TV Show Ever" by TV Guide magazine. Currently, the show's slogan is "an hour of your life you'll never get back". The Jerry Springer Show has received widespread criticism and caused many controversies for a variety of reasons including its elements of prurience, foul language and the exploitation of the vulnerable.[3]
On July 15, 2007, it was announced that Springer was picked up by NBC-Universal through the 2009-2010 season.[4
typical episode of Springer begins with a title card warning parents that the show may contain content inappropriate for children. The warning often has sound effects; for example, in Season 17, it can be either a crying clown or a toilet flushing. The warning is followed by the opening sequence, which since the fifteenth season has usually consisted of clips from past Springer episodes. After the opening sequence, the screen cuts to Springer entering the stage, usually being greeted by audience applause and the "Je-rry, Je-rry" chant. Once the audience settles down, he welcomes the viewer to the show, introduces a particular situation, and interviews a guest who is experiencing it. After finishing the interview, Springer announces the entrance of another guest whom the first guest would like to confront. The second guest enters the stage, and a confrontation between the two guests usually occurs, often breaking down into a brawl that is eventually broken up by on-set security personnel. Once the fight is broken up, Springer interviews the second guest about the situation faced by the first guest.
This cycle is repeated about twice for other sets of guests on the show. Once all guests have told their stories, there is a "question and answer" segment where audience members ask guests questions relevant to their situations, although usually their questions come to insult a guest. Finally, Springer ends the show with a segment titled "Final Thought"[5], in which he shares his feelings about the stories he has heard for the day's show. He ends the segment with the concluding statement, "Until next time, take care of yourselves and each other".
Generally, Springer tends to present his program standing up in the stands rather than the main stage. (This is probably to protect himself from the potential violent fights occurring)[5]
Sometimes the show will have a look back at an early episode. These have been rebranded as Classic Springer. These shows are interspersed with commentary from Springer, usually before and after commercial breaks.
The program is taped at the NBC Tower operated by NBC television station WMAQ in Chicago, Illinois. The set for the show has changed twice since its current layout. When the show first started in 1991, it was very bland with white walls and bright colored shapes. Jerry himself also looked like a banker. In 1993 when everything changed (including the format of the show) the studio received a makeover to make it look a bit warmer and more inviting. The stage walls were given projected outward into the audience, making room for a catwalk. In late 2000, the whole set changed again, to its current "industrial" look.
http://en.wikipedia.org/wiki/The_Jerry_Springer_Show
2008/09/03
BLASPHEMY-STATUE OF JESUS WITH AN ERECTION
Christian sues gallery for featuring statue of Jesus with an erection
Representatives for a gallery in Gateshead appeared in court yesterday charged with outraging public decency, after featuring a statue of Jesus with an erection.
The artwork was part of the Baltic Centre for Contemporary Art's September 2007-January 2008 exhibition Gone, Yet Still, by the controversial Chinese artist Terence Koh, which featured dozens of plaster figures including Mickey Mouse and ET - all in some state of arousal.
Lawyers for Emily Mapfuwa, a 40-year-old Christian who was offended by the artwork, launched a private prosecution against the gallery for outraging public decency and causing harassment, alarm and distress to the public. Mapfuwa, of Brentwood, Essex, argues the Baltic would not have dared depict the prophet Muhammad in such a way.
She complained in writing to Northumbria police earlier this year, asking for an investigation, and was informed in May that there was no case to answer.
But the Christian Legal Centre - an organisation that aims to "promote and protect the biblical freedoms of Christian believers in the United Kingdom" - agreed to pay her legal costs. The CLC also funded the case brought by Stephen Green against the BBC over Jerry Springer - The Opera. A CLC spokesman said Mapfuwa believed in freedom of expression, but "this statue served no other purpose than to offend Christians and to denigrate Christ".
At Gateshead magistrates court yesterday, a solicitor for The Baltic Flour Mills Visual Arts Trust, the charitable body which runs the Baltic, indicated a plea of not guilty. The case was adjourned until September 23. Mapfuwa intends to cite a case from 1990 in which an artist and shop owhttp://www.guardian.co.uk/world/2008/sep/03/religion.art?gusrc=rss&feed=artanddesignner in London were convicted of outraging public decency over showing a sculpture made of foetuses.
http://www.guardian.co.uk/world/2008/sep/03/religion.art?gusrc=rss&feed=artanddesign
Representatives for a gallery in Gateshead appeared in court yesterday charged with outraging public decency, after featuring a statue of Jesus with an erection.
The artwork was part of the Baltic Centre for Contemporary Art's September 2007-January 2008 exhibition Gone, Yet Still, by the controversial Chinese artist Terence Koh, which featured dozens of plaster figures including Mickey Mouse and ET - all in some state of arousal.
Lawyers for Emily Mapfuwa, a 40-year-old Christian who was offended by the artwork, launched a private prosecution against the gallery for outraging public decency and causing harassment, alarm and distress to the public. Mapfuwa, of Brentwood, Essex, argues the Baltic would not have dared depict the prophet Muhammad in such a way.
She complained in writing to Northumbria police earlier this year, asking for an investigation, and was informed in May that there was no case to answer.
But the Christian Legal Centre - an organisation that aims to "promote and protect the biblical freedoms of Christian believers in the United Kingdom" - agreed to pay her legal costs. The CLC also funded the case brought by Stephen Green against the BBC over Jerry Springer - The Opera. A CLC spokesman said Mapfuwa believed in freedom of expression, but "this statue served no other purpose than to offend Christians and to denigrate Christ".
At Gateshead magistrates court yesterday, a solicitor for The Baltic Flour Mills Visual Arts Trust, the charitable body which runs the Baltic, indicated a plea of not guilty. The case was adjourned until September 23. Mapfuwa intends to cite a case from 1990 in which an artist and shop owhttp://www.guardian.co.uk/world/2008/sep/03/religion.art?gusrc=rss&feed=artanddesignner in London were convicted of outraging public decency over showing a sculpture made of foetuses.
http://www.guardian.co.uk/world/2008/sep/03/religion.art?gusrc=rss&feed=artanddesign
2008/07/17
MEN ON MISSION-SEXY MORMON CALENDAR !
MORMON SEXY CALENDAR
Twelve new calendar boys are baring their bods and declaring their love for the Church of Jesus Christ of Latter-day Saints.
Meet the poster boys for missionary style in their steamy new calendar, “Mormons Exposed.”
Members of the religion are forbidden to drink alcohol, coffee or tea, smoke cigarettes or have premarital sex. Each year, 50,000 young Mormons go on two-year missions to Third World countries around the globe to help feed the poor and teach people about Mormonism.
Each of the 12 men featured in the sexy calendar has recently returned from a mission, and calendar creator Chad Hardy, a sixth-generation member of the Mormon Church, hopes that by baring their beefy physiques the young gents will help dispel the uptight image that many have of the Mormon faith.
“What a great way to show the world that Mormons aren’t these stuffy, puritanical people,” Hardy said.
“It’s a way to showcase the different side of the Mormon male, and a lot of people think it is a great way to create a dialogue between different religions.”
If only more buff young men of faith would take their tops off in the name of religious understanding - the world would be a better place!
Mr. April, 24-year-old student Jonathan Martin, says he thinks the calendar is funny, but says he was kind of nervous at first.
“I had a little bit of apprehension, but then it was actually fun and lighthearted,” Martin said. He agrees with Hardy that the calendar will help take the stuffy edge off Mormonism.
“We are individuals, and we make our own decisions, and we take our religion seriously as well as our individuality.”
Plus, for Martin, who is hoping to break into the entertainment industry and has already written a screenplay, it wasn’t a bad way to get his name out there.
Of course, there’s been some backlash from conservative church members.
“Yeah, some people have told us we deserve to be excommunicated and that we are going to hell and aren’t properly representing Mormons, but a lot of people have been really supportive, too,” Hardy maintains.
The calendar went on sale three weeks ago exclusively at www.mormonsexposed.com and has already sold 1,000 copies. Hardy expects sales to increase as the holiday season approaches.
Each of the young missionaries who “bare testimony” in the calendar will have the opportunity to donate proceeds from sales to the area of the world where he served his mission.
http://www.religionnewsblog.com/19502/mormons-exposed-calendar
Twelve new calendar boys are baring their bods and declaring their love for the Church of Jesus Christ of Latter-day Saints.
Meet the poster boys for missionary style in their steamy new calendar, “Mormons Exposed.”
Members of the religion are forbidden to drink alcohol, coffee or tea, smoke cigarettes or have premarital sex. Each year, 50,000 young Mormons go on two-year missions to Third World countries around the globe to help feed the poor and teach people about Mormonism.
Each of the 12 men featured in the sexy calendar has recently returned from a mission, and calendar creator Chad Hardy, a sixth-generation member of the Mormon Church, hopes that by baring their beefy physiques the young gents will help dispel the uptight image that many have of the Mormon faith.
“What a great way to show the world that Mormons aren’t these stuffy, puritanical people,” Hardy said.
“It’s a way to showcase the different side of the Mormon male, and a lot of people think it is a great way to create a dialogue between different religions.”
If only more buff young men of faith would take their tops off in the name of religious understanding - the world would be a better place!
Mr. April, 24-year-old student Jonathan Martin, says he thinks the calendar is funny, but says he was kind of nervous at first.
“I had a little bit of apprehension, but then it was actually fun and lighthearted,” Martin said. He agrees with Hardy that the calendar will help take the stuffy edge off Mormonism.
“We are individuals, and we make our own decisions, and we take our religion seriously as well as our individuality.”
Plus, for Martin, who is hoping to break into the entertainment industry and has already written a screenplay, it wasn’t a bad way to get his name out there.
Of course, there’s been some backlash from conservative church members.
“Yeah, some people have told us we deserve to be excommunicated and that we are going to hell and aren’t properly representing Mormons, but a lot of people have been really supportive, too,” Hardy maintains.
The calendar went on sale three weeks ago exclusively at www.mormonsexposed.com and has already sold 1,000 copies. Hardy expects sales to increase as the holiday season approaches.
Each of the young missionaries who “bare testimony” in the calendar will have the opportunity to donate proceeds from sales to the area of the world where he served his mission.
http://www.religionnewsblog.com/19502/mormons-exposed-calendar
2008/07/16
Ancient Tablet Ignites Debate on Messiah and Resurrection
July 6, 2008
Ancient Tablet Ignites Debate on Messiah and Resurrection
By ETHAN BRONNER
JERUSALEM — A three-foot-tall tablet with 87 lines of Hebrew that scholars believe dates from the decades just before the birth of Jesus is causing a quiet stir in biblical and archaeological circles, especially because it may speak of a messiah who will rise from the dead after three days.
If such a messianic description really is there, it will contribute to a developing re-evaluation of both popular and scholarly views of Jesus, since it suggests that the story of his death and resurrection was not unique but part of a recognized Jewish tradition at the time.
The tablet, probably found near the Dead Sea in Jordan according to some scholars who have studied it, is a rare example of a stone with ink writings from that era — in essence, a Dead Sea Scroll on stone.
It is written, not engraved, across two neat columns, similar to columns in a Torah. But the stone is broken, and some of the text is faded, meaning that much of what it says is open to debate.
Still, its authenticity has so far faced no challenge, so its role in helping to understand the roots of Christianity in the devastating political crisis faced by the Jews of the time seems likely to increase.
Daniel Boyarin, a professor of Talmudic culture at the University of California at Berkeley, said that the stone was part of a growing body of evidence suggesting that Jesus could be best understood through a close reading of the Jewish history of his day.
“Some Christians will find it shocking — a challenge to the uniqueness of their theology — while others will be comforted by the idea of it being a traditional part of Judaism,” Mr. Boyarin said.
Given the highly charged atmosphere surrounding all Jesus-era artifacts and writings, both in the general public and in the fractured and fiercely competitive scholarly community, as well as the concern over forgery and charlatanism, it will probably be some time before the tablet’s contribution is fully assessed. It has been around 60 years since the Dead Sea Scrolls were uncovered, and they continue to generate enormous controversy regarding their authors and meaning.
The scrolls, documents found in the Qumran caves of the West Bank, contain some of the only known surviving copies of biblical writings from before the first century A.D. In addition to quoting from key books of the Bible, the scrolls describe a variety of practices and beliefs of a Jewish sect at the time of Jesus.
How representative the descriptions are and what they tell us about the era are still strongly debated. For example, a question that arises is whether the authors of the scrolls were members of a monastic sect or in fact mainstream. A conference marking 60 years since the discovery of the scrolls will begin on Sunday at the Israel Museum in Jerusalem, where the stone, and the debate over whether it speaks of a resurrected messiah, as one iconoclastic scholar believes, also will be discussed.
Oddly, the stone is not really a new discovery. It was found about a decade ago and bought from a Jordanian antiquities dealer by an Israeli-Swiss collector who kept it in his Zurich home. When an Israeli scholar examined it closely a few years ago and wrote a paper on it last year, interest began to rise. There is now a spate of scholarly articles on the stone, with several due to be published in the coming months.
“I couldn’t make much out of it when I got it,” said David Jeselsohn, the owner, who is himself an expert in antiquities. “I didn’t realize how significant it was until I showed it to Ada Yardeni, who specializes in Hebrew writing, a few years ago. She was overwhelmed. ‘You have got a Dead Sea Scroll on stone,’ she told me.”
Much of the text, a vision of the apocalypse transmitted by the angel Gabriel, draws on the Old Testament, especially the prophets Daniel, Zechariah and Haggai.
Ms. Yardeni, who analyzed the stone along with Binyamin Elitzur, is an expert on Hebrew script, especially of the era of King Herod, who died in 4 B.C. The two of them published a long analysis of the stone more than a year ago in Cathedra, a Hebrew-language quarterly devoted to the history and archaeology of Israel, and said that, based on the shape of the script and the language, the text dated from the late first century B.C.
A chemical examination by Yuval Goren, a professor of archaeology at Tel Aviv University who specializes in the verification of ancient artifacts, has been submitted to a peer-review journal. He declined to give details of his analysis until publication, but he said that he knew of no reason to doubt the stone’s authenticity.
It was in Cathedra that Israel Knohl, an iconoclastic professor of Bible studies at Hebrew University in Jerusalem, first heard of the stone, which Ms. Yardeni and Mr. Elitzur dubbed “Gabriel’s Revelation,” also the title of their article. Mr. Knohl posited in a book published in 2000 the idea of a suffering messiah before Jesus, using a variety of rabbinic and early apocalyptic literature as well as the Dead Sea Scrolls. But his theory did not shake the world of Christology as he had hoped, partly because he had no textual evidence from before Jesus.
When he read “Gabriel’s Revelation,” he said, he believed he saw what he needed to solidify his thesis, and he has published his argument in the latest issue of The Journal of Religion.
Mr. Knohl is part of a larger scholarly movement that focuses on the political atmosphere in Jesus’ day as an important explanation of that era’s messianic spirit. As he notes, after the death of Herod, Jewish rebels sought to throw off the yoke of the Rome-supported monarchy, so the rise of a major Jewish independence fighter could take on messianic overtones.
In Mr. Knohl’s interpretation, the specific messianic figure embodied on the stone could be a man named Simon who was slain by a commander in the Herodian army, according to the first-century historian Josephus. The writers of the stone’s passages were probably Simon’s followers, Mr. Knohl contends.
The slaying of Simon, or any case of the suffering messiah, is seen as a necessary step toward national salvation, he says, pointing to lines 19 through 21 of the tablet — “In three days you will know that evil will be defeated by justice” — and other lines that speak of blood and slaughter as pathways to justice.
To make his case about the importance of the stone, Mr. Knohl focuses especially on line 80, which begins clearly with the words “L’shloshet yamin,” meaning “in three days.” The next word of the line was deemed partially illegible by Ms. Yardeni and Mr. Elitzur, but Mr. Knohl, who is an expert on the language of the Bible and Talmud, says the word is “hayeh,” or “live” in the imperative. It has an unusual spelling, but it is one in keeping with the era.
