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Scott Wilson - Great Satans Rage: American Negativity and Rap/Metal in the Age of Supercapitalism

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Book:
Great Satans Rage: American Negativity and Rap/Metal in the Age of Supercapitalism
Author:
Scott Wilson
Publisher:
Manchester University Press
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Books / Politics
Year:
2008
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Great Satans rage

The planet is congested with wealth and death,
a scream pierces the clouds.

Georges Bataille

Great Satans rage

American negativity and rap/metal in the age of supercapitalism

Scott Wilson

Manchester University Press

Manchester and New York

distributed exclusively in the USA by Palgrave

The right of Scott Wilson to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988.

Published by Manchester University Press
Oxford Road, Manchester M13 9NR, UK
and Room 400, 175 Fifth Avenue, New York, NY 10010, USA
www.manchesteruniversitypress.co.uk

Distributed exclusively in the USA by
Palgrave, 175 Fifth Avenue, New York,
NY 10010, USA

Distributed exclusively in Canada by
UBC Press, University of British Columbia, 2029 West Mall,
Vancouver, BC, Canada V6T 1Z2

British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data applied for

ISBN 978 0 7190 7463 9 hardback

First published 2008
16 15 14 13 12 11 10 09 08 10 9 8 7 6 5 4 3 2 1

The publisher has no responsibility for the persistence or accuracy of URLs for any external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

Typeset

by Frances Hackeson Freelance Publishing Services, Brinscall, Lancs

Contents

I would like to thank members of the Institute for Cultural Research at Lancaster University for their advice, suggestions and camaraderie, particularly Fred Botting, Nick Gebhardt, Jonathan Munby, Richard Rushton and Hager Weslati. Thanks are also due to students of the MA in Cultural Studies where some of this material was developed, particularly John Marris, Ryan Speed and Wang Qiong. Diane Rubensteins comments on the becoming nonAmerican part of the book were invaluable. The book would not have been possible without John Wilsons archive, knowledge and detailed corrections and Mia Wilsons inspiration. To Petra Jackson I owe everything.

Finally, I would like to thank Philippa Berry and Andrew Wernick for getting me started on this project, Matthew Frost for eventually going for it and his colleagues at Manchester University Press, especially Jenny Howard and Tony Mason for working with me on the production of the book. Many thanks also to the anonymous readers who supplied very helpful and encouraging comments both at the proposal stage and with regard to the full manuscript.

A preliminary version of part of Econopoiesis has appeared as Writing Excess: The Poetic Principle of Post-literary Culture in Patricia Waugh (ed.), Literary Theory and Criticism, Oxford: Oxford University Press, 2006.

For John

Satan, now first inflamed with rage, came down,
To wreck on innocent man his loss

and his flight to hell.

(John Milton, Book IV Paradise Lost, 1667 (Milton, ))

Absolute destruction is the battleground were given
Strip away the fabric of a thousand years of living
The trumpet of freedom has sounded
Great Satan.

(Ministry, The Great Satan, 2005)

Satans rage

Satan is defined by the quality of his rage: the rage against the throne and monarchy of God, the war that raged in Heaven resulting in Satan and his rebel angels to be cast into the inferno. His doom reserving him to an eternity of rage, Satan headed to the new world to wreak his revenge on Gods creation.

John Miltons Paradise Lost (1667) (Milton, ) is of course a defining text of Puritanism, the revolutionary religious movement that caused the Mayflower pilgrims to be cast out of England and to head for the New World in 1620. Over the next twenty or thirty years, more than twenty thousand pilgrims, mostly English puritans, migrated to join the fledgling Massachusetts Bay Colony, which became the first substantial base for the European colonisation of North America.

Although based on just a few lines in Isaiah (XIV) and the Book of Revelations (XII), Miltons Satan is developed into a dark and glamorous figure who later became, for the romantics, a hero of rebellion and revolution. William Blake famously wrote in The Marriage of Heaven and Hell that the reason Milton wrote in fetters when he wrote of Angels God, and at liberty when of Devils Hell is because he was of the Devils party without knowing it (Blake, partisan of the American Revolution. Printed the same year as The Marriage of Heaven and Hell in 1793, America: A Prophecy features Blakes own satanic hero, Orc. Condemned in the poem by his enemy, Albions Angel, the representative of George III and Urizen, Blakes personification of moral law, prohibition and repression, Orc is described as serpent formd and called Blasphemous Demon, Antichrist, hater of Dignities; Lover of wild rebellion, and transgressor of Gods Law (198). Orc is a figure of energy and desire raging against all forms of moral and rational restriction. In America he comes both to prophesy and to embody the spirit of American rebellion and desire for independence.

Because of Americas puritan heritage and romantic aspirations, Satan has a prominent, yet highly ambivalent role in the history of its culture, and indeed in its religious and political rhetoric. From Doctor Dwight to The Witches of Eastwick, Robert Johnson to Deicide, Salem to South Park, where Satan takes Saddam Hussein as his gay lover in Hell, Satan is a highly complex, glamorous and rebellious figure, a barometer of Americas fears and desires.

The United States of America was itself called the Great Satan by the Ayatollah Khomeini on 5 November 1979, the year of the Iranian revolution. In the Quran Satan is the great seducer, the insidious tempter who whispers in the hearts of men (Quran, CXIV, 4, 5). For the Islamic radicals behind the revolution, Americas satanic influence resides in its secular and liberal traditions. The Iranian idea of America as a satanic seducer is often associated with the radical Islamic ideologue Sayyid Qutb, generally cited as the founding figure of Islamic fundamentalism. Qutb spent two years in America and was appalled by what he considered to be its irreligious sensuality and decadence. Writing in his memoir, Amrika allati Raaytu (America that I saw), about his experience of church dance halls, Qubt disclosed that these were places where people of both sexes meet, mix and touch. Noting further the appalling conduct of the ministers themselves

who even go so far as to dim the lights to facilitate the fury of the dance the dance is inflamed by the notes of a gramophone (and) the dance hall becomes a whirl of heels and thighs, arms enfold hips, lips and breasts meet, and the air is full of lust. (Qutb, cited in Calvert, : 98)

Significantly, it is music created by negroes to satisfy their love of noise and to whet their sexual desires (99) that provides the medium of Americas satanic seduction. That jazz and rock n roll is the devils music is a view that is of course perfectly consistent with Americas own religious right, something parodied and celebrated by rocks most passionate adherents: Soon I discovered that this rock thing was true. Jerry Lee Lewis was the Devil All of a sudden I found myself in love with the world. So there was only one thing that I could do: ding-a-ding-dang my dang-a-long ling-long (Ministry, Jesus Built My Hot Rod, 1992).

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