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Episode 669: Anton LaVey Part IV - Old Wizards Die Hard
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Anton LaVey and the Neo-Nazis: The Nazi Bar Principle
At 1:08:35 · chapter starts 1:07:40
LaVey's association with neo-Nazis seems at odds with his genuine friendship with Sammy Davis Jr., but Henry reveals a key letter explaining LaVey's motive: he believed neo-Nazis were not serious ideologues and that he could exploit their anti-Christian sentiment to fold them into a broader Satanist coalition alongside Jews. His plan was common-enemy logic: forget the Jews, the real enemy is the Catholic Church. Marcus calls this a violation of the Nazi bar principle — as soon as you let Nazis in, every other Nazi treats your space as safe harbor. [1] — Henry Zebrowski "Fascism uses nostalgia as a weapon. Always." 1:11:56 Henry goes further: LaVey's willingness to associate with anyone was really a symptom of his desperate need to be loved, the same vacuous hole that drove L. Ron Hubbard and every other cult leader. He weaponized this need into the concept of Emotional Crystallization Initiation — surrounding himself with images of his youth, refusing to engage with youth culture — which Henry argues is precisely the mechanism that froze LaVey in place while the world moved on without him. Fascism uses nostalgia as a weapon. Always.
LaVey wasn't fascist by ideology — he genuinely thought he could peel Nazis away from antisemitism by pointing them at a common enemy: the Catholic Church. His plan was to unite Nazis and Jews in hatred of Christianity. He didn't understand that once you let Nazis in, your space becomes a safe space for every Nazi. Basic. Fatal.
LaVey created a concept he called Emotional Crystallization Initiation — surrounding himself with pictures of his younger self and refusing to engage with youth culture. He thought it preserved his essence. What it actually did was freeze him in amber, making him the thing he hated: a nostalgic old man clinging to a past that didn't want him back.
LaVey's 'Emotional Crystallization Initiation' ritual — surrounding himself with images of his youth — ironically accelerated his psychological stagnation and creative death.
