Last Podcast On The Left
Last Podcast On The Left
"The whole point of the church of Satan was anti hippie. Well, he didn't run with Neal Cassidy, but he ran with people who ran with Neal Cassidy." — Ed Larson
"And Anton Levet said is where he truly watched and learned. But Anton Levet was also all about style. And he, like any cultural figure, worth their snuff, went through many iterations before finally settling on the Mephistopheles core look that made him famous." — Ed Larson
"It's not evil. Like the bathamette is the reason why it works so well for esoteric symbolism is because when you look at it, you're like, 'Oh my god, this evil god, this evil horn thing.' But it's exactly what you said. It's technically just a symbol of the balance of the flows of male and feminine, dark and light, all of these things. It's about balance. It's not an evil figure at all. It just looks evil, which works great for people." — Henry Zabrowski
The episode details Anton LaVey's early life and career, highlighting his time in carnivals and side shows. LaVey claimed various experiences, including working with big cats and playing the calliope, which he used to build his mystique. His exposure to performers like Francesco Lentini and Bill Dirks, and his observations of "mit camps" and mentalists, provided a foundation for his understanding of showmanship and psychological manipulation. The narrative then shifts to his move to San Francisco, where he further cultivated his image, allegedly working as a crime scene photographer and ghost hunter, further solidifying his reputation as an eccentric character. This period saw him begin formalizing his philosophical ideas, which would eventually lead to the founding of the Church of Satan.
The establishment of the Church of Satan in 1966 is presented as a calculated move, capitalizing on the era's cultural shifts, particularly the questioning of traditional religious authority as highlighted by a Time magazine cover story. LaVey's adoption of a distinctive visual style, inspired by figures like Don Rickles and medieval executioners, was crucial to his persona. The episode explores his early followers, the "Magic Circle," and the formation of the "Order of the Trapezoid," which served as a precursor to the Church of Satan. LaVey's personal life, including his relationships and his home, the infamous "Black House," are discussed, emphasizing the theatrical and ritualistic elements he incorporated into his environment and teachings.
The discussion touches on LaVey's interactions with notable figures, including actress Jayne Mansfield, and explores the symbolism of Baphomet, detailing its historical origins and how LaVey adapted it for the Church of Satan. The episode emphasizes LaVey's understanding of performance, myth-making, and the exploitation of cultural anxieties to build his organization. The role of women, particularly Diane Hegarty, in the development and administration of the Church of Satan is highlighted, alongside an examination of LaVey's philosophy on consent and individualism, presented as an antithesis to traditional religious doctrines and the perceived excesses of the hippie movement.