Manson interviewed in Metal Edge magazine...
Pick up the September 2003 issue of Metal Edge magazine or read article here
http://www.marilynmanson.com/press/030700metaledge/01.html
[posted 7/17/2003 U.S.A.]
THE GOLDEN AGE IS UPON US
By Paul Gargano
Babble babble, bitch bitch, Rebel rebel party party, sex sex sex
and don't forget the "violence," Blah blah blah got your lovey-dovey
sad-and-lonely, Stick your STUPID SLOGAN in: Everybody sing along…
So sings Marilyn Manson in "This Is The New Shit," the opening track of
his latest canon, The Golden Age of Grotesque. He's tired of the same old shit.
He has been for quite some time, actually. And while critics may cite
Manson's overpowering persona as yesterday's news, his music says otherwise.
His Portrait of An American Family debut and Smells Like Children EP
follow-up exposed an artist who wasn't afraid to turn his back on anything
and everything the music industry had embraced, in turn, forging a path
directly into the American psyche, a twisted amalgamation of everything
that's come before him, with everything he envisioned his future becoming.
It was candy-coated horror, an evil so sweet, it mesmerized onlookers
with a sadistic Grin. As the Antichrist Superstar, Manson turned religion
on end with an album so brilliant, it may have scarred his enemies more than
it inspired his fans-No small feat, as he single-handedly hoisted the gothic
subculture from the reclusive ranks of teenage bedrooms,
to a noticeable presence in the malls of America.
On Mechanical Animals, he turned his image on end, transforming from
the prince of darkness, into an androgynous superstar bent on twisting
his extremes into an uncanny crossbreed of pop-cultural commentary.
Holy Wood shrink-wrapped the two existences into one, the final tri-mester
of a three album birth process that brought us to The Golden Age of Grotesque.
If America has truly reached a point, as many suggest,
where nothing's shocking, what does that mean for Manson,
an artist whose shock value has often overpowered the impact of his music?
"It doesn't mean that I would take back or change anything I've done
on the past," says the prolific poet of rock'n'roll rebellion.
"But I could take another step further and show people all the parts
of my personality that you get from hearing my album, or from seeing may art
show, or from hearing what I have to say in an interview, or in a movie like
Bowling For Columbine, or spending time with me personally and getting
my sense of sarcasm."
In other words, it means that The Golden Age Of Grotesque stands to be
the crowning achievement of Manson's rise to superstardom.
Rather than rely on shock value, Manson is relying on his sense as an artist
to unveil his latest decree. The album isn't the overwhelming opus
that his previous three concept albums unraveled into, but there's still
a method behind the calculated madness, as Manson and his band of merry hell
raisers-guitarist John 5, drummer Ginger Fish, keyboardist Madonna Wayne Gacy
and bassist Tim Skold-have but one focus: Art. From the origin of,
through the creative process, to the public interpretation of the finished
work, this Golden Age is Manson's answer to a commercially-minded
entertainment industry that all-to-often falls short of its primary
objective-Entertainment.
"You have to realize that you are creating things for the world,
and no piece of art is complete until the world accepts it- It doesn't matter
if they hate it or love it," our protagonist reasons. And he knows a thing
or two about love and hate, as the extremes have been underlying factors
in his worldwide success. His fans love him, and his critics love to hate him,
the results fanning each other's flames and building the larger-than life
entity that has become Marilyn Manson. Metal Edge sat down with Manson-
the man, the myth, the artist and the art- to dig a little deeper into the
phenomenon he has dubbed The Golden Age Of Grotesque…
Metal Edge: Having seen your performance on The Jimmy Kimmel Show,
is that a little bit what we can expect from your stage show?
The "grotesque burlesque" dancers and all?
MM: That was the simplest form of it, but there's a whole lot more
to it. I mean, the stage kind of goes from one end of the
spectrum to the other, from Julius Caesar to Walt Disney,
and everything in between, and it's really taken all the stuff
that inspired the record-vaudville, cabaret, grotesque burlesque
and all that stuff- and put it into reality. I collaborated with
this magician Rudy Coby, and he's worked in a lot of different
places, like Paris, a lot of interesting places.