Two more hard-to-read words come later, and Mr. Knohl said he believed that he had deciphered them as well, so that the line reads, “In three days you shall live, I, Gabriel, command you.”
To whom is the archangel speaking? The next line says “Sar hasarin,” or prince of princes. Since the Book of Daniel, one of the primary sources for the Gabriel text, speaks of Gabriel and of “a prince of princes,” Mr. Knohl contends that the stone’s writings are about the death of a leader of the Jews who will be resurrected in three days.
He says further that such a suffering messiah is very different from the traditional Jewish image of the messiah as a triumphal, powerful descendant of King David.
“This should shake our basic view of Christianity,” he said as he sat in his office of the Shalom Hartman Institute in Jerusalem where he is a senior fellow in addition to being the Yehezkel Kaufman Professor of Biblical Studies at Hebrew University. “Resurrection after three days becomes a motif developed before Jesus, which runs contrary to nearly all scholarship. What happens in the New Testament was adopted by Jesus and his followers based on an earlier messiah story.”
Ms. Yardeni said she was impressed with the reading and considered it indeed likely that the key illegible word was “hayeh,” or “live.” Whether that means Simon is the messiah under discussion, she is less sure.
Moshe Bar-Asher, president of the Israeli Academy of Hebrew Language and emeritus professor of Hebrew and Aramaic at the Hebrew University, said he spent a long time studying the text and considered it authentic, dating from no later than the first century B.C. His 25-page paper on the stone will be published in the coming months.
Regarding Mr. Knohl’s thesis, Mr. Bar-Asher is also respectful but cautious. “There is one problem,” he said. “In crucial places of the text there is lack of text. I understand Knohl’s tendency to find there keys to the pre-Christian period, but in two to three crucial lines of text there are a lot of missing words.”
Moshe Idel, a professor of Jewish thought at Hebrew University, said that given the way every tiny fragment from that era yielded scores of articles and books, “Gabriel’s Revelation” and Mr. Knohl’s analysis deserved serious attention. “Here we have a real stone with a real text,” he said. “This is truly significant.”
Mr. Knohl said that it was less important whether Simon was the messiah of the stone than the fact that it strongly suggested that a savior who died and rose after three days was an established concept at the time of Jesus. He notes that in the Gospels, Jesus makes numerous predictions of his suffering and New Testament scholars say such predictions must have been written in by later followers because there was no such idea present in his day.
But there was, he said, and “Gabriel’s Revelation” shows it.
“His mission is that he has to be put to death by the Romans to suffer so his blood will be the sign for redemption to come,” Mr. Knohl said. “This is the sign of the son of Joseph. This is the conscious view of Jesus himself. This gives the Last Supper an absolutely different meaning. To shed blood is not for the sins of people but to bring redemption to Israel.”
http://www.nytimes.com/2008/07/06/world/middleeast/06stone.html?_r=2&oref=slogin&partner=rssnyt&emc=rss&pagewanted=print
Ancient Tablet Ignites Debate on Messiah and Resurrection
By ETHAN BRONNER
JERUSALEM — A three-foot-tall tablet with 87 lines of Hebrew that scholars believe dates from the decades just before the birth of Jesus is causing a quiet stir in biblical and archaeological circles, especially because it may speak of a messiah who will rise from the dead after three days.
If such a messianic description really is there, it will contribute to a developing re-evaluation of both popular and scholarly views of Jesus, since it suggests that the story of his death and resurrection was not unique but part of a recognized Jewish tradition at the time.
The tablet, probably found near the Dead Sea in Jordan according to some scholars who have studied it, is a rare example of a stone with ink writings from that era — in essence, a Dead Sea Scroll on stone.
It is written, not engraved, across two neat columns, similar to columns in a Torah. But the stone is broken, and some of the text is faded, meaning that much of what it says is open to debate.
Still, its authenticity has so far faced no challenge, so its role in helping to understand the roots of Christianity in the devastating political crisis faced by the Jews of the time seems likely to increase.
Daniel Boyarin, a professor of Talmudic culture at the University of California at Berkeley, said that the stone was part of a growing body of evidence suggesting that Jesus could be best understood through a close reading of the Jewish history of his day.
“Some Christians will find it shocking — a challenge to the uniqueness of their theology — while others will be comforted by the idea of it being a traditional part of Judaism,” Mr. Boyarin said.
Given the highly charged atmosphere surrounding all Jesus-era artifacts and writings, both in the general public and in the fractured and fiercely competitive scholarly community, as well as the concern over forgery and charlatanism, it will probably be some time before the tablet’s contribution is fully assessed. It has been around 60 years since the Dead Sea Scrolls were uncovered, and they continue to generate enormous controversy regarding their authors and meaning.
The scrolls, documents found in the Qumran caves of the West Bank, contain some of the only known surviving copies of biblical writings from before the first century A.D. In addition to quoting from key books of the Bible, the scrolls describe a variety of practices and beliefs of a Jewish sect at the time of Jesus.
How representative the descriptions are and what they tell us about the era are still strongly debated. For example, a question that arises is whether the authors of the scrolls were members of a monastic sect or in fact mainstream. A conference marking 60 years since the discovery of the scrolls will begin on Sunday at the Israel Museum in Jerusalem, where the stone, and the debate over whether it speaks of a resurrected messiah, as one iconoclastic scholar believes, also will be discussed.
Oddly, the stone is not really a new discovery. It was found about a decade ago and bought from a Jordanian antiquities dealer by an Israeli-Swiss collector who kept it in his Zurich home. When an Israeli scholar examined it closely a few years ago and wrote a paper on it last year, interest began to rise. There is now a spate of scholarly articles on the stone, with several due to be published in the coming months.
“I couldn’t make much out of it when I got it,” said David Jeselsohn, the owner, who is himself an expert in antiquities. “I didn’t realize how significant it was until I showed it to Ada Yardeni, who specializes in Hebrew writing, a few years ago. She was overwhelmed. ‘You have got a Dead Sea Scroll on stone,’ she told me.”
Much of the text, a vision of the apocalypse transmitted by the angel Gabriel, draws on the Old Testament, especially the prophets Daniel, Zechariah and Haggai.
Ms. Yardeni, who analyzed the stone along with Binyamin Elitzur, is an expert on Hebrew script, especially of the era of King Herod, who died in 4 B.C. The two of them published a long analysis of the stone more than a year ago in Cathedra, a Hebrew-language quarterly devoted to the history and archaeology of Israel, and said that, based on the shape of the script and the language, the text dated from the late first century B.C.
A chemical examination by Yuval Goren, a professor of archaeology at Tel Aviv University who specializes in the verification of ancient artifacts, has been submitted to a peer-review journal. He declined to give details of his analysis until publication, but he said that he knew of no reason to doubt the stone’s authenticity.
It was in Cathedra that Israel Knohl, an iconoclastic professor of Bible studies at Hebrew University in Jerusalem, first heard of the stone, which Ms. Yardeni and Mr. Elitzur dubbed “Gabriel’s Revelation,” also the title of their article. Mr. Knohl posited in a book published in 2000 the idea of a suffering messiah before Jesus, using a variety of rabbinic and early apocalyptic literature as well as the Dead Sea Scrolls. But his theory did not shake the world of Christology as he had hoped, partly because he had no textual evidence from before Jesus.
When he read “Gabriel’s Revelation,” he said, he believed he saw what he needed to solidify his thesis, and he has published his argument in the latest issue of The Journal of Religion.
Mr. Knohl is part of a larger scholarly movement that focuses on the political atmosphere in Jesus’ day as an important explanation of that era’s messianic spirit. As he notes, after the death of Herod, Jewish rebels sought to throw off the yoke of the Rome-supported monarchy, so the rise of a major Jewish independence fighter could take on messianic overtones.
In Mr. Knohl’s interpretation, the specific messianic figure embodied on the stone could be a man named Simon who was slain by a commander in the Herodian army, according to the first-century historian Josephus. The writers of the stone’s passages were probably Simon’s followers, Mr. Knohl contends.
The slaying of Simon, or any case of the suffering messiah, is seen as a necessary step toward national salvation, he says, pointing to lines 19 through 21 of the tablet — “In three days you will know that evil will be defeated by justice” — and other lines that speak of blood and slaughter as pathways to justice.
To make his case about the importance of the stone, Mr. Knohl focuses especially on line 80, which begins clearly with the words “L’shloshet yamin,” meaning “in three days.” The next word of the line was deemed partially illegible by Ms. Yardeni and Mr. Elitzur, but Mr. Knohl, who is an expert on the language of the Bible and Talmud, says the word is “hayeh,” or “live” in the imperative. It has an unusual spelling, but it is one in keeping with the era.
Two more hard-to-read words come later, and Mr. Knohl said he believed that he had deciphered them as well, so that the line reads, “In three days you shall live, I, Gabriel, command you.”
To whom is the archangel speaking? The next line says “Sar hasarin,” or prince of princes. Since the Book of Daniel, one of the primary sources for the Gabriel text, speaks of Gabriel and of “a prince of princes,” Mr. Knohl contends that the stone’s writings are about the death of a leader of the Jews who will be resurrected in three days.
He says further that such a suffering messiah is very different from the traditional Jewish image of the messiah as a triumphal, powerful descendant of King David.
“This should shake our basic view of Christianity,” he said as he sat in his office of the Shalom Hartman Institute in Jerusalem where he is a senior fellow in addition to being the Yehezkel Kaufman Professor of Biblical Studies at Hebrew University. “Resurrection after three days becomes a motif developed before Jesus, which runs contrary to nearly all scholarship. What happens in the New Testament was adopted by Jesus and his followers based on an earlier messiah story.”
Ms. Yardeni said she was impressed with the reading and considered it indeed likely that the key illegible word was “hayeh,” or “live.” Whether that means Simon is the messiah under discussion, she is less sure.
Moshe Bar-Asher, president of the Israeli Academy of Hebrew Language and emeritus professor of Hebrew and Aramaic at the Hebrew University, said he spent a long time studying the text and considered it authentic, dating from no later than the first century B.C. His 25-page paper on the stone will be published in the coming months.
Regarding Mr. Knohl’s thesis, Mr. Bar-Asher is also respectful but cautious. “There is one problem,” he said. “In crucial places of the text there is lack of text. I understand Knohl’s tendency to find there keys to the pre-Christian period, but in two to three crucial lines of text there are a lot of missing words.”
Moshe Idel, a professor of Jewish thought at Hebrew University, said that given the way every tiny fragment from that era yielded scores of articles and books, “Gabriel’s Revelation” and Mr. Knohl’s analysis deserved serious attention. “Here we have a real stone with a real text,” he said. “This is truly significant.”
Mr. Knohl said that it was less important whether Simon was the messiah of the stone than the fact that it strongly suggested that a savior who died and rose after three days was an established concept at the time of Jesus. He notes that in the Gospels, Jesus makes numerous predictions of his suffering and New Testament scholars say such predictions must have been written in by later followers because there was no such idea present in his day.
But there was, he said, and “Gabriel’s Revelation” shows it.
“His mission is that he has to be put to death by the Romans to suffer so his blood will be the sign for redemption to come,” Mr. Knohl said. “This is the sign of the son of Joseph. This is the conscious view of Jesus himself. This gives the Last Supper an absolutely different meaning. To shed blood is not for the sins of people but to bring redemption to Israel.”
http://www.nytimes.com/2008/07/06/world/middleeast/06stone.html?_r=2&oref=slogin&partner=rssnyt&emc=rss&pagewanted=print
2008/04/29
BLASPHEMY-JESUS IN GAY ORGY PICTURES
l
Outrage over Alfred Hrdlicka's gay Jesus
By Harry de Quetteville in Berlin
Pictures depicting Jesus being fondled and the Apostles groping each
other have caused outrage after they were displayed in a museum
attached to
Vienna's Roman Catholic Cathedral.
The museum has been forced to remove the most controversial picture,
in which the Apostles engage in what the artist describes as a
"homosexual
orgy".
a.. The exhibition, entitled "Religion, Flesh and Power" featured
works from sculptor and artist Alfred Hrdlicka, who turned 80 this
year and
is widely feted in his native Austria.
It quickly began attracting criticism from Catholic groups after
opening last week, some of which described the pictures as
"blasphemous".
The website Gloria TV, whose catch line is "the more Catholic the
better", produced a graphic video of the exhibition, condemning it for
being
"supported by the Church".
Some local media have likened the controversy to the bitter argument
over the cartoon portrayal of Islam's prophet Mohammed, which led to
protests and violence around the world.
Vienna's archbishop, Cardinal Christoph Schoenborn, has now ordered
the "homosexual orgy" picture, entitled Leonardo's Last Supper, to be
taken
down.
"This has nothing to do with censorship", said the Cardinal, adding
that it was removed with "reverence for the sacred".
But other pictures which have proved also controversial, including
one
showing Christ being fondled while on the cross, are still on
display.
Bernhard Boehler, the museum curator, has insisted that despite the
criticism, the exhibition is serving its purpose by encouraging
debate.
"We think Hrdlicka is entitled to represent people in this carnal,
drastic way," he said. "People can imagine what they want to."
According to notes accompanying the exhibition, Mr Hrdlicka's work
focuses on the carnality of religion, and on the search for "God as a
human
experience".
http://www.groupsrv.com/religion/about289177.html
Vienna Cardinal Regrets Erotic Last Supper ArtThe cardinal told the
museum to take down the picture, ˝a homosexual orgy˝ of the Apostles
as Hrdlicka describes it.
Reuters Vienna's Roman Catholic cardinal said on Wednesday that he
regrets the exhibition of a homoerotic version of Christ's Last Supper
in a museum linked to his diocese.
The controversial work was exhibited in Vienna's Cathedral Museum as
part of a retrospective honouring Austria's renowned artist Alfred
Hrdlicka, who recently turned 80.
Cardinal Christoph Schoenborn, archbishop of Vienna, said he had
backed the exhibition without knowing the detailed contents.
"I obviously would not have agreed to have blasphemous or pornographic
works exhibited. I therefore explicitly regret that a work of this
kind was exhibited without my knowledge," the cardinal said in a
statement.
The cardinal told the museum to take down the picture, "a homosexual
orgy" of the Apostles as Hrdlicka describes it, just over a week after
the display opened, after some visitors complained and it provoked a
fierce uproar on Catholic websites.
Protest has continued over the picture 'Leonardo's Last Supper,
restored by Pier Paolo Pasolini' which showed cavorting Apostles
lounging on the dining table and masturbating each other. It was
supposed to be a highlight of the display.
"In some of (the pictures) he oversteps the essential threshold of
respect for the sacred," the cardinal said, adding that the museum
does not identify with all of the works.
But he also defended Hrdlicka as one of Austria's most notable living
artists who deserved such a retrospective.
"Hrdlicka...probably more than any other living artist, has devoted
himself to the suffering and downtrodden human being and has appealed
for "compassion" with the "Passion," he said.
The museum has said it did not set out to offend people but has
defended Hrdlicka's work and the decision to display the controversial
versions of biblical imagery.
Schoenborn, a former student of Pope Benedict who edited the Catholic
Church's official catechism in the 1990s, maintains that art inspired
by the Bible should be celebrated.
"I still hold the opinion that we must welcome the fact that artists
who do not share our faith, or are still searching for belief, occupy
themselves so intensively with biblical subjects," he said.
http://www.javno.com/en/bestseller/clanak.php?id=139046
Outrage over Alfred Hrdlicka's gay Jesus
By Harry de Quetteville in Berlin
Pictures depicting Jesus being fondled and the Apostles groping each
other have caused outrage after they were displayed in a museum
attached to
Vienna's Roman Catholic Cathedral.
The museum has been forced to remove the most controversial picture,
in which the Apostles engage in what the artist describes as a
"homosexual
orgy".
a.. The exhibition, entitled "Religion, Flesh and Power" featured
works from sculptor and artist Alfred Hrdlicka, who turned 80 this
year and
is widely feted in his native Austria.
