Lucifer Rising
Gavin Baddeley
London: Plexus Publishing, 1999; Pages: 245
Review © 2000 Branislav L. Slantchev
Here is another take on Satanism, very different from the pseudo-sociological LORDS OF CHAOS or the morose drivel of the Christian zealot "experts" like Thomas Wedge. The author, who does not hide his affiliation with LaVey's Church of Satan, is at pains to trace the genealogy of Satanism from medieval times to its current pop incarnation. The result is an apology of sorts --- Satanism is described as a cultural movement, a spiritual phenomenon more interested in releasing the individual from societal oppression which is usually manifested in sexual, religious, or even political suppression than dabbling with occult powers. Baddeley peddles the rather unique LaVeyan brand of Satanism as a totally safe alternative to the moral majority. The work brushes on the more esoteric cabals, like that of Aliester Crowley, the neo-pagan Wiccans, and is curtly dismissive of the cold Norse Satanism. The author also takes great pains to disavow Satanism's alleged connections with neo-Nazism, racism, pedophilia, human and animal sacrifice, and the like, by describing such credos and acts as irrational deviations, relegating their followers to the dungheap of anti-intellectual mongrels. True Satanists, apparently, are intellectuals, who enjoy life and self-empowerment. The book ends up reading like a self-improvement manual.There are plenty of good things to be said about LUCIFER RISING, but a level discussion of Satanism it ain't. In fact, I am not sure what the author was trying to accomplish (aside from the above-mentioned Apologetica Satanica). Part One, which makes up the history of Satanism, is only a history of the well-known publicized (i.e. sanitized) versions of exotic cults, mystic beliefs, or propaganda. Most of the topics discussed under this heading actually have very little to do with Satanism, as the author repeatedly points out. Their inclusion only serves to link the CoS's teachings to the intellectual undercurrents of modern society.
Part Two features an uninspiring treatment of various CoS spin-offs, such as the Temple of Set, and then delves head first in what should have been the most interesting part of the book: popular culture and Satanism, especially in movies and music. Of the arts, literature is notably missing. Given that the written word is the most utilized, if not the most potent, means of communication, this a curious omission. The analysis of cinematic evil is restricted to several popular "evil" movies, like ROSEMARY'S BABY (a boring thriller of urban hysteria and paranoia), THE EXORCIST (correctly identified as Christian propaganda, which the traditionally stupid moral majority failed to realize), and THE OMEN (most notable for its musical score). Needless to say, the underbelly of Hollywood is seeding with many monsters of movies, which revel in blasphemy, Satanism, the occult, and the like. Similarly, heavy metal gets a suspicious treatment. One should always be on the guard when AC/DC are hailed as a HM outfit. Despite some factual errors, the expose is remarkably solid in other respects, such as the great interview with King Diamond, and the take on the Black Metal precursors, Bathory and Venom. This part concludes with some brief debunking of Satanic crime, conspiracy, and ritual abuse myths. This must be read in conjunction with THE SATAN HUNTER or something written by an "expert" of Wedge's ilk. Very sobering and entertaining.
Finally, Part Three covers the most recent developments in Satanism and as such inevitably goes into the murky world of Social Darwinism, Black Metal, and assorted oddities. I cannot speak much about the link between neo-Nazism and Satanism, but it does seem more symbolic than actual. The cross-pollination in terminology and some of the beliefs cannot cover the ideological rifts between the two. The other most recognizable outlet for Satanism, Black Metal, is given the short end of the stick. LORDS OF CHAOS presents a much better, albeit somewhat exaggerated and mythologized, version of the events in the early 1990s that propelled BM from the cold Scandinavia onto the world scene. Again, the author displays his own prejudice and dismisses the phenomenon as an aberration (read his interview with Euronymous and Varg to see his utter inability to understand the extent of their nihilism). I think he ends up fighting in the war that the Black Metal Circle started against CoS. Shabby treatment at best, a non-subtle propaganda at worst.
The best feature of this book is its presentation of Satanism as a belief, or rather, as an infinitely amusing chaos of beliefs that range from the sublime to the brutally profane. There is no religion, no system, sometimes even no connection, between various movements, groups, or credos that profess to be Satanic. This cacophony of ideas turns out to be a refreshing, albeit somewhat disturbing, read. Eventually, it all boils down to personal interpretation, as the various interviews suggest that each interviewee regards Satan in an individualistic fashion. For most of them, he is not the Devil of the Bible, but is rather a dark force which represents rebellion, indulgence, individuality, freedom, and power. None of these are bad things, of course, which may account for the attraction this brand of Satanism holds for the intellectual types. The other, darker, destructive, evil aspect that finds expression in Black Metal, for example, also seldom goes beyond the theatrics, as correctly noted by the author, and either transforms into Norse paganism or harmless posturing (e.g. Cradle of Filth, etc.). Thus, this book on Satanism lacks one thing -- genuine Satanism. That this must be so is easy to see, if there exist cults that practice black magic, sacrifices, or other diabolical rites, their members won't give interviews, their crimes won't be plastered all over the papers for the gullible public to read, and their activities certainly won't fit the reverie of the pompous and fun-loving Church of Satan. Thus, this ends up being a book on Satanism as pop culture, little else.
March 12, 2000. BLS
@BOOK{baddeley-99:lucifer,
TITLE = {Lucifer Rising},
AUTHOR = {Gavin Baddeley},
YEAR = {1999},
PUBLISHER = {Plexus Publishing},
ADDRESS = {London},
ISBN = {0-85965-280-7},
NOTE = {Pp. 245}
}