The Southern Christian urbanministry.org/leadership" class="" title="Leadership Resources">Leadership Conference (SCLC) is an American civil rights organization. SCLC was closely associated with its first president, Dr.

Thigpen, D. (1997, February 24). Satan’s little helpers. Time, 149 (8).

OVERVIEW

(The Center for urbanministry.org/youth-group" class="" title="Youth Resources">Youth Studies is pleased to have the following article review offered by a high school student. We believe that insight from young people themselves is important for today’s urbanministry.org/youth-group" class="" title="Youth Resources">youth workers. Dean Borgman adds questions and implications at the end of the review.)

Shock rocker Marilyn Manson and his self-titled band can make even the most "avidly sociopathic rap and heavy-metal groups look meek."

According to the article, "The band’s controversial album, ‘Antichrist Superstar,’ a takeoff on Andrew Lloyd Webber’s 1971 stage musical ‘Jesus Christ Superstar,’ is a scathing social critique dressed up as a morbid rock opera. It portrays the rise of a supernatural demagogue who seizes power and leads the world to destruction.

Manson’s videos, which receive steady play on MTV, "wallow in nightmarish, frequently X-rated scenarios of occultism, suicide, torture, greed and mindless celebrity worship."

"I’m so all-American I’d sell you suicide," sings Manson over the music of the song "Tourniquet." Manson, whose real name is Brian Warner, and his group have all adopted first names of female celebrity idols and last names of male serial killers. This reviewers says of the Manson group: "This toxic brew fascinates alienated teenage males, who have made ‘Superstar’ a surprise hit."

Four months after its debut in November of 1996, the album sold more than 1 million copies and climbed as high as No. 3 on the charts—right behind Celine Dion. Rolling Stone magazine’s cover displayed Manson in January of 1997 and proclaimed him Best New Artist of l 996. Shortly afterward Manson made his screen debut as a urbanministry.org/sexual_addiction" class="" title="Pornography & Sexual Addiction Resources">porn actor in the David Lynch film "Lost Highway."

This article raises the puzzling question about Manson’s popularity: "How could such an outlandish performer find a place in the sanitized mainstream of pop culture? For starters, Manson is a natural-born showman with dark charisma and a knack for sensationalistic imagery. ‘This band has always been about pulling one over on the mainstream,’ he admits."

Manson’s fright masks don’t provide the audience with humor, as with Kiss; instead it conveys little meaning beyond its shock value. Manson intentionally molds his image to incite maximum shock. He often performs in jackboots; his body strapped up in leather. With a look of death, on-stage and off, he wears black lipstick and cakes his face in mortician’s white.

Many of the band’s most passionate fans are Goths, members of a popular suburban youth cult drawn to black garb and death-rock music. "Styling themselves after Manson gives them power: it strikes a blow against conformity and repulses their parents. Manson and his shock troupe never shy away from a chance to indulge in violent titillation." Manson commonly self-inflicts wounds upon himself; once, for example, he squirmed bare-chested on a carpet of broken glass. Conservative groups accuse him of devil worship; Manson was made a Reverend of the Church Of Satan by Anton LaVey as a "reward for his good work."

As a Los Angeles concert had ended, a Manson fan was asked what he liked most about the group. The fan responded saying that horror is the wig of most rock stars, and " ‘the makeup comes off when they go home. With Manson it’s real.’ "

"Fantasy is as vital to rock as fake blood is to a horror movie. But it can become an invitation to trouble when the act overwhelms the actor." Two Goths, who had been arrested in a thrill murder in Washington State, stated a passion for Manson’s music. But Manson denies any responsibility. He said, " ‘Parents should raise their kids to listen to an album and know the difference between reality and fantasy.’ " As true as this may be, Manson needs to lighten up his own scary, easily misunderstood message.

QUESTIONS FOR REFLECTION AND DISCUSSION

1. How much have you listened to Manson or read about his life and work? What is your reason for doing so—or avoiding him altogether?
2. Do you know any fans of Manson? Have they told you what they like about him and how he relates to their lives?
3. How long do you think Manson will be popular? Do you see any comparisons at all between Manson and the earlier David Bowie? With whom would you compare Manson?
4. Should you meet Marilyn Manson, how would your conversation with him go? How would you discuss him in a class or youth group?

IMPLICATIONS

1. Marilyn Manson has reached the charts because he is a very creative artist, because he knows how to manipulate shock, and because he represents hurt, anger, and rebellion that many young people are feeling. In my conversations with young Goths and Satanists (and be sure to note the distinction), Lucifer seems to represent them more adequately than Christ. Too often they see the Christ of hypocritical or autocratic institutions rather than the Jesus of the oppressed.
2. A young person with a Marilyn Manson T-shirt needs to be approached and accepted as a person rather than as a problem. (This is not a comment on school dress codes.) We need to see beneath black and shocking attire to the heart of any person—especially those who feel rejected.
3. The music, lyrics, and lifestyle of Manson ought to be critiqued by rock critics and by youthful listeners. We want young people to have the tools to interpret and avoid all that might be harmful to themselves or younger kids—and therefore to society in general.

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