[ t e x t . o n l y . v e r s i o n ] [ b y . c h r i s . m u r r a y ]
"I have nightmares every night about all sorts of
different things, I've actually come to enjoy them -- I've come to enjoy
fear." [Marilyn Manson, 1997].
In the aftermath of Littleton, the concert cancellations
"out of respect for those lost in the school tragedy", the twice postponed
"Coma White" video (most recently out of "respect" for the funeral of
JFK Jnr), one can only wonder what kind of fear the shock-rock god of
the 90s actually enjoys these days. Surely "respect" and Marilyn Manson
has got to be some kind of oxymoron. Has the Anti-Christ superstar seen
"the light" since sharing his thoughts on fear during the first of two
interviews I did with him? Or is this just another facet of Marilyn Manson
-- the enigma of the MTV generation?
While Manson's comment about enjoying fear may
read like headline-grabbing bravura, his voice showed no sign of sarcasm
-- he has a deadly serious point to make: "The only thing that scares
me is to lose the power and strength of my own individuality. I wouldn't
want to become like the less creative people. I look down upon the less
informed and the sheep-like, whether it be Christianity or not (I've grown
tired of complaining about Christianity actually), people who are content
with sitting in front of their TV and not being creative or not making
their own opinion -- I look down upon these people the same way people
look down at apes as being a less evolved version of themselves. Once
you experience so much, you go through a transformation like I have, you
can't expect people to understand what you're trying to do -- it's beyond
their experience and really something they can't comprehend. Yet it's
something that people will get to in their lives if they want to -- but
you know ... some people never want to."
Love him, loathe him -- or perhaps purposely just
try and avoid the inevitable coverage, Marilyn Manson has made quite an
impact upon the world we have lived in over the last three years. If you
don't think so, then how come we have all these bands like Orgy, Incubus,
Korn and Rammstein glamming themselves up, cutting the harder-edged groove
currently being embraced by the industry, and basically watching each
other's film clips to see which move to make next -- all the while subconsciously
taking visual shorthand at every Manson appearance. Not for a minute am
I suggesting that these other artists are not inventing music in their
own right, it's just that credit must be given to the guy that opened
a lot of doors. Yet while paving the way for others to be included on
the "guest-list", Manson is still being asked for ID at every turn.
Since crashing upon the musical arena in the wake
of "Goth/Industrial/Darkwave/Electrodance Revival # 4" thanks to Mr Trent
Reznor and his commercially successful Nine Inch Nails, Manson has captured
the imagination of youth and brought the stage alive again like it was
in the 70s when live concerts were events. His unashamed arrogance, elitist
attitudes and merciless opinions on religion and institutionalised conformity
are nothing new but have a freshness and originality because of the raw
delivery. The music, unfortunately has always taken a back road to the
media sensationalism, yet it must be good otherwise he'd have faded away
along with the endless imitators and bands with "attitude". The music
IS good -- in fact if more doubters looked beyond the hype and reflected
on what the man is actually saying, they may find his thoughts quite positive.
The first time I spoke to Brian Warner (Manson),
he'd just completed an Australian tour with a one-night-only show at Sydney's
Enmore Theatre (1997). The show was a success and cemented Manson as more
than just a one-trick pony. Theatrics, in-store appearances and TV interviews,
he's never shy at self-promotion. He pulls them all off in a well-spoken
and reserved manner despite the camera flashes and the news exposes that
crucify the artist as he goes about his work. His voice coming over the
phone line seems worlds away from the face-painted banshee that wiped
his arse with the American flag on stage.
Manson, in fact, is a bit of an interviewing dream
as he's quite quick on the return and very stimulating conversation. But
let's not forget that the man actually used to be a music critic before
changing his name and forming an internationally successful rock band
-- he knows exactly what he's doing! Perhaps that's why he's the only
artist I know of that gets fat pay cheques NOT to play in certain cities
of the United States.
Is he happy with his mantle in the public consciousness?
"It's something that I've brought upon myself," he told me. "It's also
something that "Mechanical Animals" deals with -- just being a part of
that soulless world and playing the game. There's certainly a lot of sarcasm
and I deal with that on this record ... The album is very sterile, it's
a metaphor for the lack of emotion I see the world having with people
suppressing their feelings. The record is very hallucinatory and often
sees people as androids or "other things" posing as people and looking
like humans -- but they have no soul."
Manson continues, "I have definitely pushed the
boundaries ... over what is acceptable and raised a lot of issues with
concerts and albums on a lot of different levels. For me the media is
another part of my palette when it comes to expressing things, I don't
see any reason to limit that to one thing. Everything that has come across
in the media came across the way I'd liked it to -- even if it was negative.
They still wasted their time to talk about me!"
