[A note to non-Satanists: Before reading this, please understand that Pee-Wee and his creator are not preaching Satanism. This is a highly personal interpretation of the character and his world. It is not to be understood as anything else. Pee-Wee has endured enough scandal already!]
Earlier this month, under the dark of the moon, in a chamber nestled among the Luciferian lights of Broadway, I attended a magical ritual. It was conducted by a sorcerer who has been an indirect mentor to me since my childhood.
This ritual was none other than The Pee-Wee Herman Show.
It might not be terribly obvious, but Pee-Wee Herman embodies several principles that resonate deeply with elements of Satanism.
Those new to Satanism may want to read the Church of Satan Informational Pack, along with other literature, to better grasp some of this. But for the most part, it should be self-explanatory.
Pee-Wee Herman is a staunch individualist. He is immune from any possibility of being changed by anyone outside of himself. Such is his strength of will that, if there is to be change, it will be in the people and objects around him! This can be seen most clearly in his Playhouse.
Pee-Wee's Playhouse is a total environment. He has surrounded himself with imagery, companions, and activities that stimulate, satisfy, and express his ego. It is his sanctuary and, at times, his ritual chamber.
It is also significant that, aside from a few human visitors, Pee-Wee’s primary companions are what would normally be inanimate objects. Through either technology or imagination, most of the items in his world are animated, or even alive. Though some are more anthropomorphic than others, all of these objects serve as Pee-Wee's artificial human companions.
This unique environment is shaped by Pee-Wee’s profound capacity for evocation, which is a key principle at the often-misunderstood heart of Satanism.
Adding to this energy is "the secret word" that, from day to day, tautens the Playhouse's atmosphere with its explosive potential. Secrets are powerful, and this one never fails to unleash a confounding outburst of prankish cacophony.
If you’ve ever seen Pee-Wee on stage, you know how many dirty jokes he and his friends tell. Though distasteful to prudes, these are simply a mischievous celebration of carnality. This is, of course, essential to any truly good life — unless one’s particular fetishes encourage a rare inclination to the contrary!
It's not just the dirty jokes that are so diabolically delightful, though. If, as Baudelaire said, "Laughter is Satanic," then Pee-Wee surely ranks highly among the devils of mythology!
The final major Satanic element of Pee-Wee’s world is more overtly related to magic and ritual. Jambi, a genie (djinn) who lives in a trapezoidal box, is the most traditionally magical part of this environment. He grants wishes, inviting others to join him in a chant that, though it may be gibberish, is given meaning through its esoteric implications. These otherwise nonsensical words are, by their very association with magic, used to heighten emotions for the purpose of projecting and manifesting the wisher's will.
Pee-Wee’s stage show also imparts two more significant magical lessons, which the perceptive can identify without my specifying them and spoiling the plot. The first is that, if one uses magic to bestow a blessing upon another person, this must be done with absolute certainty that success would not bring unhappiness to him or herself; otherwise, it may backfire. The second lesson is that one should not waste magical efforts on anything that could be better achieved through more direct means.
As with just about anything, the ultimate relevance of Pee-Wee Herman to Satanism is as varied as Satanists themselves. This is just a basic survey of themes of general interest to Satanists, at least a few of whom are some of Pee-Wee's biggest fans.