Screed #9

May 28, 2009…


So shock-rocker Marilyn Manson is back with a new album, The High End of Low, and we, here at Eclairé A Pensé, could not be more overjoyed. Of course, we are being totally sarcastic, as we have never felt anything other than utter contempt for him and his mediocre music. Could there possibly be a more pitiful, annoying song than “The Beautiful People” or “The Dope Show”?  What vile dreck!

Over the course of his career, he seems to look for new ways to be offensive, just for the sake of being offensive – which we find pathetic and sad. He’s no different than shock-rapper Eminem, in that respect, who we also despise. His songs, his album covers, his image – it’s just cartoon Satanism. Is anyone even supposed to be scared of Manson anymore, if ever? Dick Cheney is more frightening than this clown – at least he comes packing heat.  

Now, on Manson’s new album, there are songs with titles like “Pretty as a Swastika” and “Arma-Goddamn-Motherfuckin-Geddon” – we don’t even have to listen to them to know how pathetic and contrived they are – just like all of his songs. This dude’s sell-by date expired years ago. There’s nothing sadder than watching a circus freak whose act becomes more and more outrageous just to desperately hold on to what remaining fans they have left.  

His supporters claim that the self-proclaimed “Antichrist Superstar” is a crusader of free speech and he’s being ironic and thought-provoking. Bullshit. He’s just trying to sell records to white trash rejects too stoned to realize that his music and act is nothing more than third-rate Alice Cooper set to a sub-Nine Inch Nails industrial beat. It’s just crass audience manipulation and everyone fell for it.  

Let’s hope though, that this mutant crawls back into the wormhole from whence he came, once and for all, and stops subjecting all of us to his wretched music.


1 Comment

  1. jdevassy said,

    May 30, 2009 at 2:48 am

    Me thinks thou doth protest too much! Manson clearly has mined the iconoclastic freak show aesthetic far longer than he should’ve, but, oh well. The Federation rightfully references Nine Inch Nails, for Trent Reznor is instrumental in the genesis of the Marilyn Manson phenomenon, inking the unknown artist to his label, writing songs for him, and producing his first album in its entirety. The casual observers of the Manson phenomenon must acknowledge the creative and/or destructive impact that multiple fellow musicians and songwriters and record producers had on the Manson machine, including, clearly, the largely revered Reznor. The monster was not the creation simply of one man….additionally, the Federation disappoints this writer by introducing Eminem as a contamporaneous cousin of Manson. Brian Warner, the Miami journalist/music critic/writer who created the Marilyn Manson character, can be considered a true intellectual, an American who, separate from his admittedly ridiculous Manson persona, has evidenced, separate from his abrasive music, an innate and passionate grasp of evolving American socio-cultural dynamics. Marshall Mathers, a.k.a. Eminem, is, for all his trappings of hip-pop stardom and wealth, a glaring and laughably overt commander in the exponentially swelling Tard Nation Army, a simpleton savant, with nary a shred of intellectual curiosity or heft. Warner and Mathers are multiple time zones apart re: the deeper, self-reflective, existentialist-based interpretations of this crazy thing we call the human fucking condition…

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