Manson has cut a jagged path along the trail of
public perception. There are fans that will die for him, there are punters
that would rather see him dead -- there are very few in between. It's
all or nothing with Marilyn Manson and the mere mention of his name is
enough to spur some weak-minded individuals to start crossing themselves
while dropping to their knees in fear of certain doom -- and he's just
a rock star!
I asked Manson how he felt about his attitudes
to non-conformity being reciprocated by a legion of fans conforming to
his own image.
"It's an irony that's looked at on "Anti-Christ
Superstar"; it's the idea of by destroying one form of communism you create
another, or that rock 'n' roll in some ways is no different than Christianity.
Sometimes what I'm fighting against is myself. It's still an interesting
point though, I think that our fans sometimes are more intelligent than
people think they are. Being part of something else rather than the mainstream
can be healthy to a certain degree, and I think it's the first step to
people finding themselves. Identifying with me helps them get away from
everything that they're fighting against and I think that this is just
a first step -- not a goal or final evolution to their personality, just
a first step."
It can be difficult to take in all Manson says
and not step back with an outstretched finger claiming "You're full of
shit mate!" Yet through what rights of passage does one have to endure
to have their words considered profound and not simply arrogant self-absorption?
We are always ready to proclaim an artist as "genius" or "extraordinary"
with the help of hindsight -- and usually the artist's own death -- yet
rarely acknowledge such greatness while the poor sod is still alive. Michael
Hutchence is only the most recent example -- the last INXS album was critically
burnt at the stake, yet the lead singer was heralded as an icon with "true
rock star quality" following his sudden death. If he were alive today,
the majority of the music world simply wouldn't give a proverbial!
Manson of course is very much alive, consistently
pursuing the art of communication and aware of what can go wrong in the
translation: "Some people say that God works in mysterious ways," he says,
"so too does my version of God which is basically art really ... and individuality.
Even when things seem negative, they're very positive and vice versa.
So as far as bad press/good press -- everything translates into the big
picture for me. I don't expect everyone to understand what I have to say
or what I do all at once, or maybe even in my lifetime."
All Manson's work is self. With the album title,
"Anti-Christ Superstar", rather than actually promoting himself as the
new "devil", Manson was mirroring the public's perception of him as an
evil artist. He played out the role of persecuted creator who became the
scapegoat for the natural curiosities of youth, an Anti-Christ that told
kids to think for themselves, thus becoming a superstar in the process.
Come to think of it, didn't Jesus Christ himself have the same problem?
All the great "prophets" and icons of religion -- Buddha, Mohammed, Christ
-- experienced moments of revelation which they then tried, in the face
of fierce opposition, to tell others about. As Manson has said on many
occasions, this is something that we are all capable of -- it's all about
fully realising who YOU are. It's got nothing to do with religion, which
is for those who lack the confidence, or are unable, to think for themselves.
"I like wonder and amazement, whether that be
through confusion, shock or horror. Whatever the way people interpret
that in their life. I like people to be awe inspired, something that stops
people from speaking -- whether or not they like it or not, I'd like it
to take their attention and make them think for a few minutes!"
Manson's belief in self-actualisation is nicely
exemplified in the opening track to his "Anti-Christ Superstar" album,
"Irresponsible Hate Anthem". In the album's credits he states the song
was recorded live on February 14, 1997. Anti-Christ Superstar was released
in 1996! You see Manson believed that by the time our calendars had reached
February 1997, he'd be a musical superstar on top of the world. Not bad
eh!
Manson's thoughts on another controversial cultural
icon -- David Bowie -- reveal just how aware he is of the whole superstar
process. Manson has this to say about the chameleon: "Bowie and I have
often nearly crossed paths several times. When I did the "Beautiful People"
video, he used the same director shortly after, plus has collaborated
with the same people as I have done [Trent Reznor a prime example!]."
Almost chuckling, Manson continues, "I think ... he knows that I know
what he used to know! He may look in my direction to see what I'm doing,
as I have looked in his direction for inspiration".
So who exactly has influenced whom? Obviously
the musical and literary icons of rebel culture have prepared the canvas
for Manson to freely create his own images -- William Burroughs, Bowie,
T-Rex, Alice Cooper -- yet it has to be acknowledged that in the immediate
music climate, Manson's influence is such that his presence is discussed
in the halls of American government as a "dangerous" man -- someone who
stands accused of persuading American youth to kill each other and disrespect
the law, both man-made and divine. More importantly, however, apart from
turning a rather dozy period of music into an adrenalin rush-- Manson's
made an impression on the entire world by forcing everyone to pause and
"think for a minute". He's created another level in the dialogue about,
and the evolving nature of, censorship and morality.
Let's hope Marilyn Manson never becomes a cliche
of his own ideals, or worse still a man who regrets his "earlier days".
In an industry of "follow-the-leader" corporate safety nets, Manson is
one of the few truly stimulating and original minds around.
Visit Marilyn Manson's official site for the latest
news and interviews - www.marilynmanson.net.
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