This Nike ad from a 1983 magazine shows Dante and Virgil in the Infernal circle of the Simonists, browsing for shoes.
Contributed by Dennis Looney
Iced Earth, “Burnt Offerings” (1995)
“This is Iced Earth’s heaviest album, but it still retains powerful symphonic sounds and heart-twisting acoustic passages. It also has all sorts of song structures, time changes, and cool stuff packed everywhere. Iced Earth had some long songs on the previous albums, but on this one they show their ability to create a full-fledged epic. ‘Dante’s Inferno’ takes us through the Nine Planes of Hell for sixteen minutes, each plane something new and demonic. This album was written during angry times — and it shows.” —Iced Earth
Lyrics include: “Damned, the wrathful and the vain / Suffer the fifth plain / Cross the river Styx / Heed your crucifix / The muddied corpses cry / Howling to the sky / Reach the other side / Open wide the gate!”
Cited in Loudwire’s “11 Metal Songs Inspired by Dante’s Inferno” by Katie Irizarry (August 15, 2018).
Eternal Cool Project, “Inferno: The Rap” (2005)
“This is a unique, never before done approach to Dante Alighieri’s Inferno. Lyrics written in the 14th Century, as translated in the mid 1800s by H Cary, are rapped by MicPwr, over a music track composed by Mr Moe. It is a powerful depiction of a medieval Hell, performed by uban artists.” —CD Baby
Janet Van Fleet, Sculptures for “A Guided Tour of Dante’s Inferno”
“The Inferno of Dante Alighieri,” a rhymed translation by Seth Zimmerman with illustrations by Janet Van Fleet
Learn more at Inferno Dante and see the book on Amazon.
Dante in Coney Island
“By Thursday, nearly 30 tractor-trailers had been loaded with classic Astroland rides and driven out. There was no sign of the Scrambler, the Tilt-a-Whirl or the Mini Tea Cup. Dante’s Inferno, a haunted house, stood empty and ravaged, looking more haunted than ever. The Pirate Ship was moored atop a flatbed truck, awaiting storage.” [. . .] –David W. Dunlap and Ann Farmer, The New York Times, January 9, 2009
Photo by Marta Lwin, 2004
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