It quickly began attracting criticism from Catholic groups after
opening last week, some of which described the pictures as
"blasphemous".
The website Gloria TV, whose catch line is "the more Catholic the
better", produced a graphic video of the exhibition, condemning it for
being
"supported by the Church".
Some local media have likened the controversy to the bitter argument
over the cartoon portrayal of Islam's prophet Mohammed, which led to
protests and violence around the world.
Vienna's archbishop, Cardinal Christoph Schoenborn, has now ordered
the "homosexual orgy" picture, entitled Leonardo's Last Supper, to be
taken
down.
"This has nothing to do with censorship", said the Cardinal, adding
that it was removed with "reverence for the sacred".
But other pictures which have proved also controversial, including
one
showing Christ being fondled while on the cross, are still on
display.
Bernhard Boehler, the museum curator, has insisted that despite the
criticism, the exhibition is serving its purpose by encouraging
debate.
"We think Hrdlicka is entitled to represent people in this carnal,
drastic way," he said. "People can imagine what they want to."
According to notes accompanying the exhibition, Mr Hrdlicka's work
focuses on the carnality of religion, and on the search for "God as a
human
experience".
http://www.groupsrv.com/religion/about289177.html
Vienna Cardinal Regrets Erotic Last Supper ArtThe cardinal told the
museum to take down the picture, ˝a homosexual orgy˝ of the Apostles
as Hrdlicka describes it.
Reuters Vienna's Roman Catholic cardinal said on Wednesday that he
regrets the exhibition of a homoerotic version of Christ's Last Supper
in a museum linked to his diocese.
The controversial work was exhibited in Vienna's Cathedral Museum as
part of a retrospective honouring Austria's renowned artist Alfred
Hrdlicka, who recently turned 80.
Cardinal Christoph Schoenborn, archbishop of Vienna, said he had
backed the exhibition without knowing the detailed contents.
"I obviously would not have agreed to have blasphemous or pornographic
works exhibited. I therefore explicitly regret that a work of this
kind was exhibited without my knowledge," the cardinal said in a
statement.
The cardinal told the museum to take down the picture, "a homosexual
orgy" of the Apostles as Hrdlicka describes it, just over a week after
the display opened, after some visitors complained and it provoked a
fierce uproar on Catholic websites.
Protest has continued over the picture 'Leonardo's Last Supper,
restored by Pier Paolo Pasolini' which showed cavorting Apostles
lounging on the dining table and masturbating each other. It was
supposed to be a highlight of the display.
"In some of (the pictures) he oversteps the essential threshold of
respect for the sacred," the cardinal said, adding that the museum
does not identify with all of the works.
But he also defended Hrdlicka as one of Austria's most notable living
artists who deserved such a retrospective.
"Hrdlicka...probably more than any other living artist, has devoted
himself to the suffering and downtrodden human being and has appealed
for "compassion" with the "Passion," he said.
The museum has said it did not set out to offend people but has
defended Hrdlicka's work and the decision to display the controversial
versions of biblical imagery.
Schoenborn, a former student of Pope Benedict who edited the Catholic
Church's official catechism in the 1990s, maintains that art inspired
by the Bible should be celebrated.
"I still hold the opinion that we must welcome the fact that artists
who do not share our faith, or are still searching for belief, occupy
themselves so intensively with biblical subjects," he said.
http://www.javno.com/en/bestseller/clanak.php?id=139046
THE SUPERPORNO-BLASPHEMOUS FILM " PASSIO "
Dark Alley Media’s first foray into controversial cinema brought us Gaytanamo, a gleeful mockery of the government’s war on terror and the Guantanamo prisons.
Now the mischievous movie makers are dipping their toes into the wild world of religion. And, not surprisingly, they’re going to get some shocks, gasps and, hopefully, moans.
James Withers chats with director Matthias Von Fistenberg to get to the bottom of the newly released video, after the jump…
Matthias Von Fistenberg’s Passio will surely make a few Fox News anchors explode - and not in a good way. In fact, it is safe to say that even those non-acolytes of the “fair and balanced” network will be disturbed by von Fistenberg’s Jesus. This savior could care less about clothing the naked or feeding the hungry, unless the meal’s cock.
“My Jesus is gay, stunningly beautiful and sexy. He gets aroused like all of us,” explains Von Fistenberg, who describes himself as a Catholic. The director also admits his Jesus story can’t be found in hotel room Bible. “The movie is a gospel, passio, version of the Jesus story according to
me.”
If people are shocked and appalled by Von Fistenberg’s re-telling of the Gospels, he gently reminds us that theocratic rules aren’t our lot. “Luckily we don’t live anymore in times when the Church controls the media and courts,” Von Fistenberg says. “Under the protection of our freedom of speech law, all biblical topics are open to any interpretation. Now, maybe the Pope will excommunicate me or Fox News will have a field day, but they wont be able to take away this important step towards exercising fully the right to free speech and artistic freedom.”
Though he expects howls of protest, Von Fistenberg reminds us that today’s revered religious art once counted as yesterday’s scandal. “From Michelangelo to Mantegna, Piero Della Francesca and Paul Gauguin, images of Jesus Christ have offended, delighted, outraged, and inspired the devout. For each controversial image, the sacred and profane was mixed in new ways, challenging viewers to rethink their own religion, spirituality, and sexuality. I will only mention that there are plenty of nude Christs in Renaissance art and nudity, courtesy of Michelangelo’s Sistine Chapel, was considered obscene.”
Despite this art history lesson, even for a born again atheist such as myself myself there is something disquieting about these images Von Fistenberg is putting out there. A part of me would rather he just film hot guys having sex and leave all the religion stuff alone. Like a good teacher, Von Fistenberg makes me see the light. “As a porn director I am given the same tools as any other director so why should I not use them and express myself? Why should I pretend I don’t have my opinions, on politics, religion or on what’s sexy? My movies are made in a way that you can skip it all and go straight to sex. They have that utilitarian value, but it you watch them from start to finish they offer a view of the world as relevant as anybody else’s.”
Ultimately Von Fistenberg takes his job seriously and refuses to be restrained by the word pornographer. He’s not asking for the faithful to bow down to his vision of Christ. “You choose which Jesus is yours,” he says.
Regardless of your choice, the director remains convinced that underneath the outrage and disgust will be desire and want. “I’m a modern day Marquis de Sade. I show you what is sexy. First you think its wrong because you are so programmed by society, but later, when no one is watching, you can’t deny it.”
Now the mischievous movie makers are dipping their toes into the wild world of religion. And, not surprisingly, they’re going to get some shocks, gasps and, hopefully, moans.
James Withers chats with director Matthias Von Fistenberg to get to the bottom of the newly released video, after the jump…
Matthias Von Fistenberg’s Passio will surely make a few Fox News anchors explode - and not in a good way. In fact, it is safe to say that even those non-acolytes of the “fair and balanced” network will be disturbed by von Fistenberg’s Jesus. This savior could care less about clothing the naked or feeding the hungry, unless the meal’s cock.
“My Jesus is gay, stunningly beautiful and sexy. He gets aroused like all of us,” explains Von Fistenberg, who describes himself as a Catholic. The director also admits his Jesus story can’t be found in hotel room Bible. “The movie is a gospel, passio, version of the Jesus story according to
me.”
If people are shocked and appalled by Von Fistenberg’s re-telling of the Gospels, he gently reminds us that theocratic rules aren’t our lot. “Luckily we don’t live anymore in times when the Church controls the media and courts,” Von Fistenberg says. “Under the protection of our freedom of speech law, all biblical topics are open to any interpretation. Now, maybe the Pope will excommunicate me or Fox News will have a field day, but they wont be able to take away this important step towards exercising fully the right to free speech and artistic freedom.”
Though he expects howls of protest, Von Fistenberg reminds us that today’s revered religious art once counted as yesterday’s scandal. “From Michelangelo to Mantegna, Piero Della Francesca and Paul Gauguin, images of Jesus Christ have offended, delighted, outraged, and inspired the devout. For each controversial image, the sacred and profane was mixed in new ways, challenging viewers to rethink their own religion, spirituality, and sexuality. I will only mention that there are plenty of nude Christs in Renaissance art and nudity, courtesy of Michelangelo’s Sistine Chapel, was considered obscene.”
Despite this art history lesson, even for a born again atheist such as myself myself there is something disquieting about these images Von Fistenberg is putting out there. A part of me would rather he just film hot guys having sex and leave all the religion stuff alone. Like a good teacher, Von Fistenberg makes me see the light. “As a porn director I am given the same tools as any other director so why should I not use them and express myself? Why should I pretend I don’t have my opinions, on politics, religion or on what’s sexy? My movies are made in a way that you can skip it all and go straight to sex. They have that utilitarian value, but it you watch them from start to finish they offer a view of the world as relevant as anybody else’s.”
Ultimately Von Fistenberg takes his job seriously and refuses to be restrained by the word pornographer. He’s not asking for the faithful to bow down to his vision of Christ. “You choose which Jesus is yours,” he says.
Regardless of your choice, the director remains convinced that underneath the outrage and disgust will be desire and want. “I’m a modern day Marquis de Sade. I show you what is sexy. First you think its wrong because you are so programmed by society, but later, when no one is watching, you can’t deny it.”
BLASPHEMY-JUDAS WAS A GAY
Blasphemy-Judas was a gay
About Judas Iscariot-The italian Crimonology Doctor Francesco Bruno declares that
Judas was a neurotic-homosexual.
This blasphemous article is edited by the very catholic Petrus;
http://www.papanews.it/dettaglio_interviste.asp?IdNews=6574#a
about the Pope news web-site.
Catholic christians are going to believe that Jesus and his Apostles were all gay.
ANTI-BLASPHEMY CENTRAL
http://groups.google.com/group/anti-blasphemy-central?hl=it
About Judas Iscariot-The italian Crimonology Doctor Francesco Bruno declares that
Judas was a neurotic-homosexual.
This blasphemous article is edited by the very catholic Petrus;
http://www.papanews.it/dettaglio_interviste.asp?IdNews=6574#a
about the Pope news web-site.
Catholic christians are going to believe that Jesus and his Apostles were all gay.
ANTI-BLASPHEMY CENTRAL
http://groups.google.com/group/anti-blasphemy-central?hl=it
2008/02/26
THE BLASPHEMOUS COMIC : LOADED BIBLE 2
Loaded Bible 2: Blood of Christ
Comic Books: Horror: 0 comments: 05/26/2007
By Rae_rae
Jesus Christ Vampire Slayer
Quick warning: if you do not like vampires, if you do not have a sense of humor when it comes to Christianity, if books like Battle Pope and The Goon offend you then do not even think about picking this up. Everyone else should at least be mildly amused by this. Almost a year or so ago the first Loaded Bible came out. In that we were introduced to a post apocalyptic world where vampires ruled most of the Earth, the Vatican controlled most of society and killed anyone who rebelled, and Jesus came back to kill the vampires. Or so that’s what Jesus and the people thought. A circle of vamp leaders infiltrated the priests that ran society in order to show humans ‘the truth.’ What was this ‘truth’? How about the fact that their faith did not bring the second coming of Jesus to save them but cloning did. Add that with film of Jesus talking to a very sexy, very naked female vampire showing him (and the camera) the reserve of clones makes for a rebellion of the people. Then nothing. I don’t know what took Image so long to put this second book out but I’m glad they did. This issue picks up two days after the people who followed the Vatican learned ‘the truth.’ Jesus, trying to cope with the fact that he is not the messiah, is now MIA in the desert. Things get more confusing for him when he finds a vampire baby and tries to save it but cannot. Meanwhile, an angry mob becomes violent when drones for the Vatican try to kill the vamp that told them the truth about their Jesus. Then the priests let loose they other Jesus clones, but not before letting hell break loose on the mob by releasing some starved test vamps they had captured first. After all, what better way to restore faith then by the farce of saving people from monsters you let loose yourself.
This book was very comical. Ok, so not obviously comical like Battle Pope, but the plot is just so fanatical that I couldn’t stop laughing. This book has a bit of a dark tone, is bloody, has boobies, and is violent. Maybe I just have a sick sense of humor, but if you want something different pick this book up. The only downside to this for me was the $4.99 price tag. Looks like gas isn’t the only thing going up in price.
http://www.popsyndicate.com/site/story/loaded_bible_2_blood_of_christ
Comic Books: Horror: 0 comments: 05/26/2007
By Rae_rae
Jesus Christ Vampire Slayer
Quick warning: if you do not like vampires, if you do not have a sense of humor when it comes to Christianity, if books like Battle Pope and The Goon offend you then do not even think about picking this up. Everyone else should at least be mildly amused by this. Almost a year or so ago the first Loaded Bible came out. In that we were introduced to a post apocalyptic world where vampires ruled most of the Earth, the Vatican controlled most of society and killed anyone who rebelled, and Jesus came back to kill the vampires. Or so that’s what Jesus and the people thought. A circle of vamp leaders infiltrated the priests that ran society in order to show humans ‘the truth.’ What was this ‘truth’? How about the fact that their faith did not bring the second coming of Jesus to save them but cloning did. Add that with film of Jesus talking to a very sexy, very naked female vampire showing him (and the camera) the reserve of clones makes for a rebellion of the people. Then nothing. I don’t know what took Image so long to put this second book out but I’m glad they did. This issue picks up two days after the people who followed the Vatican learned ‘the truth.’ Jesus, trying to cope with the fact that he is not the messiah, is now MIA in the desert. Things get more confusing for him when he finds a vampire baby and tries to save it but cannot. Meanwhile, an angry mob becomes violent when drones for the Vatican try to kill the vamp that told them the truth about their Jesus. Then the priests let loose they other Jesus clones, but not before letting hell break loose on the mob by releasing some starved test vamps they had captured first. After all, what better way to restore faith then by the farce of saving people from monsters you let loose yourself.
This book was very comical. Ok, so not obviously comical like Battle Pope, but the plot is just so fanatical that I couldn’t stop laughing. This book has a bit of a dark tone, is bloody, has boobies, and is violent. Maybe I just have a sick sense of humor, but if you want something different pick this book up. The only downside to this for me was the $4.99 price tag. Looks like gas isn’t the only thing going up in price.
http://www.popsyndicate.com/site/story/loaded_bible_2_blood_of_christ
THE BLASPHEMOUS COMIC :LOADED BIBLE
JESUS SAVES: SEELEY TALKS "LOADED BIBLE" by Dave Richards, Staff Writer Posted: February 1, 2006 — More From This Author
NOTE: The following contains some adult content and language.
Contrary to what the heavy metal band Slayer would have you believe, Jesus saves everyone; not through sermons, but by kicking some undead ass! This is the premise behind "Loaded Bible: Jesus vs. Vampires," a 48 page one shot shipping in April from Image Comics. CBR News spoke with writer Tim Seeley about the book, which is set in a dystopian future world overrun by blood thirsty nosferatu.
The roots of "Loaded Bible" stretch back to Seeley's teenage years. "Waaaay back when I was a teenager I was driving around listening to college radio when they played this crazy song where the lyrics were something to do with 'a rifle in one hand and a bible in the other,'" Seeley told CBR News. "For whatever reason, it gave me this idea to do a western where Jesus fought vampires. I went home and told my brother Steve about it and he started talking about an idea he had involving Jesus. I liked his, so we combined our ideas into 'Loaded Bible.' When I worked for Dead Dog Comics, I actually published a 'Loaded Bible' short story in 'From Heaven to Hell' #1, with art by pre- 'G.I. Joe' Steve Kurth. Eventually, I started working for DDP, and 'Bible' got back-burnered as I worked on 'G.I. Joe,' 'Dark Elf' and 'Hack/Slash.'