ME: What inspired this direction for you? The album's still dark,
but the themes have shifted from your previous few records.
MM: It's maybe closer to where we were in the Smells Like Children
and Portrait [Of An American Family] era. I've always shifted
between the heavier-handed political and religious references,
to the vaudeville and cabaret, and the more theater of cruelty
kind of element. Also, the show has a very heavy-handed political
overtone to it, but it also adds in the sarcasm of the American
Disney elements mixed with the carnival, grotesque deformation
of beauty, with Siamese-twins, the girls playing piano…
There are performers that we have brought along with us,
not to try to make the show something that it's never been before,
but also to build on what it has always been and make it even more.
So it's got everything it always has, and then some.
ME: You went out in broad daylight on the first OZZfest, as well.
Are you tailoring your set to that, or are you stripping down
what would be your headlining show?
MM: Not at all, I think it's a matter of realizing that Disneyland
and Nuremburg, and any protests that you have ever been to on
any city street, all work during daylight, because there is
sprit behind them. The spirit of the performance, there is a
bombastic, political element, and there is the childish insanity,
eccentricity element, and it's all going to be combined together,
which will be the most entertaining thing for me.
I'm looking forward to it more than anything.
ME: What's the significance of the mouse ears?
Was that ever intended to be the album cover?
MM: Well, all the artwork that we created was part of The Golden Age
of Grotesque, but none of it was intended to be album artwork.
What ended up being the album was allowed to be on it.
We used a different approach- We didn't say we were going to
design things for an album, we designed a bunch of things,
and then we chose ones that we wanted. Many were denied and
some were accepted, so we decided to show those that were denied
elsewhere. What you're talking about is a big part of the show,
because the show has a lot of statements about politics and
religion, and about art, and how I fit into all of it. They will
be a major part of the performance that I think everyone will
be surprised by.
ME: The OZZfest experience has become somewhat predicable.
I presume you are looking to change that?
MM: Absolutely. I mean, there is going to be a moment where I call
for Siamese twins, I might have three legs, or I might need two heads.
Whatever the case might be, I'm there to entertain people, and I
am there to make them think something different than what they
thought before I went on the stage, that's for sure.
ME: Disney loves the lawsuits. Are you anticipating any legal problems from
them?
MM: No. Everything that I have done, doesn't do anything but challenge
or evoke people with images that they might associate something
like Disney, because I'm representing myself in a childish way,
that is drawn from my imagination. Images that I create don't exist
anywhere but in my head, and through the artwork of Gottfried Helnwein,
so therefore they can't be infringing upon anybody, but they
can really provoke people to feel a certain way. And the way
that they feel is the intention of art. Art is a question mark,
and the answers are how people react.
--
※ 發信站: 批踢踢實業坊(ptt.csie.ntu.edu.tw)
◆ From: 61.64.241.56
> -------------------------------------------------------------------------- <
作者: CREgodfather (教父<天亮就遺忘>) 看板: M_Manson
標題: [譯文] Manson interviewed in Metal Edge magazine...
時間: Fri Oct 31 02:16:47 2003
原文：
作者 noseven (geeza) 看板 M_Manson
標題 Manson interviewed in Metal Edge magazine...
時間 Fri Jul 18 17:30:25 2003
───────────────────────────────────────
Manson interviewed in Metal Edge magazine...
