78 International Journal of Cultic Studies ■ Vol. 9, 2018
Scientology’s Art and Music
The final two chapters of the book focus on new
areas of analysis—Scientology art and music.
George Shaw and Susan Raine focus on the
artwork commissioned by Hubbard for book-
cover redesigns. These new covers, such as the
erupting volcano on redesigned covers of
Dianetics: The Modern Science of Mental
Health, “were meant to act as powerful symbolic
reminders of past events” (p 305) in Scientology
mythology. Shaw and Raine discuss Hubbard’s
goal of using these artistic book covers as “tools
of persuasion” (p. 311) that he claimed would,
for example, help members get past customs
agents by “subliminally sway[ing]” (p. 312)
these agents if the covers were displayed.
Further developing and deepening their analysis,
the authors also, for example, examine
Hubbard’s interest in “subliminal manipulation
in advertising” (p. 313) as exemplified by his
use of Christian symbols to form a kind of
“symbiotic relationship” (p. 315) between the
two religious organizations.
In the final chapter, Mark Evans presents a
unique view of Hubbard in that he is discussed
as a failure. Evans provides an overview of
Scientology’s musical ventures including
Hubbard’s “textbook-like proclamations about
how music works” (p. 336), the Sea
Organization house band and recording artists
The Apollo Stars, and an album written and
composed by Hubbard entitled The Road to
Freedom. However, Evans contends that these
ventures into the realm of music fell short: “We
have music speaking to—preaching at—its
audience, in the hope that some of the messages
will sink in. They didn’t. Hubbard’s successes in
other creative fields were not to be replicated in
music” (p. 347). Both chapters offer a critical
view on new areas of focus that readers will
surely find intriguing as unexplored subjects
within Scientology, and also perhaps as
underexplored areas in general.
Conclusion
This focused rather than comprehensive study
on the Church of Scientology will likely be quite
beneficial to scholars in a variety of fields and
also those outside of academia. Though the
reader may need some familiarity with
Scientology because this book is not intended to
provide a history nor an introduction to the
organization, the concepts are easily
comprehended, grounded in the evidence
presented, and backed by thorough analysis. In
addition, Susan Raine provides a clear and
concise introduction that functions as an
educative, contextual overview of Scientology
and as a preliminary guide to the chapters
included in the book, and that would certainly
aid readers who are unfamiliar with this
organization.
Separately, each chapter stands alone, rife with
interwoven analysis and insight. Considered
together, the chapters speak to and build upon
one another to offer a new and deeper
understanding of Scientology and its role in
popular culture. As a well-written and timely
volume, readers will be drawn to its multifaceted
discussion of Scientology and its relationship
with popular culture.
About the Reviewer
Sarah Lonelodge is a PhD student and teaching
assistant in the English Department at Oklahoma
State University. Her research interests include
religious rhetoric and propaganda, rhetorical
theory, religion and politics, writing program
administration, and composition pedagogy.
Scientology’s Art and Music
The final two chapters of the book focus on new
areas of analysis—Scientology art and music.
George Shaw and Susan Raine focus on the
artwork commissioned by Hubbard for book-
cover redesigns. These new covers, such as the
erupting volcano on redesigned covers of
Dianetics: The Modern Science of Mental
Health, “were meant to act as powerful symbolic
reminders of past events” (p 305) in Scientology
mythology. Shaw and Raine discuss Hubbard’s
goal of using these artistic book covers as “tools
of persuasion” (p. 311) that he claimed would,
for example, help members get past customs
agents by “subliminally sway[ing]” (p. 312)
these agents if the covers were displayed.
Further developing and deepening their analysis,
the authors also, for example, examine
Hubbard’s interest in “subliminal manipulation
in advertising” (p. 313) as exemplified by his
use of Christian symbols to form a kind of
“symbiotic relationship” (p. 315) between the
two religious organizations.
In the final chapter, Mark Evans presents a
unique view of Hubbard in that he is discussed
as a failure. Evans provides an overview of
Scientology’s musical ventures including
Hubbard’s “textbook-like proclamations about
how music works” (p. 336), the Sea
Organization house band and recording artists
The Apollo Stars, and an album written and
composed by Hubbard entitled The Road to
Freedom. However, Evans contends that these
ventures into the realm of music fell short: “We
have music speaking to—preaching at—its
audience, in the hope that some of the messages
will sink in. They didn’t. Hubbard’s successes in
other creative fields were not to be replicated in
music” (p. 347). Both chapters offer a critical
view on new areas of focus that readers will
surely find intriguing as unexplored subjects
within Scientology, and also perhaps as
underexplored areas in general.
Conclusion
This focused rather than comprehensive study
on the Church of Scientology will likely be quite
beneficial to scholars in a variety of fields and
also those outside of academia. Though the
reader may need some familiarity with
Scientology because this book is not intended to
provide a history nor an introduction to the
organization, the concepts are easily
comprehended, grounded in the evidence
presented, and backed by thorough analysis. In
addition, Susan Raine provides a clear and
concise introduction that functions as an
educative, contextual overview of Scientology
and as a preliminary guide to the chapters
included in the book, and that would certainly
aid readers who are unfamiliar with this
organization.
Separately, each chapter stands alone, rife with
interwoven analysis and insight. Considered
together, the chapters speak to and build upon
one another to offer a new and deeper
understanding of Scientology and its role in
popular culture. As a well-written and timely
volume, readers will be drawn to its multifaceted
discussion of Scientology and its relationship
with popular culture.
About the Reviewer
Sarah Lonelodge is a PhD student and teaching
assistant in the English Department at Oklahoma
State University. Her research interests include
religious rhetoric and propaganda, rhetorical
theory, religion and politics, writing program
administration, and composition pedagogy.