"But, one day a year ago, I sat down and wrote a 42 page story, out of nowhere," Seeley continued. "I was surprised it just came out like that. I 'm friends with several of the guys at Image and I sent it to them. They thought it sounded fun, so we began the slow process of getting an artist on it, and scheduling it up. Robert Kirkman, who's an old friend of mine, kicked it in high gear by hooking me up with Nate Bellgrade and Make Englert. And, away we went, hopefully right in time for an Easter release!"
Horror movie fans might incorrectly think that Seeley was influenced by the 2001 independent horror comedy "Jesus Christ, Vampire Hunter." "That movie came out several years after young Steve and I started working on 'Bible.'" Seeley said. "I was so bummed when I saw the ad for that movie. But, I rented it anyway...it's good. Check it out. But, it's pretty different from 'Bible.' 'Bible' is actually this sort of epic science fiction story (believe it or not!), with more in common with stories like 'Blade Runner' and 'I Am Legend.' No seriously. But, being me, I also wrote in a fair amount of silly, bad-ass Jesus one-liners. I mean, I'm just not that strong. I had to."
"Loaded Bible" is set in the near future in a dark, dystopian world. "After 9/11, Americans become more insular, more routed in Christian faith, to the point where church and state become inseparable. Then, one day, we find out that vampires exist. And from there, everything goes to hell," Seeley explained. "Bible takes place in the aftermath of a nuclear war with the Vampire Nation. The last outpost of humanity is a giant theocratic church-state called New Vatican City. Vampires are everywhere, most of them starving due to a lack of human prey. They're getting desperate. And then, our boy Jesus comes along."
Seeley is keeping mum on the details of Christ's return, but Jesus finds himself thrust into a world where living up to the role of Savior of mankind won't be an easy task. "Our Jesus is as much based on what I could find out about the real Christ as possible, combined with a sort of Snake Plissken bad ass hero. He's a good person - a thinker, a progressive. But, he's responsible for all these people, who all look to him to save them. It makes him sort of tortured hero - a guy with the weight of the world on his shoulders who covers it up with brash confidence."
Some people might wonder what kind of special skills the Jewish carpenter possesses to aid him in his crusade against the vile, blood sucking hordes. "Well, he's Jesus. I mean, just the image of a cross fucks with vampires," Seeley stated. "Imagine what the actual guy who hung from it can do. Three words....holy water spit."
Jesus will need all the weapons and skills at his disposal to take on the horde of adversaries he faces in "Loaded Bible." "In this first story, it's mostly vampires that Jesus will be tussling with, but by the end of the tale, we set him up for a whole new set of adversaries," Seeley explained. "Also, there are different kinds of vampires, so you get to see the difference between Jesus chopping up lesser vampires, which are more like zombies, and Greater Vampires, which can do all kinds of Dracula-shit."
In "Loaded Bible: Jesus vs. Vampires," readers will also meet some of the major players in the Vampire Nation, including their ruling body the Vampire Council. "The head of the council is Lilith, the first vampire," Seeley said. "But, our Lilith ain't no sexy, Vampirella looking dame. She's the first vampire. She's a goddamn monkey. An Australopithecus to be exact. And, Sistine Centura, the vampire assassin plays a major role."
The plot of "Loaded Bible: Jesus vs. Vampires" will reveal the answer to a mystery and introduce readers to the book's unique setting. "'Loaded Bible' deals with Christ coming to find the truth of his existence, while setting up the world and the colorful characters that inhabit it. Also, there's shitloads of crazy fight scenes."
Seeley hopes "Jesus vs. Vampires" is just the first installment in the "Loaded Bible" series and notes that if it does well, there'll definitely be more stories to come. "I have [the next story] all plotted out and ready to go," said Seeley. "And the sequel will involve a familiar character. After all, what kind of Bible story would I be telling if I didn't include the devil?"
Some people might mistakenly dismiss "Loaded Bible" as just a humor book, but Seeley says it's a tad more serious than the solicitation text had people believing. "It's an epic, so it's got a heavy tone," Seeley explained. "But, on the other hand, at it's heart, it's still a sacrilegious romp, with plenty of big summer blockbuster moments"
Seeley feels that anyone who appreciates fun, sweeping cinematic adventure epics should appreciate "Loaded Bible." "If you're a close-minded type who can't stand any criticism or exploration of Christianity, you should probably avoid it," warned Seeley. "But, if you're up for a wild, action/horror comic, you should definitely get it. The art is great, the characters are cool, and it's not just another corporate superhero book."
Discuss this story here on CBR's Image Comics Forum.
http://www.comicbookresources.com/news/newsitem.cgi?id=6560
NOTE: The following contains some adult content and language.
Contrary to what the heavy metal band Slayer would have you believe, Jesus saves everyone; not through sermons, but by kicking some undead ass! This is the premise behind "Loaded Bible: Jesus vs. Vampires," a 48 page one shot shipping in April from Image Comics. CBR News spoke with writer Tim Seeley about the book, which is set in a dystopian future world overrun by blood thirsty nosferatu.
The roots of "Loaded Bible" stretch back to Seeley's teenage years. "Waaaay back when I was a teenager I was driving around listening to college radio when they played this crazy song where the lyrics were something to do with 'a rifle in one hand and a bible in the other,'" Seeley told CBR News. "For whatever reason, it gave me this idea to do a western where Jesus fought vampires. I went home and told my brother Steve about it and he started talking about an idea he had involving Jesus. I liked his, so we combined our ideas into 'Loaded Bible.' When I worked for Dead Dog Comics, I actually published a 'Loaded Bible' short story in 'From Heaven to Hell' #1, with art by pre- 'G.I. Joe' Steve Kurth. Eventually, I started working for DDP, and 'Bible' got back-burnered as I worked on 'G.I. Joe,' 'Dark Elf' and 'Hack/Slash.'
"But, one day a year ago, I sat down and wrote a 42 page story, out of nowhere," Seeley continued. "I was surprised it just came out like that. I 'm friends with several of the guys at Image and I sent it to them. They thought it sounded fun, so we began the slow process of getting an artist on it, and scheduling it up. Robert Kirkman, who's an old friend of mine, kicked it in high gear by hooking me up with Nate Bellgrade and Make Englert. And, away we went, hopefully right in time for an Easter release!"
Horror movie fans might incorrectly think that Seeley was influenced by the 2001 independent horror comedy "Jesus Christ, Vampire Hunter." "That movie came out several years after young Steve and I started working on 'Bible.'" Seeley said. "I was so bummed when I saw the ad for that movie. But, I rented it anyway...it's good. Check it out. But, it's pretty different from 'Bible.' 'Bible' is actually this sort of epic science fiction story (believe it or not!), with more in common with stories like 'Blade Runner' and 'I Am Legend.' No seriously. But, being me, I also wrote in a fair amount of silly, bad-ass Jesus one-liners. I mean, I'm just not that strong. I had to."
"Loaded Bible" is set in the near future in a dark, dystopian world. "After 9/11, Americans become more insular, more routed in Christian faith, to the point where church and state become inseparable. Then, one day, we find out that vampires exist. And from there, everything goes to hell," Seeley explained. "Bible takes place in the aftermath of a nuclear war with the Vampire Nation. The last outpost of humanity is a giant theocratic church-state called New Vatican City. Vampires are everywhere, most of them starving due to a lack of human prey. They're getting desperate. And then, our boy Jesus comes along."
Seeley is keeping mum on the details of Christ's return, but Jesus finds himself thrust into a world where living up to the role of Savior of mankind won't be an easy task. "Our Jesus is as much based on what I could find out about the real Christ as possible, combined with a sort of Snake Plissken bad ass hero. He's a good person - a thinker, a progressive. But, he's responsible for all these people, who all look to him to save them. It makes him sort of tortured hero - a guy with the weight of the world on his shoulders who covers it up with brash confidence."
Some people might wonder what kind of special skills the Jewish carpenter possesses to aid him in his crusade against the vile, blood sucking hordes. "Well, he's Jesus. I mean, just the image of a cross fucks with vampires," Seeley stated. "Imagine what the actual guy who hung from it can do. Three words....holy water spit."
Jesus will need all the weapons and skills at his disposal to take on the horde of adversaries he faces in "Loaded Bible." "In this first story, it's mostly vampires that Jesus will be tussling with, but by the end of the tale, we set him up for a whole new set of adversaries," Seeley explained. "Also, there are different kinds of vampires, so you get to see the difference between Jesus chopping up lesser vampires, which are more like zombies, and Greater Vampires, which can do all kinds of Dracula-shit."
In "Loaded Bible: Jesus vs. Vampires," readers will also meet some of the major players in the Vampire Nation, including their ruling body the Vampire Council. "The head of the council is Lilith, the first vampire," Seeley said. "But, our Lilith ain't no sexy, Vampirella looking dame. She's the first vampire. She's a goddamn monkey. An Australopithecus to be exact. And, Sistine Centura, the vampire assassin plays a major role."
The plot of "Loaded Bible: Jesus vs. Vampires" will reveal the answer to a mystery and introduce readers to the book's unique setting. "'Loaded Bible' deals with Christ coming to find the truth of his existence, while setting up the world and the colorful characters that inhabit it. Also, there's shitloads of crazy fight scenes."
Seeley hopes "Jesus vs. Vampires" is just the first installment in the "Loaded Bible" series and notes that if it does well, there'll definitely be more stories to come. "I have [the next story] all plotted out and ready to go," said Seeley. "And the sequel will involve a familiar character. After all, what kind of Bible story would I be telling if I didn't include the devil?"
Some people might mistakenly dismiss "Loaded Bible" as just a humor book, but Seeley says it's a tad more serious than the solicitation text had people believing. "It's an epic, so it's got a heavy tone," Seeley explained. "But, on the other hand, at it's heart, it's still a sacrilegious romp, with plenty of big summer blockbuster moments"
Seeley feels that anyone who appreciates fun, sweeping cinematic adventure epics should appreciate "Loaded Bible." "If you're a close-minded type who can't stand any criticism or exploration of Christianity, you should probably avoid it," warned Seeley. "But, if you're up for a wild, action/horror comic, you should definitely get it. The art is great, the characters are cool, and it's not just another corporate superhero book."
Discuss this story here on CBR's Image Comics Forum.
http://www.comicbookresources.com/news/newsitem.cgi?id=6560
LOADED BIBLE-WIKIPEDIA
Loaded Bible
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Cover to Loaded Bible #1.
Cover to Loaded Bible #2.
Loaded Bible: Jesus vs. Vampires is a comic book written by Tim Seeley, with art by Nate Bellgrade published February 2006 by Image Comics. The story is about an apocalyptic future where Jesus Christ must save America from vampires after a nuclear war. A follow-up was released May 2007 called Loaded Bible 2: Blood of Christ and it takes place right after the first one. Loaded Bible 3: Communion is being released February 20, 2008 and will the be the conclusion to the first part of the series.
http://en.wikipedia.org/wiki/Loaded_Bible
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Cover to Loaded Bible #1.
Cover to Loaded Bible #2.
Loaded Bible: Jesus vs. Vampires is a comic book written by Tim Seeley, with art by Nate Bellgrade published February 2006 by Image Comics. The story is about an apocalyptic future where Jesus Christ must save America from vampires after a nuclear war. A follow-up was released May 2007 called Loaded Bible 2: Blood of Christ and it takes place right after the first one. Loaded Bible 3: Communion is being released February 20, 2008 and will the be the conclusion to the first part of the series.
http://en.wikipedia.org/wiki/Loaded_Bible
TIM SEELEY:LOADED BIBLE
by Daniel Robert Epstein
Tim Seeley is best known as the penciler of dozens of Devil's Due books and the co-creator of the cult favorite Hack/Slash. Now he's strutting out another creator owned book with penciler Nate Bellgrade in a one-shot called Loaded Bible. The book is set in the near future where after America has become a fervent Christian nation, the usually quiet vampire segment of the population has made its move which caused a nuclear war. The only chance the world has left is the second coming of Jesus Christ. Now instead of loaves and fishes he's got a sword and pistols.
One wouldn't expect a comic book that has Jesus Christ spouting off lines that would make Arnold Schwarzenegger wince to have a strong political substance. But Seeley has managed to infuse his book with intelligence, wit and stupidity all at the same time.
Newsarama: Are people attacking you and Loaded Bible yet?
Tim Seeley: Initially I was thinking "Wow, it's been light so far." But Image got a letter yesterday that was basically someone saying that they're not going to purchase anymore Image books and they're going to encourage others not to purchase Image books for supporting books like Loaded Bible and Battle Pope. I was like, "Yeah. I guess I expected this." But it is surprising when it happened. I'm sure by the time the book comes out, either people will attack it in a knee-jerk reaction or they'll just realize that it's not specifically criticizing Jesus or something. It's more about religion and church and state and then also about stupid action scenes. So hopefully they'll get that and won't just knee jerk.
NRAMA: You and your brother, Steve, came up with this, right?
TS: Yeah. Actually it's really old. It was one of those things we first came up with when I was 18 years old. We started saying, "Loaded Bible. Yeah. We've got to do that comic someday." Initially it was just more of the just fun and crazy idea of having Jesus fight vampires, which changed over the years partially. They released a film that was basically just the fun aspect of that called Jesus Christ Vampire Hunter.
Then I started getting angrier politically, so I wanted to slide more of that in and make it at least partially relevant.
NRAMA: You used to draw G.I. Joe, right?
TS: Yep. Now I'm currently drawing the Forgotten Realms stuff.
NRAMA: It's funny that now you're attacking the stuff that Joe kind of espouses.
TS: Yeah, In its way G.I. Joe does espouse that but it's also generally supposed to be for kids so it's always skirted any political aspect. That's why Cobra has always been very generalized and has very vague motivations of world dominance. I think G.I. Joe has really always avoided that thing. I do think that the adult fans tend to be the more conservative types. I hope it doesn't sound like hypocrisy coming from me. There's definitely ways to do that kind of book and not have it be political and I think G.I. Joe is the best example of trying to pull that off. They're very sensitive about doing anything with actual terrorists and stuff. Hopefully it doesn't come across I'm this guy that's like, "Oh, I'll draw the stuff, but I'll start talking shit about everything else."
NRAMA: It is just G.I. Joe…
TS: Yeah. It's really more of a kid thing. When I worked on G.I. Joe, I wouldn't try to cram my little political beliefs into it like making Cobra clearly this religious regime or something.
NRAMA: Are you a very political person, or is it just impossible to not be a political person now?
TS: I've always really been interested in politics and trying to see the world run the way that it says it wants to be run or the way that it was intended to be, especially this country. I think in the current political climate it is impossible to not to be galvanized and it's impossible to not to have any opinion because it's so extreme. The current administration is about as gung ho in one direction as you can get. It just seems like there's so little room for middle ground anymore.
NRAMA: How did Loaded Bible become this pastiche of action films as well?
TS: Originally that's what it was going to be. When I first started plotting this story with my brother, it really was just the gimmick of "what Blade Runner-esque wacky ideas can we throw into this?" The things that are in there now are really just the leftovers. It's so unnecessary sometimes to make something completely preachy. Give them a good time for god's sake. I didn't want it to be as mindless as something like [the movie] Ultraviolet, but it definitely was intended to have things that make you chuckle because they are twisted and fun. There's no reason not to have some little die-hard foul laughs at a comic book about Jesus in the future.
NRAMA: Putting the World Trade Center burning on the very front page really lays all the cards out on the table.
TS: Yeah. Pre 9/11, the Bush administration was really just a lame duck. It wasn't until they had something to push and something to fight against that they became this really powerful aspect in this country. Anyone who was on the fence picked a side, because now it was about Operation Eternal Justice and us versus them. I thought it was a combination of things. I thought it was all about freedom of religion or from religion and it became this thing where it's Christianity versus Islam. That's really the starting point of when people became angry about what's going on now.
NRAMA: How come you didn't draw Loaded Bible?
TS: Same reason as usual. I just get too busy. It's always that thing where you want to do a little of both, but in this case it was just time. I would've loved to draw it, but I think Nate kicked my ass so hard that I'm glad I didn't touch a pencil on this thing.
