50 years ago, the Satanic Panic spread like wildfire, leaving the Devil with a strong grip on the necks of so many Americans. The paranoia of demonic rituals and elusive cults kept citizens weary of what played on their televisions and music stations.
As we all know, time is a continuous loop; what goes around comes back around. Thus, it’s not surprising to me that in recent years, I have seen a massive resurgence of baseless accusations and a genuine fear of Hollywood elites, entertainers, and politicians worshiping the Devil.
The roots of this hellish scare can be traced back to the 1970’s where buzzing media cases, such as the sexual abuse recorded at McMartin’s preschool, drew connections between child abuse and alleged Satanic rituals. The media took these stories and sensationalized them, only creating more widespread fear.
The occult continued to grow with the release of horror movies like “The Exorcist” and books like Anton Levey’s “The Satanic Bible”. Fear of the Devil is burned into the collective psyche of most people from a very young age. Interestingly enough, the world witnessed that fear morph into a cultural phenomenon, both deconstructing and rebuilding the narrative that surrounded Satan and his alleged followers.
I could argue that a low-profile Satanic cult does not make a high-profile threat to the average citizen, but it is clear that this was not the prevailing sentiment at the time.
The 80s brought big movies, big songs, and even bigger stars which only escalated the terror. Take Madonna, for instance; her boldness when it came to expressing sexuality resulted in accusations of devil worship. What emerged from this was something unlike ever before; artists began to embrace these claims wholeheartedly.
Madonna’s provocative performances and controversial music videos, particularly for songs like “Like a Prayer,” where the songstress posed before burning crosses, became battlegrounds for cultural debates. She leaned into the controversy, using it as a platform to discuss issues of sexuality, identity, and religious hypocrisy.
Rather than shying away from the accusations, she used them to spark a conversation, highlighting the absurdity of the fears surrounding her work. This approach not only challenged societal norms but also positioned her as a figure of empowerment amid the chaos. It also brought up a timeless marketing strategy… “Any press is good press.”
Similarly, other prominent artists like Ozzy Osbourne and Alice Cooper embraced the dark energy that their fearful audiences attached to them. The idea that these musicians were “dangerous” became part of their allure, creating a paradox where the very accusations meant to silence them instead fueled their popularity.
Fast forward to today and we can examine the exact same thing. Whether it be the controversies surrounding Lil Nas X and his provocative “Montero” video, Billie Eilish’s dark themes in songs like “All the Good Girls Go to Hell,” Lady Gaga’s use of occult symbolism in her performances, or Travis Scott facing backlash after the Astroworld Festival tragedy, these artists are navigating a landscape where bold expression is met with renewed fears and accusations, echoing the moral panics of the past.
Knowing this, we have to ask ourselves; will it ever truly end? The modern landscape of celebrity culture reveals that, despite our immense civil progress, the fear of the unknown remains deeply ingrained in many of our hearts. Just as the 80s saw artists challenging societal norms amid accusations of Satanism, today’s entertainers navigate a sticky web made up of the same type of scrutiny and speculation.
I find it both fascinating and troubling that this cycle of fear continues. The buzz we witness whenever an entertainer does something that is deemed as “different” serves as a constant reminder that history will always repeat itself, and the tango between art and anxiety is so far from over.