Editing Interview:2000/11/01 AP "Death Was Waiting At My Door"
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|Caption = ''photo: Marina Chavez'' | |Caption = ''photo: Marina Chavez'' | ||
|Title = "Death Was Waiting At My Door" | |Title = "Death Was Waiting At My Door" | ||
| − | |Interviewer = | + | |Interviewer = |
|Date = November 1, 2000 | |Date = November 1, 2000 | ||
|Source = ''altpress.com'' <ref>[http://www.altpress.com/magazine/issue/148_-_marilyn_manson Alternative Press website]</ref><br />''nachtkabarett.com''<ref>[http://www.nachtkabarett.com/Triptych Transcribed from The Nachtkabarett with permission] </ref> | |Source = ''altpress.com'' <ref>[http://www.altpress.com/magazine/issue/148_-_marilyn_manson Alternative Press website]</ref><br />''nachtkabarett.com''<ref>[http://www.nachtkabarett.com/Triptych Transcribed from The Nachtkabarett with permission] </ref> | ||
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A creature which—unlike any true chameleon worth its color-changing salt—knows the perfect time and locale to shed its skin. Today, Manson is sporting a simple black ensemble—black jeans, black Velcro-strapped platform boots, the spiderweb tattoos on his mantis-claw forearms peeking out from beneath a skintight long-sleeve black T-shirt. His early years saw him relying on a more [[Alice Cooper]]-ish persona, more madcap Munster than malevolent monster. He didn’t haunt that tomb for long; ''Antichrist Superstar'', Manson’s ambitious sophomore work, saw the creation of a Nietzschean will-to-power uberman, free from all moral/societal constraints and—in his neo-Fascist garb—a direct visual descendent of Bob Geldof’s tortured Pink character from the film version of ''The Wall''. | A creature which—unlike any true chameleon worth its color-changing salt—knows the perfect time and locale to shed its skin. Today, Manson is sporting a simple black ensemble—black jeans, black Velcro-strapped platform boots, the spiderweb tattoos on his mantis-claw forearms peeking out from beneath a skintight long-sleeve black T-shirt. His early years saw him relying on a more [[Alice Cooper]]-ish persona, more madcap Munster than malevolent monster. He didn’t haunt that tomb for long; ''Antichrist Superstar'', Manson’s ambitious sophomore work, saw the creation of a Nietzschean will-to-power uberman, free from all moral/societal constraints and—in his neo-Fascist garb—a direct visual descendent of Bob Geldof’s tortured Pink character from the film version of ''The Wall''. | ||
| − | The album’s music—pounding like the machinery in a David Lynch soundtrack—helped push the menacing character across. On ‘98’s Gary Glitter-ish ''Mechanical Animals'', however, Manson changed his stripes again to become ''The Man Who Fell To Earth''-styled starman | + | The album’s music—pounding like the machinery in a David Lynch soundtrack—helped push the menacing character across. On ‘98’s Gary Glitter-ish ''Mechanical Animals'', however, Manson changed his stripes again to become ''The Man Who Fell To Earth''-styled starman Omega, creating a squish asexual bodysuit to flesh out the futuristic concept. The ‘’Mechanical’’ concerts found him jumping aesthetic trains practically from song to song: Little Hitler one minute, space alien the next, and—while a giant “DRUGS” neon sign flashed behind him for “[[I_Don%27t_Like_the_Drugs_(But_the_Drugs_Like_Me)|I Don’t Like The Drugs (But The Drugs Like Me)]] —an alluring combination of carnival barker and Las Vegas showman. Which—all told—is probably the truest Manson identity of the lot. |
| − | But ''Holy Wood''—intended as a prequel to the last two albums/avatars (discounting 1999’s marking-time concert document) —offers us something completely different. In the ornate cover-shot sequence (courtesy of visionary designer Paul Brown), Manson has reconfigured himself as various figures from the tarot deck. In the record and novel—both somewhat autobiographical—he’s reimagined himself as | + | But ''Holy Wood''—intended as a prequel to the last two albums/avatars (discounting 1999’s marking-time concert document) —offers us something completely different. In the ornate cover-shot sequence (courtesy of visionary designer Paul Brown), Manson has reconfigured himself as various figures from the tarot deck. In the record and novel—both somewhat autobiographical—he’s reimagined himself as Adam Kadmon, and outsider who so badly wants in on the glamorous high life mass-marketed to him through advertising that he almost sacrifices his very soul to do it. By then, it’s to late—he’s become that which he most despises: a product, and he must incite an über-man revolution (thus foreshadowing ''Antichrist Superstar'') to break free. The set ends with a ''Quadrophenia'' -class cliffhanger (underscored by starting sound effects) that’s bound to prod the moral majority out of its Britney Spears slumber. |
If you didn’t notice them at first, Marilyn Manson—considerate fellow that he is—will be happy to point them out to you: Crosses, crucifixes, ''everywhere'', hanging on almost all of his retreat walls. Some small, plastic and cheesy, some huge, wooden and intricately carved. Oddly enough, they seem to complement the already-morbid décor of hollow-eyed doll’s heads and Punch and Judy-era handpuppets, carefully preserved under glass. None of Manson’s myriad oil paintings are on display today, however, although he admits to having polished off more than a hundred separate pieces during his recent “blue” period. No, instead it’s Christ that weighs heavily on the afternoon proceedings, Christ that weighs heavily on his mind and ''Holy Wood'' scriptures. | If you didn’t notice them at first, Marilyn Manson—considerate fellow that he is—will be happy to point them out to you: Crosses, crucifixes, ''everywhere'', hanging on almost all of his retreat walls. Some small, plastic and cheesy, some huge, wooden and intricately carved. Oddly enough, they seem to complement the already-morbid décor of hollow-eyed doll’s heads and Punch and Judy-era handpuppets, carefully preserved under glass. None of Manson’s myriad oil paintings are on display today, however, although he admits to having polished off more than a hundred separate pieces during his recent “blue” period. No, instead it’s Christ that weighs heavily on the afternoon proceedings, Christ that weighs heavily on his mind and ''Holy Wood'' scriptures. | ||