NRAMA: How'd you find Nate?
TS: He was given to me by [Walking Dead creator] Robert Kirkman, who is an old friend of mine. I went through two artists on this book basically. One of the things you learn about working on an Image book is that all these people are going to be doing this book for free off the front end. They don't know how much money they're going to make. When it comes down to it, they could make nothing. So I had two artists that started and they couldn't finish. Finally I was just so frustrated, I called Kirkman. He seems to have this amazing ability to have all these great artists at his beck and call. So I was like, "Oh great and powerful Kirkman, could you please give me some artists because I am not having any luck?" He said, "Oh yeah. I've got a perfect guy for you." He hooked me with up with Nate and [inker] Mark Englert. They did an awesome job. Those guys are so interested in making sure it looked good that they went out of their way to make themselves look good, which ended up making the whole book look good.
NRAMA: Why did Loaded Bible go to Image and not Devil's Due?
TS: There are a few reasons. I love Devil's Due, so it's not like any "Fuck you guys" thing. I always wanted to do a book for Image by myself because I think it's one of those things that can give you a good resume point. Also I really like Image. There. Also I knew that if I did it at Devil's Due I wasn't going to be able to advertise it because Devil's Due is primarily a licensing company. They do G.I. Joe and stuff like that. I knew it wasn't going to be possible for me to like put an ad for Loaded Bible in the newest issue of Snake Eyes. Image is known for Battle Pope and other stuff. It just makes more sense for them to put this stuff out than it does for Devil's Due.
NRAMA: How do you like the whole process of working with Image?
TS: I liked it a lot. It's a learning experience. I'm lucky because I know how it works. I've seen it done and I've put together books. You're dealing with putting the book together; getting your artists to get their shit done and you're doing promotion for yourself. If I didn't have previous experience in this, I probably would be a babbling incoherent wreck at this point. It's a lot of work and it's really worth it.
NRAMA: Is Loaded Bible a one-shot?
TS: Yep, but there will be a sequel. It's going to be like Caine from Kung Fu, yeah. He's going to be walking the world. The second one will probably be more about Jesus. But after this, it will be more Jesus and crazier vampire death scenes.
NRAMA: Touching on your other projects, what's the status of the Hack/Slash movie?
TS: I read a treatment yesterday. I'm impressed because what I've read so far is really good. I wasn't sure about it but now I'm actually excited. Any time you go into this, you just remember everybody's horror stories. You start thinking "Bulletproof Monk the movie! Oh fuck." But so far, so good.
NRAMA: Is the girl from Sleepaway Camp supposed to be in it?
TS: No. That would be awesome though.
NRAMA: I wasn't sure.
TS: I would love that. If I ever have anything to do with anything involving Sleepaway Camp, consider me the happiest guy on fucking Earth. That's one of my favorite slasher films.
NRAMA: Will you be credited as executive producer and co-creator?
TS: I think my credit on the film is "created by Tim Seeley and Stefano Caselli," which is more than enough for me. I'm a comic guy. My interest is purely in doing a comic and having it come out and then going to see the movie and being happy with it. That's good enough for me.
NRAMA: Do you ever want to make movies?
TS: No, I'm a comic guy. I think if I ever decided to work in film, it would be on a very basic level where I'd take out a loan for a few thousand bucks and make some cobbled together Troma-esque films. I don't think I would ever go directly to Hollywood and try to like weasel my way into directing the latest Mission Impossible. I'm glad there are people that are all about that thing, but I'm just not that talented.
NRAMA: Has there been a bump in sales with Hack/Slash since the announcement of the movie?
TS: Yeah, there has. The sales of the trade paperback went up which is just so weird to me. I guess people get excited like, "Oh Hollywood cares. It must be good." Hopefully the movie will be great and people will be interested in seeing the source material. Then Hollywood will want to buy Loaded Bible and make a movie out of that, which everyone will hate.
NRAMA: Is the movie going with a whole new slasher or is it going to be a pastiche like you do in the comic?
TS: It's a combination. The story's pretty fun, but it is like a combination of the comics that you've seen before with some new, completely different shifts on it.
Loaded Bible is 48 pages, priced at $4.99 and will be in comic book stores May 24
Keep checking out the official website of Tim Seeley for updated info on Loaded Bible and its eventual sequel: http://www.timseeley.com/
Tim Seeley is best known as the penciler of dozens of Devil's Due books and the co-creator of the cult favorite Hack/Slash. Now he's strutting out another creator owned book with penciler Nate Bellgrade in a one-shot called Loaded Bible. The book is set in the near future where after America has become a fervent Christian nation, the usually quiet vampire segment of the population has made its move which caused a nuclear war. The only chance the world has left is the second coming of Jesus Christ. Now instead of loaves and fishes he's got a sword and pistols.
One wouldn't expect a comic book that has Jesus Christ spouting off lines that would make Arnold Schwarzenegger wince to have a strong political substance. But Seeley has managed to infuse his book with intelligence, wit and stupidity all at the same time.
Newsarama: Are people attacking you and Loaded Bible yet?
Tim Seeley: Initially I was thinking "Wow, it's been light so far." But Image got a letter yesterday that was basically someone saying that they're not going to purchase anymore Image books and they're going to encourage others not to purchase Image books for supporting books like Loaded Bible and Battle Pope. I was like, "Yeah. I guess I expected this." But it is surprising when it happened. I'm sure by the time the book comes out, either people will attack it in a knee-jerk reaction or they'll just realize that it's not specifically criticizing Jesus or something. It's more about religion and church and state and then also about stupid action scenes. So hopefully they'll get that and won't just knee jerk.
NRAMA: You and your brother, Steve, came up with this, right?
TS: Yeah. Actually it's really old. It was one of those things we first came up with when I was 18 years old. We started saying, "Loaded Bible. Yeah. We've got to do that comic someday." Initially it was just more of the just fun and crazy idea of having Jesus fight vampires, which changed over the years partially. They released a film that was basically just the fun aspect of that called Jesus Christ Vampire Hunter.
Then I started getting angrier politically, so I wanted to slide more of that in and make it at least partially relevant.
NRAMA: You used to draw G.I. Joe, right?
TS: Yep. Now I'm currently drawing the Forgotten Realms stuff.
NRAMA: It's funny that now you're attacking the stuff that Joe kind of espouses.
TS: Yeah, In its way G.I. Joe does espouse that but it's also generally supposed to be for kids so it's always skirted any political aspect. That's why Cobra has always been very generalized and has very vague motivations of world dominance. I think G.I. Joe has really always avoided that thing. I do think that the adult fans tend to be the more conservative types. I hope it doesn't sound like hypocrisy coming from me. There's definitely ways to do that kind of book and not have it be political and I think G.I. Joe is the best example of trying to pull that off. They're very sensitive about doing anything with actual terrorists and stuff. Hopefully it doesn't come across I'm this guy that's like, "Oh, I'll draw the stuff, but I'll start talking shit about everything else."
NRAMA: It is just G.I. Joe…
TS: Yeah. It's really more of a kid thing. When I worked on G.I. Joe, I wouldn't try to cram my little political beliefs into it like making Cobra clearly this religious regime or something.
NRAMA: Are you a very political person, or is it just impossible to not be a political person now?
TS: I've always really been interested in politics and trying to see the world run the way that it says it wants to be run or the way that it was intended to be, especially this country. I think in the current political climate it is impossible to not to be galvanized and it's impossible to not to have any opinion because it's so extreme. The current administration is about as gung ho in one direction as you can get. It just seems like there's so little room for middle ground anymore.
NRAMA: How did Loaded Bible become this pastiche of action films as well?
TS: Originally that's what it was going to be. When I first started plotting this story with my brother, it really was just the gimmick of "what Blade Runner-esque wacky ideas can we throw into this?" The things that are in there now are really just the leftovers. It's so unnecessary sometimes to make something completely preachy. Give them a good time for god's sake. I didn't want it to be as mindless as something like [the movie] Ultraviolet, but it definitely was intended to have things that make you chuckle because they are twisted and fun. There's no reason not to have some little die-hard foul laughs at a comic book about Jesus in the future.
NRAMA: Putting the World Trade Center burning on the very front page really lays all the cards out on the table.
TS: Yeah. Pre 9/11, the Bush administration was really just a lame duck. It wasn't until they had something to push and something to fight against that they became this really powerful aspect in this country. Anyone who was on the fence picked a side, because now it was about Operation Eternal Justice and us versus them. I thought it was a combination of things. I thought it was all about freedom of religion or from religion and it became this thing where it's Christianity versus Islam. That's really the starting point of when people became angry about what's going on now.
NRAMA: How come you didn't draw Loaded Bible?
TS: Same reason as usual. I just get too busy. It's always that thing where you want to do a little of both, but in this case it was just time. I would've loved to draw it, but I think Nate kicked my ass so hard that I'm glad I didn't touch a pencil on this thing.
NRAMA: How'd you find Nate?
TS: He was given to me by [Walking Dead creator] Robert Kirkman, who is an old friend of mine. I went through two artists on this book basically. One of the things you learn about working on an Image book is that all these people are going to be doing this book for free off the front end. They don't know how much money they're going to make. When it comes down to it, they could make nothing. So I had two artists that started and they couldn't finish. Finally I was just so frustrated, I called Kirkman. He seems to have this amazing ability to have all these great artists at his beck and call. So I was like, "Oh great and powerful Kirkman, could you please give me some artists because I am not having any luck?" He said, "Oh yeah. I've got a perfect guy for you." He hooked me with up with Nate and [inker] Mark Englert. They did an awesome job. Those guys are so interested in making sure it looked good that they went out of their way to make themselves look good, which ended up making the whole book look good.
NRAMA: Why did Loaded Bible go to Image and not Devil's Due?
TS: There are a few reasons. I love Devil's Due, so it's not like any "Fuck you guys" thing. I always wanted to do a book for Image by myself because I think it's one of those things that can give you a good resume point. Also I really like Image. There. Also I knew that if I did it at Devil's Due I wasn't going to be able to advertise it because Devil's Due is primarily a licensing company. They do G.I. Joe and stuff like that. I knew it wasn't going to be possible for me to like put an ad for Loaded Bible in the newest issue of Snake Eyes. Image is known for Battle Pope and other stuff. It just makes more sense for them to put this stuff out than it does for Devil's Due.
NRAMA: How do you like the whole process of working with Image?
TS: I liked it a lot. It's a learning experience. I'm lucky because I know how it works. I've seen it done and I've put together books. You're dealing with putting the book together; getting your artists to get their shit done and you're doing promotion for yourself. If I didn't have previous experience in this, I probably would be a babbling incoherent wreck at this point. It's a lot of work and it's really worth it.
NRAMA: Is Loaded Bible a one-shot?
TS: Yep, but there will be a sequel. It's going to be like Caine from Kung Fu, yeah. He's going to be walking the world. The second one will probably be more about Jesus. But after this, it will be more Jesus and crazier vampire death scenes.
NRAMA: Touching on your other projects, what's the status of the Hack/Slash movie?
TS: I read a treatment yesterday. I'm impressed because what I've read so far is really good. I wasn't sure about it but now I'm actually excited. Any time you go into this, you just remember everybody's horror stories. You start thinking "Bulletproof Monk the movie! Oh fuck." But so far, so good.
NRAMA: Is the girl from Sleepaway Camp supposed to be in it?
TS: No. That would be awesome though.
NRAMA: I wasn't sure.
TS: I would love that. If I ever have anything to do with anything involving Sleepaway Camp, consider me the happiest guy on fucking Earth. That's one of my favorite slasher films.
NRAMA: Will you be credited as executive producer and co-creator?
TS: I think my credit on the film is "created by Tim Seeley and Stefano Caselli," which is more than enough for me. I'm a comic guy. My interest is purely in doing a comic and having it come out and then going to see the movie and being happy with it. That's good enough for me.
NRAMA: Do you ever want to make movies?
TS: No, I'm a comic guy. I think if I ever decided to work in film, it would be on a very basic level where I'd take out a loan for a few thousand bucks and make some cobbled together Troma-esque films. I don't think I would ever go directly to Hollywood and try to like weasel my way into directing the latest Mission Impossible. I'm glad there are people that are all about that thing, but I'm just not that talented.
NRAMA: Has there been a bump in sales with Hack/Slash since the announcement of the movie?
TS: Yeah, there has. The sales of the trade paperback went up which is just so weird to me. I guess people get excited like, "Oh Hollywood cares. It must be good." Hopefully the movie will be great and people will be interested in seeing the source material. Then Hollywood will want to buy Loaded Bible and make a movie out of that, which everyone will hate.
NRAMA: Is the movie going with a whole new slasher or is it going to be a pastiche like you do in the comic?
TS: It's a combination. The story's pretty fun, but it is like a combination of the comics that you've seen before with some new, completely different shifts on it.
Loaded Bible is 48 pages, priced at $4.99 and will be in comic book stores May 24
Keep checking out the official website of Tim Seeley for updated info on Loaded Bible and its eventual sequel: http://www.timseeley.com/
LOADED BIBLE :JESUS vs VAMPIRES-BLASPHEMOUS COMIC
Loaded Bible: Jesus vs Vampires
Book Released: 24 May 2006
Review posted: 03 June 2006
Writer: Tim Seeley
Artist: Nate Bellegarde
Publisher: Image Comics
3.00 out of 5 Stars
Reviewed by Adam White
Ever since I first heard about it I had been excited about Loaded Bible; I mean, who wouldn’t like Jesus fighting vampires (except nutty religious zealots, of course)? It was just a strange enough concept that I thought it would either be utterly brilliant or complete rubbish, so imagine my surprise when I actually ended up feeling conflicted about the final product.
Tim Seeley definitely has the right ideas, and also unveils a frighteningly accurate potential future for those of us in the States. Seeley creates a believable Jesus that is neither corny nor sappy (as in many portrayals), and a Jesus that relies on his own humanity rather than
--------------------------------------------------------------------------------
Seeley creates a Jesus that relies on his own humanity rather than others’ notions of him as a religious symbol.
--------------------------------------------------------------------------------
others’ notions of him as a religious symbol. The main vampire characters are interesting if brief and provide both contrasts and similarities to the religious warmongers ruling the world in the book. There were some great one-liners, but most were there for the sake of being there and didn’t flow naturally with the dialogue. The revelations of this future Jesus’s origins come as a believable surprise, yet also unfold too quickly. Which is my main complaint about the story — this story told in 48 pages should have been told in at least sixty issues. Loaded Bible has many layers that Seeley could have richly explored over the course of a great series, yet because the market will not sustain any new ideas or ongoings at the moment he was forced to cram it all into a one-shot. So my problem is not so much the concepts in the book but the brevity that was forced on the creators involved.
The art from Nate Bellegarde suited the book well, with eerily deformed vampires and taciturn clergymen. I felt that Jesus sometimes looked as emaciated as the vampires, but not enough to take me out of the story at hand. The subject matter might have drawn other artists in the direction of cartoony satire, but Bellegarde rightfully gave the book the gritty, primal treatment it deserved. I believe that Bellgarde would have grown with a longer series as well and only improved with each issue.
--------------------------------------------------------------------------------
Loaded Bible has many layers that Seeley could have better explored over the course of a long series, yet the market’s atmosphere forced him to cram it all into a one-shot.
--------------------------------------------------------------------------------
I guess I hyped myself up on Loaded Bible too much before I actually read it, which is always a danger, but the more I think about it the more I see a potential Preacher stamped out before it began by a violently apathetic readership. That makes me extremely sad, because we could use more longterm series that explore issues beyond costume changes and endless resurrections (ironically enough). So while Loaded Bible was an entertaining diversion of a one-shot, it would have really flourished as long-form series in the tradition of Preacher and Sandman.
