| Latest revision |
Your text |
| Line 1: |
Line 1: |
| | + | {{stub}} |
| | + | |
| | {{Interview | | {{Interview |
| | | Image = MTc1MzA5ODYwNjIyMDUwNjEx.jpg | | | Image = MTc1MzA5ODYwNjIyMDUwNjEx.jpg |
| Line 40: |
Line 42: |
| | | | |
| | <center>[[Image:MTc1MzA5ODA4NTQ1NTcyMDc4.jpg|200px|thumb|center]]</center> | | <center>[[Image:MTc1MzA5ODA4NTQ1NTcyMDc4.jpg|200px|thumb|center]]</center> |
| − |
| |
| − | Manson, as he tends to do, presents many raw emotions throughout the album. Some of the pain stemmed from the loss of somebody close to him. “I had just finished a tour and one of my best friends was Norm Love Letters, the tattoo artist,” Manson recalls. “We had a scheduled appointment in two days... I had talked to him two days before he died. It was so heartbreaking. We had a very, very close relationship. I love that guy so much.”
| |
| − |
| |
| − | [[Marilyn Manson's tattoos|Manson’s tattoo collection]] can be broken into two distinct sections—the ones he got very early on and those he got after 2006. The demarcation line can be seen quite clearly, as his later tattoos, many of which were done by Norm, are only in black ink. Those earlier pieces were often a topic of discussion for the two.
| |
| − |
| |
| − | “It was something that Norm used to joke about,” Manson says. “He would joke with me about the tattoos I have on my shoulders that are, you know, from the ‘90s. He would say, ‘Man, these are the best ‘90s tattoos.’ I’m like, ‘Are you fucking making fun of me?’ He’d say, ‘No man, I’m serious. I want to bring back ‘90s tattoos. I want to bring back tribal tattoos.’ And believe me, that was something I was never interested in.”
| |
| − |
| |
| − | As Manson speaks about all of the work that his friend did on his body—the sigils on his fingers, the cross on his chest, the back piece that he reworked—you can hear the love, and a tinge of pain, in his voice. It is clear that these tattoos are revered by him in a way that his earlier tattoos aren’t. “I wanted to remember each piece as part of my life,” he says of his more recent tattoos.
| |
| − |
| |
| − | <center>[[Image:MTc1MzA5ODI2MjYyMzEyMTc0.jpg|200px|thumb|center]]</center>
| |
| − |
| |
| − | As a man who dabbles in art of all kinds—painting being his preferred visual medium, including the cover of “We Are Chaos”—Manson has had some input into his tattoo work. Many of those ‘90s tattoos that Norm was so fond of were based off of Manson’s own illustrations. Has he ever created a tattoo?
| |
| − |
| |
| − | “Yeah. Not successfully though,” Manson laughs. “I can paint. It’s not in any way the same thing as making a tattoo. The way that I like to work as a painter is too fluid, I just don’t understand the tattoo gun like I do a paintbrush. I suppose with enough practice… but it seems really fucked up to practice on people. I like the idea, but I don’t think my penmanship or my geometry… the point is that I don’t think it would be smart for me to put something permanent on someone’s body [laughs].”
| |
| − |
| |
| − | It’s funny that Manson mentions his penmanship, because while he may not be giving out a lot of tattoos, he has seen countless tattoos of his signature on fans. “When I’m at meet-and-greets where people pay to meet me, which is insane,” Manson says, “I feel sometimes like Santa Claus in a weird way. I’m very conscious when signing, I don’t want it to look like shit. It’s a weird thing to have someone tattoo your signature on them. It’s flattering, of course. But it’s also odd. In some ways I feel obligated to make sure I maintain them as a fan so that they don’t feel like shit about getting the tattoo later.”
| |
| − |
| |
| − | <center>[[Image:MTc1MzA5ODM4NjEwMzQzMjE5.jpg|200px|thumb|center]]</center>
| |
| − |
| |
| − | By this time in his career, he’s likely seen thousands of tattoos inspired by his music, but he’s never become jaded by it. He’s seen his signature, he’s seen pieces inspired by his paintings, he’s seen lyrics, and he’s seen some pretty strange ones. He often takes pictures of the portrait tattoos he finds, amazed by the level of artistry put into them by the tattooer.
| |
| − |
| |
| − | For an artist who continually reinvents himself, it’s interesting that he has covered himself in permanent art. One would think that the constant chaos and change in Manson’s career would steer him away from such everlasting work, but it has been quite the opposite.
| |
| − |
| |
| − | It’s oddly appropriate that when the rest of the world was in turmoil trying to come to grips with a lockdown, Manson was at ease. “I prefer silence and the ability to be alone,” Manson explains. “Admittedly, it’s been claustrophobic at some points, but not so much where I can’t… I have five cats. So that’s one part that entertains me.”
| |
| − |
| |
| − | Manson is releasing an album into a world that is far different than the one in which he created it. Words written two-and-a-half years ago feel strangely prescient.
| |
| − |
| |
| − | “We are sick, fucked-up and complicated,” Manson sings on the title track. “We are chaos, we can’t be cured.”
| |
| − |
| |
| − | He’s right about that first part. The second part? We’ll have to wait and see.
| |
| − |
| |
| − | <center>[[Image:MTc1MzEwMjA0NDg3ODY5NzQ3.jpg|200px|thumb|center]]</center>
| |
| | | | |
| | [[Category:Interviews]] | | [[Category:Interviews]] |