—CCdC—
Book Released: 24 May 2006
Review posted: 03 June 2006
Writer: Tim Seeley
Artist: Nate Bellegarde
Publisher: Image Comics
3.00 out of 5 Stars
Reviewed by Adam White
Ever since I first heard about it I had been excited about Loaded Bible; I mean, who wouldn’t like Jesus fighting vampires (except nutty religious zealots, of course)? It was just a strange enough concept that I thought it would either be utterly brilliant or complete rubbish, so imagine my surprise when I actually ended up feeling conflicted about the final product.
Tim Seeley definitely has the right ideas, and also unveils a frighteningly accurate potential future for those of us in the States. Seeley creates a believable Jesus that is neither corny nor sappy (as in many portrayals), and a Jesus that relies on his own humanity rather than
--------------------------------------------------------------------------------
Seeley creates a Jesus that relies on his own humanity rather than others’ notions of him as a religious symbol.
--------------------------------------------------------------------------------
others’ notions of him as a religious symbol. The main vampire characters are interesting if brief and provide both contrasts and similarities to the religious warmongers ruling the world in the book. There were some great one-liners, but most were there for the sake of being there and didn’t flow naturally with the dialogue. The revelations of this future Jesus’s origins come as a believable surprise, yet also unfold too quickly. Which is my main complaint about the story — this story told in 48 pages should have been told in at least sixty issues. Loaded Bible has many layers that Seeley could have richly explored over the course of a great series, yet because the market will not sustain any new ideas or ongoings at the moment he was forced to cram it all into a one-shot. So my problem is not so much the concepts in the book but the brevity that was forced on the creators involved.
The art from Nate Bellegarde suited the book well, with eerily deformed vampires and taciturn clergymen. I felt that Jesus sometimes looked as emaciated as the vampires, but not enough to take me out of the story at hand. The subject matter might have drawn other artists in the direction of cartoony satire, but Bellegarde rightfully gave the book the gritty, primal treatment it deserved. I believe that Bellgarde would have grown with a longer series as well and only improved with each issue.
--------------------------------------------------------------------------------
Loaded Bible has many layers that Seeley could have better explored over the course of a long series, yet the market’s atmosphere forced him to cram it all into a one-shot.
--------------------------------------------------------------------------------
I guess I hyped myself up on Loaded Bible too much before I actually read it, which is always a danger, but the more I think about it the more I see a potential Preacher stamped out before it began by a violently apathetic readership. That makes me extremely sad, because we could use more longterm series that explore issues beyond costume changes and endless resurrections (ironically enough). So while Loaded Bible was an entertaining diversion of a one-shot, it would have really flourished as long-form series in the tradition of Preacher and Sandman.
—CCdC—
2008/02/03
THE WEB-SITE OF JOHN WIJNGAARDS-WOMEN PRIESTS
The ordination of women in the Roman Catholic Church
Welcome to the largest international website on
women and sacred ministry!
We are Roman Catholic theologians who firmly believe that the discussion on women priests should be left open.
We love our family, the Catholic Church. We fully accept the authority of the Pope. We respect his personal integrity as an outstanding spiritual leader. But we are convinced that the Pope and his advisors in Rome are making a serious mistake by dismissing women as priests. We feel obliged in conscience to make our carefully considered reasons known, fulfilling our duty to speak out as our present Pope has repeatedly told us.
“All the faithful, both clerical and lay, should be accorded a lawful freedom of inquiry, freedom of thought and freedom of expression.”
Gaudium et Spes, no 62; Canon Law no 212 § 3.
Our aim is to enable the Church to reform its way of thinking and its practice
so that women, as much as men,
will be admitted to all the ordained ministries.
Eight out of ten Catholic scholars in the world support the ordination of women.
Read here the complete texts of many contemporary Catholic theologians who give their reasons in favour of women priests. Our site is unique in providing in full all Roman documents that ban the ordination of women .
Judge for yourself the arguments of the Congregation for Doctrine in Rome.
We offer thousands of documents in English relevant to the ordination of women. They cover decrees of councils and synods, statements by the Fathers of the Church and medieval theologians, historical records, contemporary articles, classical publications, discussions on scripture, tradition and the teaching authority, picture galleries and much more.
http://www.womenpriests.org/default.asp
Welcome to the largest international website on
women and sacred ministry!
We are Roman Catholic theologians who firmly believe that the discussion on women priests should be left open.
We love our family, the Catholic Church. We fully accept the authority of the Pope. We respect his personal integrity as an outstanding spiritual leader. But we are convinced that the Pope and his advisors in Rome are making a serious mistake by dismissing women as priests. We feel obliged in conscience to make our carefully considered reasons known, fulfilling our duty to speak out as our present Pope has repeatedly told us.
“All the faithful, both clerical and lay, should be accorded a lawful freedom of inquiry, freedom of thought and freedom of expression.”
Gaudium et Spes, no 62; Canon Law no 212 § 3.
Our aim is to enable the Church to reform its way of thinking and its practice
so that women, as much as men,
will be admitted to all the ordained ministries.
Eight out of ten Catholic scholars in the world support the ordination of women.
Read here the complete texts of many contemporary Catholic theologians who give their reasons in favour of women priests. Our site is unique in providing in full all Roman documents that ban the ordination of women .
Judge for yourself the arguments of the Congregation for Doctrine in Rome.
We offer thousands of documents in English relevant to the ordination of women. They cover decrees of councils and synods, statements by the Fathers of the Church and medieval theologians, historical records, contemporary articles, classical publications, discussions on scripture, tradition and the teaching authority, picture galleries and much more.
http://www.womenpriests.org/default.asp
BLASPHEMY-CHRISTIAN PORNOGRAPHY
JOHN WIJNGAARDS A FALSE BLASPHEMOUS CHRISTIAN.
---------------------------------------------------------------------------------------
Sexual Fantasies?
Sexual fatasizing means entertaining mental images of sexual activities or sexual objects.
Is it sinful to be involved in sexual fantasies?
Jesus seems to speak about sexual fantasies in the following text (Matthew 5,27-30):
“You have heard how it was said: ‘You shall not commit adultery’.
But I say to you: whosoever (a) looks at a woman (b) in order to lust after her has already (c) committed adultery with her in his heart.
If your right eye has caused you to sin, tear it out and throw it away; for it will do you less harm to lose one member than to have your whole body thrown into hell.
And if your right hand should cause you to sin, cut if off and throw it away; for it will do you less harm to lose one member than to have your whole body go to hell.”
This is traditionally understood as: a person who looks at a naked person or who fantasizes about making love to another person has committed a sin equivalent to adultery. However is this correct?
What does Jesus say?
‘Who looks at a woman’.
The Bible brings out in a number of its stories that looking at a woman lustfully frequently leads to acts of adultery. One example is David who watched Bathsheba, Uriah’s wife, taking a bath and who subsequently committed adultery with her and then had Uriah killed to cover up his deed (2 Samuel 11,2-27). Another is that of the two lecherous elders who saw Susannah bathe and who wanted to force her to have sex with them (Daniel 13,15-22). Jesus is talking about looking aimed at adultery.
‘in order to lust after her’.
This refers to the tenth commandment: “You shall not lust after your neighbour’s house, your neighbour’s wife, or his slave, male or female, or his donkey or anything that is his” (Exodus 20,17). The Hebrew word for ‘lusting after’ (chamad) means a desiring that includes the intention to take and appropriate a property. This again links the ‘looking’ to the act of adultery which was considered stealing a wife from the husband.
‘has already committed adultery with her in his heart’. This is the point of Jesus’ statement. Jewish judicial practice in Jesus’ time defined adultery purely in the external act which had to be attested to by witnesses. In line with all the other statements in the Sermon on the Mount, Jesus declares that not just the external act, but the interior intention to commit an act of adultery is sinful.
Conclusion.
Mt 5,27-30 does not refer to sexual fantasising in a general kind of way. He was teaching the importance of what happens in our heart. The sin of adultery lies in the intention of committing adultery rather than in the external act. Most fantasizing does not intend adultery.
When interpreting Scripture we have to pay attention to the scope intended by the original author, not to the literal sounds of the words.
Otherwise we would also have to take the words of ‘tearing out an eye’ or ‘hacking off your hand’ literally! Or other scriptural passages that require women to wear a veil in church ( 1 Corinthians 11,2-16), which ban part-wool part-cotton clothing (Deuteronomy 22,11), the eating of pork, shrimp, and hamburgers (Leviticus 11,1-12), or which regulate slavery (Ephesians 6,5-9).
So how to judge sexual fantasies?
Moralists and mental health professionals have concluded that sexual fantasies in themselves can be normal and healthy. Usually they are not harmful.
Fantasies, such as imagining having intercourse with a person, often arise spontaneously.
Sexual attraction to other people is natural and, to a degree, an automatic and unavoidable response. If no actual intercourse is intended, they do not involve sin.
Then what about ‘pornography’?
Sexual fantasizing is often aided by the use of pornography, i.e. by looking at naked pictures of men or women, or at couples engaged in the sexual act. This is more common among men than among women because men are more readily sexually aroused by visual means.
There are forms of pornography that should be rejected.
All forms of pornography that involves or presupposes violence, rape, pedofilia, and so on should obviously not be tolerated.
Pornography that encourages sexual gratification for its own sake could be harmful in the long run and should be avoided.
However, there may be justification for the looking at pictures of naked men and women and sexual imagery in a number of cases. I mention a few examples:
Research in western societies has shown that the use of ‘pornography’ is often found among teenagers and adolescents who go through a phase of discovering sex.
This is partly due to the lack of adequate sexual education which at times forces youngsters to obtain necessary information from all kinds of sources. The youngsters in question may be using the material in a responsible fashion.
Looking at sex images is also frequently found among middle-aged and older persons, more often among men than women, who compensate for the lack of active sex in their lives.
The reasons may be a sense of past sexual loss because of a restricted, Puritan childhood, or an attempt to cope with present sexual loss. Studies have shown that this periodic turning to pornographic material only very, very rarely leads to violence against other persons. Neither does it usually imply a ‘degrading of women by men’ as is all too readily asserted by some feminists. It should be judged according to a person’s own conscience, within the specific circumstances the person finds himself/herself in.
Sexual images of pornographic media are at times an aid to stimulating healthy sexual activity within a loving relationship.
In some persons the sexual impulse needs to be wakened or boosted for it to function normally in sexual intercourse. Psychotherapists may recommend the use of ‘pornographic’ images in stead of drugs, or people themselves may feel it helps them free themselves from their inhibitions.
Naturism is a perfectly wholesome spiritual and physical practice for Catholics to be involved in. It promotes the seeing of naked people and having dealings with naked people as a normal thing.
Some naturists, just like anyone else, may at times (rarely) indulge in indecent acts, but the impression that many people have that naturists are sexually less sensitive or responsible than others is entirely unfounded. Most naturists follow a high ethical and sexual code. Moreover, there is nothing wrong in celebrating the beauty of the naked body.
Presenting nakedness and sexual intimacy is a natural component of art.
In our time this applies not only to paintings and sculpture but drama and film. If we truly believe in the goodness of the human body and its essential role in human relationships, it is unavoidable that a full expression of that reality includes explicit scenes. Films that include such scenes should not, on that account, be judged as ‘pornographic’ in the pejorative sense of the term. If films describe life, they will also of necessity describe sex.
For all such reasons we may not indiscriminately brand all the use of naked or sexual imagery as ‘pornographic’; or condemn it without assessing the context.
http://www.thebodyissacred.org/body/fantasy.asp
---------------------------------------------------------------------------------------
Sexual Fantasies?
Sexual fatasizing means entertaining mental images of sexual activities or sexual objects.
Is it sinful to be involved in sexual fantasies?
Jesus seems to speak about sexual fantasies in the following text (Matthew 5,27-30):
“You have heard how it was said: ‘You shall not commit adultery’.
But I say to you: whosoever (a) looks at a woman (b) in order to lust after her has already (c) committed adultery with her in his heart.
If your right eye has caused you to sin, tear it out and throw it away; for it will do you less harm to lose one member than to have your whole body thrown into hell.
And if your right hand should cause you to sin, cut if off and throw it away; for it will do you less harm to lose one member than to have your whole body go to hell.”
This is traditionally understood as: a person who looks at a naked person or who fantasizes about making love to another person has committed a sin equivalent to adultery. However is this correct?
What does Jesus say?
‘Who looks at a woman’.
The Bible brings out in a number of its stories that looking at a woman lustfully frequently leads to acts of adultery. One example is David who watched Bathsheba, Uriah’s wife, taking a bath and who subsequently committed adultery with her and then had Uriah killed to cover up his deed (2 Samuel 11,2-27). Another is that of the two lecherous elders who saw Susannah bathe and who wanted to force her to have sex with them (Daniel 13,15-22). Jesus is talking about looking aimed at adultery.
‘in order to lust after her’.
This refers to the tenth commandment: “You shall not lust after your neighbour’s house, your neighbour’s wife, or his slave, male or female, or his donkey or anything that is his” (Exodus 20,17). The Hebrew word for ‘lusting after’ (chamad) means a desiring that includes the intention to take and appropriate a property. This again links the ‘looking’ to the act of adultery which was considered stealing a wife from the husband.
‘has already committed adultery with her in his heart’. This is the point of Jesus’ statement. Jewish judicial practice in Jesus’ time defined adultery purely in the external act which had to be attested to by witnesses. In line with all the other statements in the Sermon on the Mount, Jesus declares that not just the external act, but the interior intention to commit an act of adultery is sinful.
Conclusion.
Mt 5,27-30 does not refer to sexual fantasising in a general kind of way. He was teaching the importance of what happens in our heart. The sin of adultery lies in the intention of committing adultery rather than in the external act. Most fantasizing does not intend adultery.
When interpreting Scripture we have to pay attention to the scope intended by the original author, not to the literal sounds of the words.
Otherwise we would also have to take the words of ‘tearing out an eye’ or ‘hacking off your hand’ literally! Or other scriptural passages that require women to wear a veil in church ( 1 Corinthians 11,2-16), which ban part-wool part-cotton clothing (Deuteronomy 22,11), the eating of pork, shrimp, and hamburgers (Leviticus 11,1-12), or which regulate slavery (Ephesians 6,5-9).
So how to judge sexual fantasies?
Moralists and mental health professionals have concluded that sexual fantasies in themselves can be normal and healthy. Usually they are not harmful.
Fantasies, such as imagining having intercourse with a person, often arise spontaneously.
Sexual attraction to other people is natural and, to a degree, an automatic and unavoidable response. If no actual intercourse is intended, they do not involve sin.
Then what about ‘pornography’?
Sexual fantasizing is often aided by the use of pornography, i.e. by looking at naked pictures of men or women, or at couples engaged in the sexual act. This is more common among men than among women because men are more readily sexually aroused by visual means.
There are forms of pornography that should be rejected.
All forms of pornography that involves or presupposes violence, rape, pedofilia, and so on should obviously not be tolerated.
Pornography that encourages sexual gratification for its own sake could be harmful in the long run and should be avoided.
However, there may be justification for the looking at pictures of naked men and women and sexual imagery in a number of cases. I mention a few examples:
Research in western societies has shown that the use of ‘pornography’ is often found among teenagers and adolescents who go through a phase of discovering sex.
This is partly due to the lack of adequate sexual education which at times forces youngsters to obtain necessary information from all kinds of sources. The youngsters in question may be using the material in a responsible fashion.
Looking at sex images is also frequently found among middle-aged and older persons, more often among men than women, who compensate for the lack of active sex in their lives.
The reasons may be a sense of past sexual loss because of a restricted, Puritan childhood, or an attempt to cope with present sexual loss. Studies have shown that this periodic turning to pornographic material only very, very rarely leads to violence against other persons. Neither does it usually imply a ‘degrading of women by men’ as is all too readily asserted by some feminists. It should be judged according to a person’s own conscience, within the specific circumstances the person finds himself/herself in.
Sexual images of pornographic media are at times an aid to stimulating healthy sexual activity within a loving relationship.
In some persons the sexual impulse needs to be wakened or boosted for it to function normally in sexual intercourse. Psychotherapists may recommend the use of ‘pornographic’ images in stead of drugs, or people themselves may feel it helps them free themselves from their inhibitions.
Naturism is a perfectly wholesome spiritual and physical practice for Catholics to be involved in. It promotes the seeing of naked people and having dealings with naked people as a normal thing.
Some naturists, just like anyone else, may at times (rarely) indulge in indecent acts, but the impression that many people have that naturists are sexually less sensitive or responsible than others is entirely unfounded. Most naturists follow a high ethical and sexual code. Moreover, there is nothing wrong in celebrating the beauty of the naked body.
Presenting nakedness and sexual intimacy is a natural component of art.
In our time this applies not only to paintings and sculpture but drama and film. If we truly believe in the goodness of the human body and its essential role in human relationships, it is unavoidable that a full expression of that reality includes explicit scenes. Films that include such scenes should not, on that account, be judged as ‘pornographic’ in the pejorative sense of the term. If films describe life, they will also of necessity describe sex.
For all such reasons we may not indiscriminately brand all the use of naked or sexual imagery as ‘pornographic’; or condemn it without assessing the context.
http://www.thebodyissacred.org/body/fantasy.asp
BLASPHEMY-CHRISTIAN NUDISM!
Naked without Shame
by John Wijngaards
from MISSION TODAY, Summer 1995, pp. 12 - 13.
AFTER the Good Friday liturgy I was asked confidentially whether the crucifix we use is true to Scripture. The enquirer had learned in school that Jesus died naked on the cross.
Actually, it is not easy to establish with certainty what happened at the crucifixion of Jesus in this regard. The apocryphal Gospel of Nicodemus states that Jesus wore a loincloth (Nicod 1:10). This Gospel, however, was written centuries after the event. It is not reliable. It takes its description of the crucifixion from a pious but legendary source, the so-called Acts of Pilate, which was composed towards the end of the second century.
Some scripture scholars believe that wearing a loincloth may have been a special concession the Romans had given to the Jews to spare Jewish sensitivity. Offering a pain-killing drug before the crucifixion may have been another such concession. Jesus was offered one, but he refused to drink from it (Matt. 27:34; Mark 15:23).
However, we have no independent confirmation of such a concession regarding nakedness. The four Gospels give the impression that the soldiers took all Jesus's clothes and divided them as loot.
How did the Romans treat those who were crucified? Contemporary writers, such as Artemidorus and Arnanus, have left descriptions that imply that the unhappy victims were, indeed, left totally naked. Some of the Fathers of the Church, such as St Cyprian and St Augustine meditated on the nakedness of Jesus in words that show they were convinced that total nakedness was one of the humiliations inflicted on him. Weighing the evidence I believe that, in all probability, Jesus did not wear a loincloth on the cross.
Understandably, we avoid extreme realism in our crucifixes and other representations of the passion. But this should not make us forget the horrors of the crucifixion. For our sake, Jesus gave up everything he possessed, as Paul says (Phil 2:7). Next to all the physical pain, Jesus also suffered the excruciating humiliation of being publicly exposed, naked and vulnerable, on a "pillar of disgrace". Is that in itself not worth a meditation and a word of thanks?
But then it may also be important to consider nakedness itself. Because of our Victorian and Puritan past, we still have traces of anti-body feelings in our spirituality. I remember a nurse once telling me that, while she was giving a Catholic patient a bath, this person said to her: "Sister, it must be hard for you to be seeing so much sin."
"What do you mean?", she asked.
"Well, touching the body and all that."
The remark probably hid a complex of incorrect notions: as if any part of our body is less holy and honourable; as if our sexuality is only tolerated by God as a lesser evil; or, as I heard from some people, as if original sin is transmitted through sexual intercourse. Just imagine: the most marvellous bond in the world through which a married couple cooperates with God's creation was seen as a channel of sin!
In our culture, in which sex is discussed much more openly and in which nudity at the same time is often exploited by the media for commercial purposes, we find side by side the old Puritan shame of the body, an unhealthy preoccupation with sex and the search for a responsible freedom. In our time it is essential that we re-state our Christian convictions about the body.
The human body is beautiful. There nothing in it that is sinful, or of which we need to be ashamed. The body even retains its dignity and beauty when people grow older. In Jesus's time people were much more natural about this than we are. Peter was naked when working in his boat (John 21:7). The Greeks and Roman practised their sports without clothes on. The Greek word gymnos meant “naked”. We still find the word in such terms as gymnastics and gymnasium.
We can be shy about nakedness in a healthy and prudent way. But we may also have inherited a false shame about our naked body; like Adam and Eve who, after their sin, suddenly discovered that they were naked (Gen 3:7). In a good Christian education we should be helped to discover the true beauty of the human body and sex. It is precisely because of our deep respect for the body, which is a temple the Holy Spirit, that we will then avoid making it merely an instrument of pleasure (1 Cor 6:18-20).
I find the nakedness of Jesus on the cross meaningful in that context. In his body Jesus carried all scars of our world, including our sexual searchings and aberrations. He redeemed us, and through his risen body enables us to carry our own body with a renewed sense of happiness a respect. "This is Me, this is my body", says to us, as we receive holy communion. His passion, his humiliation, but also his resurrection then flow into us.
http://www.womenpriests.org/body/nakedwos.asp
by John Wijngaards
from MISSION TODAY, Summer 1995, pp. 12 - 13.
AFTER the Good Friday liturgy I was asked confidentially whether the crucifix we use is true to Scripture. The enquirer had learned in school that Jesus died naked on the cross.
Actually, it is not easy to establish with certainty what happened at the crucifixion of Jesus in this regard. The apocryphal Gospel of Nicodemus states that Jesus wore a loincloth (Nicod 1:10). This Gospel, however, was written centuries after the event. It is not reliable. It takes its description of the crucifixion from a pious but legendary source, the so-called Acts of Pilate, which was composed towards the end of the second century.
Some scripture scholars believe that wearing a loincloth may have been a special concession the Romans had given to the Jews to spare Jewish sensitivity. Offering a pain-killing drug before the crucifixion may have been another such concession. Jesus was offered one, but he refused to drink from it (Matt. 27:34; Mark 15:23).
However, we have no independent confirmation of such a concession regarding nakedness. The four Gospels give the impression that the soldiers took all Jesus's clothes and divided them as loot.
How did the Romans treat those who were crucified? Contemporary writers, such as Artemidorus and Arnanus, have left descriptions that imply that the unhappy victims were, indeed, left totally naked. Some of the Fathers of the Church, such as St Cyprian and St Augustine meditated on the nakedness of Jesus in words that show they were convinced that total nakedness was one of the humiliations inflicted on him. Weighing the evidence I believe that, in all probability, Jesus did not wear a loincloth on the cross.
Understandably, we avoid extreme realism in our crucifixes and other representations of the passion. But this should not make us forget the horrors of the crucifixion. For our sake, Jesus gave up everything he possessed, as Paul says (Phil 2:7). Next to all the physical pain, Jesus also suffered the excruciating humiliation of being publicly exposed, naked and vulnerable, on a "pillar of disgrace". Is that in itself not worth a meditation and a word of thanks?
But then it may also be important to consider nakedness itself. Because of our Victorian and Puritan past, we still have traces of anti-body feelings in our spirituality. I remember a nurse once telling me that, while she was giving a Catholic patient a bath, this person said to her: "Sister, it must be hard for you to be seeing so much sin."
"What do you mean?", she asked.
"Well, touching the body and all that."
The remark probably hid a complex of incorrect notions: as if any part of our body is less holy and honourable; as if our sexuality is only tolerated by God as a lesser evil; or, as I heard from some people, as if original sin is transmitted through sexual intercourse. Just imagine: the most marvellous bond in the world through which a married couple cooperates with God's creation was seen as a channel of sin!
In our culture, in which sex is discussed much more openly and in which nudity at the same time is often exploited by the media for commercial purposes, we find side by side the old Puritan shame of the body, an unhealthy preoccupation with sex and the search for a responsible freedom. In our time it is essential that we re-state our Christian convictions about the body.
The human body is beautiful. There nothing in it that is sinful, or of which we need to be ashamed. The body even retains its dignity and beauty when people grow older. In Jesus's time people were much more natural about this than we are. Peter was naked when working in his boat (John 21:7). The Greeks and Roman practised their sports without clothes on. The Greek word gymnos meant “naked”. We still find the word in such terms as gymnastics and gymnasium.
We can be shy about nakedness in a healthy and prudent way. But we may also have inherited a false shame about our naked body; like Adam and Eve who, after their sin, suddenly discovered that they were naked (Gen 3:7). In a good Christian education we should be helped to discover the true beauty of the human body and sex. It is precisely because of our deep respect for the body, which is a temple the Holy Spirit, that we will then avoid making it merely an instrument of pleasure (1 Cor 6:18-20).
I find the nakedness of Jesus on the cross meaningful in that context. In his body Jesus carried all scars of our world, including our sexual searchings and aberrations. He redeemed us, and through his risen body enables us to carry our own body with a renewed sense of happiness a respect. "This is Me, this is my body", says to us, as we receive holy communion. His passion, his humiliation, but also his resurrection then flow into us.
http://www.womenpriests.org/body/nakedwos.asp
THE BLASPHEMOUS SCULPTOR:GUY REID
About Guy
As a sculptor working in lime wood, Reid's work is informed by the figure in relation to its spatial, thematic and narrative contexts. His carvings are more often then not, left in the natural wood but can be both painted or partially painted.
Whilst studying for his MA in Theology at King's College London in 1995, Reid undertook a thesis on the relationship between revelation and art. The philosophical debate surrounding this subject has been a significant influence on his work and he has since lectured on the subject.
Reid is facinated by Christain religious narrative and symbolism. Whilst suspicious of religion and its dangers, Reid feels that religion remains (at a profoundly subconscious level) something human beings search for, are intrigued by and engaged with both positively and negatively.
His universalising of traditional religious imagery such as the Madonna and Child, The Crucifixion and Adam, strip away the sentimentality and exclusivity of many of the traditional religious archetypes he refers to, but from within a theologically informed framework. It is this aspect of Reid's work which confuses and challenges both secular and religious interpretation.
Reid works from both live models and photographs and his early works were often framed in a variety of inanimate, abstract settings. When working on portraits, the engagement he has with the individuals who sit for him is central to the work. His repeated studies of his partner Andrew represent a tender and questioning examination of a life shared and form the central focus for recent works. It is the the body itself, both naked and clothed which facinates Reid, evoking the complex nature of being human. At times Reid's work carries an irresistible, contemplative force. Art critics have described certain pieces as beautiful and ugly in almost the same breath.
Reid's relief carvings and studies function like and bare a close relation to the preparatory drawings traditionally used by sculptors. The illusion of depth is created by a play with shadow, light and perspective.
Reid lives and works in the countryside south of Toulouse with his partner Andrew, two dogs and a cat. Silence and space remain central to his work.
Education and Exposure
Arriving from South Africa in 1967 aged 4, Reid was educated at the Priory Comprehensive Wimbledon. In 1975 he moved to Shropshire where he attended Meole Brace Secondary Modern School Shrewsbury and later the Priory Grammer School.
Having completed his first degree in Politics and History at North London Polytechnic he commenced an apprenticeship with the Spink Restoration workshop. In 1995 he completed an MA in Systematic Theology at King's College London.
Reid's reputation was established in the 1990s, with his first Solo Show in the summer of 1999 receiving strong reviews. Other exhibitions followed in London, Manchester, Yorkshire, Birmingham and Liverpool, and internationally in New York, Toulouse and Paris.
Public commissions include the controversial and much acclaimed nude Madonna and Child at St Matthew's Westminster, a figure of Adam for Mirfield College, Yorkshire, a sculpture of St Editha for Polesworth Abbey, 14 lifesize portraits held permanetly at the Avoncroft Museum Bromsgrove and a portrait of the painter Glynn Boyd Harte for the Art Workers Guild London. In 2006 Reid completed a naked crucifixiton for Saint George's Church Paris. A life sized relief carving of the same subject is currently being considered for installation by a Bendedictine abbey in the UK.
Reid's Madonna and Child has been featured in many publications and is also on the cover of the book, Art and Worship (SPCK, 2002).
Reid has been the subject of a documentary for Japanese Television on Contemporary British Artists and appears in Michael Petry's anthology Hidden Histories (www.hiddenhistories.net) published by Artmedia Press 2004. The Museum of Liverpool Life lists Reid's Avoncroft corbels as being of international significance. One of these 14 life-sized portraits is of Reid himself and is featured on the National Portrait Gallery's Self-Portrait UK website.
Reid's work can be found in important private collections worldwide.
Guy Reid lives and works in both Benque d'Aurignac and Toulouse in the South of France
As a sculptor working in lime wood, Reid's work is informed by the figure in relation to its spatial, thematic and narrative contexts. His carvings are more often then not, left in the natural wood but can be both painted or partially painted.
Whilst studying for his MA in Theology at King's College London in 1995, Reid undertook a thesis on the relationship between revelation and art. The philosophical debate surrounding this subject has been a significant influence on his work and he has since lectured on the subject.
Reid is facinated by Christain religious narrative and symbolism. Whilst suspicious of religion and its dangers, Reid feels that religion remains (at a profoundly subconscious level) something human beings search for, are intrigued by and engaged with both positively and negatively.
His universalising of traditional religious imagery such as the Madonna and Child, The Crucifixion and Adam, strip away the sentimentality and exclusivity of many of the traditional religious archetypes he refers to, but from within a theologically informed framework. It is this aspect of Reid's work which confuses and challenges both secular and religious interpretation.
Reid works from both live models and photographs and his early works were often framed in a variety of inanimate, abstract settings. When working on portraits, the engagement he has with the individuals who sit for him is central to the work. His repeated studies of his partner Andrew represent a tender and questioning examination of a life shared and form the central focus for recent works. It is the the body itself, both naked and clothed which facinates Reid, evoking the complex nature of being human. At times Reid's work carries an irresistible, contemplative force. Art critics have described certain pieces as beautiful and ugly in almost the same breath.
Reid's relief carvings and studies function like and bare a close relation to the preparatory drawings traditionally used by sculptors. The illusion of depth is created by a play with shadow, light and perspective.
Reid lives and works in the countryside south of Toulouse with his partner Andrew, two dogs and a cat. Silence and space remain central to his work.
Education and Exposure
Arriving from South Africa in 1967 aged 4, Reid was educated at the Priory Comprehensive Wimbledon. In 1975 he moved to Shropshire where he attended Meole Brace Secondary Modern School Shrewsbury and later the Priory Grammer School.
Having completed his first degree in Politics and History at North London Polytechnic he commenced an apprenticeship with the Spink Restoration workshop. In 1995 he completed an MA in Systematic Theology at King's College London.
Reid's reputation was established in the 1990s, with his first Solo Show in the summer of 1999 receiving strong reviews. Other exhibitions followed in London, Manchester, Yorkshire, Birmingham and Liverpool, and internationally in New York, Toulouse and Paris.
Public commissions include the controversial and much acclaimed nude Madonna and Child at St Matthew's Westminster, a figure of Adam for Mirfield College, Yorkshire, a sculpture of St Editha for Polesworth Abbey, 14 lifesize portraits held permanetly at the Avoncroft Museum Bromsgrove and a portrait of the painter Glynn Boyd Harte for the Art Workers Guild London. In 2006 Reid completed a naked crucifixiton for Saint George's Church Paris. A life sized relief carving of the same subject is currently being considered for installation by a Bendedictine abbey in the UK.
Reid's Madonna and Child has been featured in many publications and is also on the cover of the book, Art and Worship (SPCK, 2002).
Reid has been the subject of a documentary for Japanese Television on Contemporary British Artists and appears in Michael Petry's anthology Hidden Histories (www.hiddenhistories.net) published by Artmedia Press 2004. The Museum of Liverpool Life lists Reid's Avoncroft corbels as being of international significance. One of these 14 life-sized portraits is of Reid himself and is featured on the National Portrait Gallery's Self-Portrait UK website.
Reid's work can be found in important private collections worldwide.
Guy Reid lives and works in both Benque d'Aurignac and Toulouse in the South of France
2008/02/02
BLASPHEMY-THE NAKED MADONNA
The naked Madonna
by Sarah Jane Boss
from THE TABLET, 17 February 2001, p. 235; here republished with the necessary permissions.
A limewood statue of a naked Madonna and Child in an Anglican church in London has caused a furore. The sculptor sees it as expressing the Christian theme of Mary as the Second Eve. The issues are here considered by the director of the Centre for Marian Studies at the Margaret Beaufort Institute in Cambridge.
DURING the past 150 years English viewers have periodically been shocked by representations of the Madonna and Child. The Anglican theologian B. F. Westcott, visiting the Marian apparition shrine of La Salette in 1846, wrote approvingly of the new statue of Our Lady which he found there - an undemanding narrative representation of the original apparition - and contrasted it favourably with the medieval statues of the Virgin in Majesty that he had seen at Le Puy and Dijon, the latter, he said, creating "an involuntary sense of repulsion or even of disgust as if we were in the presence of some fetishworship".
In 1926-27, Jacob Epstein produced a bronze sculpture of the Virgin and Child in which he employed Indian models for the two figures in the group. Believing that Christian art had become tame, and that the awe-inspiring characteristics needed to be reinstated in sacred art, he deliberately chose models who did not conform to current European canons of beauty. Newspaper critics hated his work of this kind, describing it as "primitive" and "barbaric". In 1928, Epstein sculpted a Pietà figure to represent Night on the London Transport building in Westminster. The Daily Express thought that it showed a "prehistoric, blood-sodden cannibal intoning a horrid ritual over a dead victim".
There is therefore nothing surprising about the controversy that has arisen over a recently carved limewood statue of the Virgin and Child which now stands in St Matthew's Church, Westminster. Guy Reid, the statue's sculptor, says he intends the image to be a focus for meditation. Reid's sculpture is small - about 18in in height - and stands on a tall, square column made of soil from the churchyard. Behind the seated Madonna and Child there rises a high, flat, stone back, so that, taken as a whole, the impression is one of enthronement and elevation. The mother looks straight ahead with solemn features, her head resting on that of the child, whom she holds firmly in her hands as he, too, looks forward at the viewer. The mother's face does not conform to popular conventions of beauty, and is extremely striking. One viewer said with tears in her eyes how lovely it was to see Mary represented as a black woman, whilst a Hawaiian visitor said: "Oh, she's Polynesian!" Perhaps it is not foolish to see this Madonna as encapsulating not just everywoman but something beyond human divisions altogether.
Looking at the group straight on, the child appears naked, and the mother is seen to have bare legs and feet, and to be seated on a disc. The disc represents the moon, which has long associations in Marian art and devotion: "fair as the moon", says the Song of Songs, and the Church has for centuries applied this to Our Lady. Looking at the group in profile, the mother leans forward, presenting her son to the world. And from this angle it is clear that the woman is entirely naked, her bare legs and muscular arms being prominent. And this, or course, is what has caused the controversy.
What are the grounds on which the Mother of God might be represented entirely nude? Is it due to a modern obsession with sex? This seems unlikely, since there is nothing obviously erotic about the image. Is the artist just trying to shock? This, too, seems unlikely, since Guy Reid is a deeply devout Anglican, who, like a medieval craftsman, works in St Matthew's church tower and joins in the church's daily prayer and Sunday eucharist. He has a degree in theology, and cares deeply for the inheritance of Christian art. Reid refers his work back to that of the late-fifteenth-century German Gothic wood sculptors, whose strongly individual pieces were some of the first to be made without polychrome.
Reid says that the nakedness of his two figures signifies Christ and the Virgin as the New Adam and the New Eve. The motif of Mary as the Second Eve - in correspondence with St Paul's designation of Christ as the Second Adam - goes back at least as far as the Church Fathers of the second century. As Adam and Eve disobeyed God in the Garden of Eden and thereby brought about the fall from grace, so Christ and Mary restore humanity to God's favour, thus rescuing their fallen ancestors. In art, the contrast and complementarity between Eve and Mary has usually been depicted with Eve naked and Mary clothed, but Reid evidently wants to show a restoration to the primal innocence of Paradise.
A further significance of the figures' nudity is a pointing to the full humanity of the Word of God incarnate. The motif of Christ's own nudity was certainly used in the Middle Ages to indicate precisely this point, as were the Virgin's bare breasts, but she was not shown entirely naked. The only exceptions to this are certain images of Mary's conception which show her naked and more or less mature - in her mother's womb.
But this emphasis on Christ's real humanity is perhaps the sculpture's weakness. For an image of the Incarnation must indicate both the humanity and the divinity of Christ. Already in Gothic sculpture a sense of the divine was beginning to be lost, and Westcott's objections to Romanesque statues of the Virgin in Majesty are surely - in part, at least - the product of a mind accustomed to seeing his Lord depicted only in his creatureliness, without suggestion of the terrifying majesty incarnated in that vulnerable body.
Reid's sculpture is set in a church that already has a large bronze Virgin and Child sculpted by Mother Concordia, and much lavishly gilded imagery, including a huge golden nativity scene for a reredos. If the eye turns between the wood of the statue and the gold, one might have a sense of timeless divinity and fragile humanity; but on its own, this Virgin and Child may not achieve the paradox that the subject requires. Only time, and the meditators, will tell.
http://www.womenpriests.org/body/boss3.asp
by Sarah Jane Boss
from THE TABLET, 17 February 2001, p. 235; here republished with the necessary permissions.
A limewood statue of a naked Madonna and Child in an Anglican church in London has caused a furore. The sculptor sees it as expressing the Christian theme of Mary as the Second Eve. The issues are here considered by the director of the Centre for Marian Studies at the Margaret Beaufort Institute in Cambridge.
DURING the past 150 years English viewers have periodically been shocked by representations of the Madonna and Child. The Anglican theologian B. F. Westcott, visiting the Marian apparition shrine of La Salette in 1846, wrote approvingly of the new statue of Our Lady which he found there - an undemanding narrative representation of the original apparition - and contrasted it favourably with the medieval statues of the Virgin in Majesty that he had seen at Le Puy and Dijon, the latter, he said, creating "an involuntary sense of repulsion or even of disgust as if we were in the presence of some fetishworship".
In 1926-27, Jacob Epstein produced a bronze sculpture of the Virgin and Child in which he employed Indian models for the two figures in the group. Believing that Christian art had become tame, and that the awe-inspiring characteristics needed to be reinstated in sacred art, he deliberately chose models who did not conform to current European canons of beauty. Newspaper critics hated his work of this kind, describing it as "primitive" and "barbaric". In 1928, Epstein sculpted a Pietà figure to represent Night on the London Transport building in Westminster. The Daily Express thought that it showed a "prehistoric, blood-sodden cannibal intoning a horrid ritual over a dead victim".
There is therefore nothing surprising about the controversy that has arisen over a recently carved limewood statue of the Virgin and Child which now stands in St Matthew's Church, Westminster. Guy Reid, the statue's sculptor, says he intends the image to be a focus for meditation. Reid's sculpture is small - about 18in in height - and stands on a tall, square column made of soil from the churchyard. Behind the seated Madonna and Child there rises a high, flat, stone back, so that, taken as a whole, the impression is one of enthronement and elevation. The mother looks straight ahead with solemn features, her head resting on that of the child, whom she holds firmly in her hands as he, too, looks forward at the viewer. The mother's face does not conform to popular conventions of beauty, and is extremely striking. One viewer said with tears in her eyes how lovely it was to see Mary represented as a black woman, whilst a Hawaiian visitor said: "Oh, she's Polynesian!" Perhaps it is not foolish to see this Madonna as encapsulating not just everywoman but something beyond human divisions altogether.
Looking at the group straight on, the child appears naked, and the mother is seen to have bare legs and feet, and to be seated on a disc. The disc represents the moon, which has long associations in Marian art and devotion: "fair as the moon", says the Song of Songs, and the Church has for centuries applied this to Our Lady. Looking at the group in profile, the mother leans forward, presenting her son to the world. And from this angle it is clear that the woman is entirely naked, her bare legs and muscular arms being prominent. And this, or course, is what has caused the controversy.
What are the grounds on which the Mother of God might be represented entirely nude? Is it due to a modern obsession with sex? This seems unlikely, since there is nothing obviously erotic about the image. Is the artist just trying to shock? This, too, seems unlikely, since Guy Reid is a deeply devout Anglican, who, like a medieval craftsman, works in St Matthew's church tower and joins in the church's daily prayer and Sunday eucharist. He has a degree in theology, and cares deeply for the inheritance of Christian art. Reid refers his work back to that of the late-fifteenth-century German Gothic wood sculptors, whose strongly individual pieces were some of the first to be made without polychrome.
Reid says that the nakedness of his two figures signifies Christ and the Virgin as the New Adam and the New Eve. The motif of Mary as the Second Eve - in correspondence with St Paul's designation of Christ as the Second Adam - goes back at least as far as the Church Fathers of the second century. As Adam and Eve disobeyed God in the Garden of Eden and thereby brought about the fall from grace, so Christ and Mary restore humanity to God's favour, thus rescuing their fallen ancestors. In art, the contrast and complementarity between Eve and Mary has usually been depicted with Eve naked and Mary clothed, but Reid evidently wants to show a restoration to the primal innocence of Paradise.
A further significance of the figures' nudity is a pointing to the full humanity of the Word of God incarnate. The motif of Christ's own nudity was certainly used in the Middle Ages to indicate precisely this point, as were the Virgin's bare breasts, but she was not shown entirely naked. The only exceptions to this are certain images of Mary's conception which show her naked and more or less mature - in her mother's womb.
But this emphasis on Christ's real humanity is perhaps the sculpture's weakness. For an image of the Incarnation must indicate both the humanity and the divinity of Christ. Already in Gothic sculpture a sense of the divine was beginning to be lost, and Westcott's objections to Romanesque statues of the Virgin in Majesty are surely - in part, at least - the product of a mind accustomed to seeing his Lord depicted only in his creatureliness, without suggestion of the terrifying majesty incarnated in that vulnerable body.
Reid's sculpture is set in a church that already has a large bronze Virgin and Child sculpted by Mother Concordia, and much lavishly gilded imagery, including a huge golden nativity scene for a reredos. If the eye turns between the wood of the statue and the gold, one might have a sense of timeless divinity and fragile humanity; but on its own, this Virgin and Child may not achieve the paradox that the subject requires. Only time, and the meditators, will tell.
http://www.womenpriests.org/body/boss3.asp
BLASPHEMY-THE PREGNANT VIRGIN BY MALAGOLI
The Pregnant Virgin
by Malagoli
This article orginally appeared in Conscience, published by Catholics for a Free Choice, Spring (2003) p. 35; republished here with permission of the artist and publisher.
MALAGOLI is a Belgian artist and a professor of pictorial art. Her drawings on religious themes are regularly published by the French Catholic monthly review Golias and she has had exhibitions in Belgium and France.
The Pregnant Virgin
©Malagoli, 2002
SINCE JESUS WAS BORN OF A WOMAN, a woman was pregnant with Jesus.
For this woman, the pregnancy must have been what it is for every woman: a world. A world of feelings and thoughts. A succession and crisscrossing of moments of glory and moments of doubt, times of courage and weariness. An experience where the feeling of being inhabited by a mystery gives way to the prosaic reality, where the physical reality of the pregnant body magnifies to a mystical elevation.
Mary's pregnancy must have been all of this. It must have been more than this, due to the Annunciation. How does one believe that the Annunciation put Mary's pregnancy above all others as a sort of "angelic" pregnancy? The son was exposed to temptation and doubt. How can one believe that his mother was spared these trials? The Annunciation did not simplify Mary's pregnancy. It most likely complicated it, and at least intensified it.
The pregnancy of the Virgin: a sublime, but also worrying experience. A subject, that at first glance is susceptible to stimulating artistic inspiration.
So where, in religious icons, do we see a representation of the pregnant Virgin? We go from the Annunciation to Mother and Child, from the announcement of a child to the child already being born. So where is the mother carrying this child and preparing for it to be born? Where is the woman carrying the Word made Flesh, her flesh?
What obstacles, what inhibitions, what embarrassments prevented the representation of this theme? If it involves censorship, it's surely censorship in a quasi-psychoanalytical sense: not a prohibition from expressing what we think or imagine, but inhibition of thinking or imagining.
If there was this prohibition in the past, there are reasons that might explain why. These reasons are linked most notably to the social status of women.
But how does one explain why even today, as soon as one presents to the public — as I have done —a work representing the pregnant Virgin, one is met with reactions of surprise, unease and scandal? At least, once one manages to show it, notably in a private gallery. Because, if one plans on showing this piece in an open space —a cultural center, the foyer of a theatre, a business —one runs the risk of being rejected by those in charge (not necessarily people of faith, by the way) who say they are scared of offending the "religious sentiments" of the public. As if it were a blasphemous theme...
There are also perhaps explanations that call upon the imposed, normative nature of religious iconography. These explanations still leave the following unexplained: That a religion that believes in the Word made Flesh prohibits itself from imagining and representing this flesh that welcomed the Word.
http://www.womenpriests.org/it/body/malagoli.asp
by Malagoli
This article orginally appeared in Conscience, published by Catholics for a Free Choice, Spring (2003) p. 35; republished here with permission of the artist and publisher.
MALAGOLI is a Belgian artist and a professor of pictorial art. Her drawings on religious themes are regularly published by the French Catholic monthly review Golias and she has had exhibitions in Belgium and France.
The Pregnant Virgin
©Malagoli, 2002
SINCE JESUS WAS BORN OF A WOMAN, a woman was pregnant with Jesus.
For this woman, the pregnancy must have been what it is for every woman: a world. A world of feelings and thoughts. A succession and crisscrossing of moments of glory and moments of doubt, times of courage and weariness. An experience where the feeling of being inhabited by a mystery gives way to the prosaic reality, where the physical reality of the pregnant body magnifies to a mystical elevation.
Mary's pregnancy must have been all of this. It must have been more than this, due to the Annunciation. How does one believe that the Annunciation put Mary's pregnancy above all others as a sort of "angelic" pregnancy? The son was exposed to temptation and doubt. How can one believe that his mother was spared these trials? The Annunciation did not simplify Mary's pregnancy. It most likely complicated it, and at least intensified it.
The pregnancy of the Virgin: a sublime, but also worrying experience. A subject, that at first glance is susceptible to stimulating artistic inspiration.
So where, in religious icons, do we see a representation of the pregnant Virgin? We go from the Annunciation to Mother and Child, from the announcement of a child to the child already being born. So where is the mother carrying this child and preparing for it to be born? Where is the woman carrying the Word made Flesh, her flesh?
What obstacles, what inhibitions, what embarrassments prevented the representation of this theme? If it involves censorship, it's surely censorship in a quasi-psychoanalytical sense: not a prohibition from expressing what we think or imagine, but inhibition of thinking or imagining.
If there was this prohibition in the past, there are reasons that might explain why. These reasons are linked most notably to the social status of women.
But how does one explain why even today, as soon as one presents to the public — as I have done —a work representing the pregnant Virgin, one is met with reactions of surprise, unease and scandal? At least, once one manages to show it, notably in a private gallery. Because, if one plans on showing this piece in an open space —a cultural center, the foyer of a theatre, a business —one runs the risk of being rejected by those in charge (not necessarily people of faith, by the way) who say they are scared of offending the "religious sentiments" of the public. As if it were a blasphemous theme...
There are also perhaps explanations that call upon the imposed, normative nature of religious iconography. These explanations still leave the following unexplained: That a religion that believes in the Word made Flesh prohibits itself from imagining and representing this flesh that welcomed the Word.
http://www.womenpriests.org/it/body/malagoli.asp
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