Pick up the September 2003 issue of Metal Edge magazine or read article here
http://www.marilynmanson.com/press/030700metaledge/01.html
[posted 7/17/2003 U.S.A.] THE GOLDEN AGE IS UPON US By Paul Gargano
Babble babble, bitch bitch, Rebel rebel party party, sex sex sex and
don't forget the "violence," Blah blah blah got your lovey-dovey sad-
and-lonely, Stick your STUPID SLOGAN in: Everybody sing along…
在「This Is The New Shit」裡 Marilyn Manson 如此唱著，這是他最新作品的
開場曲，The Golden Age of Grotesque。他對同樣的 old shit 厭煩。事實上，
他已經這樣好一陣子了。樂評可能會把 Manson 過於強烈的演出當成過期新聞，
但他的音樂可不這麼說。
他的處女作 Portrait of An American Family，以及其後的 Smells Like
Children EP，揭露了一個不畏於背棄任何音樂工業所擁抱之物的藝術家，接著，
打造了直通美國靈魂深處的路徑，扭曲地融合他面前的一切，以及他所預見自己
未來的模樣。包著糖衣的驚駭，如此甜蜜的邪惡，它用虐待狂的深深微笑令觀者
心蕩神迷。至於 Antichrist Superstar，Manson 用這整張傑出的專輯翻出宗教
的另一面，它給他的敵人留下的傷痕，可能比對歌迷的鼓舞更難磨滅－很不簡單，
他獨力將哥德次文化從與世隔絕的青少年臥房舉起，成為美國購物中心裡面令人
注目的存在。到了 Mechanical Animals，他翻出他形象的另一面，從黑暗王子
變形為雌雄同體超級巨星，毅然決然將他的極端扭轉成流行文化怪異到難以言喻
的雜種。Holy Wood 把兩者合而為一，總共三張專輯的誕生過程的終曲，將我們
帶往 The Golden Age of Grotesque。
如果美國真的到達某種地步，如同許多人所說的，沒有東西可稱為震驚的地步，
這對於 Manson 代表著什麼，作為一個震驚值經常超越他的音樂所帶來的衝擊的
藝術家？「那不表示我會收回或改變我過往所做的任何東西，」多產的搖滾反叛詩人說。
「但是我可以再前進一步，向人們展示我人格的所有部份，從聽我的專輯，或從
看我的演出，或從聽我在訪談中要說的，或在像是 Bowling For Columbine 這樣
的電影，或是花時間與我相處，了解我反諷的作風。」
換言之，這意味著 The Golden Age Of Grotesque 是 Manson 巨星之路的冠冕。
不是靠震驚的價值，Manson 是靠著他藝術家的判斷力，揭露他最新的律令。這張
專輯不是像他之前三張概念專輯那種壓倒性的作品，但在計畫性的瘋狂背後仍然
有種條理，Manson 和他那建造歡樂地獄的樂團－吉他手 John 5、鼓手 Ginger
Fish、鍵盤手 Madonna Wayne Gacy、還有貝斯手 Time Skold－只有一個重點：
藝術。從它的起源，經由創造的過程，到大眾對成品的解讀，Golden Age 是
Manson 的答案，給重視商業價值而的娛樂工業，它的首要目標－娛樂，太常短缺。
「你必須明白，你是為這個世界創作，在世界接受以前，沒有藝術作品是完整的－
重點不是他們恨它或愛它，」我們的主角解釋。他熟知愛與恨，這些極端是他在
全世界獲得成功的基本因素。他的歌迷愛他，批評他的人愛恨他，結果煽動彼此
情緒，築出誇大的實體，也就是變成 Marilyn Manson 的東西。Metal Edge 與
Manson 相對而坐－這個人，這個迷思，這個藝術家和這個藝術－將他錄進 The
Golden Age Of Grotesque 的現象挖深一些......
Metal Edge：看了你在 The Jimmy Kimmel Show 的表演，我們能稍微預料你的
舞台演出嗎？「詭態嘲諷劇 (grotesque burlesque)」舞者和全部的東西？
MM：那是最簡單的形式，但它其實還多了很多。我是說，舞台有點像是從光譜的
一端到另一端，從朱利斯凱撒到華特迪士尼，還有其中的一切，真的把所有
激發這張專輯的材料都拿來了－歌舞雜劇 (vaudville)、夜總會 (cabaret)、
詭態嘲諷劇 (grotesque burlesque) 和全部的素材－然後把它放到現實中。
我和魔術師 Rudy Coby 合作，他在一堆不同的地方工作，像巴黎，一大堆
有趣的地方。
ME：是什麼激起了你對這個方向的靈感？這張專輯仍然是黑暗的，不過主題從你
之前的幾張專輯移開了。
MM：它可能與我們 Smells Like Children 和 Portrait [Of An American
Family] 那個時代比較接近。我總是游走在粗手粗腳的政治與宗教指涉之間，
到歌舞雜劇 (vaudeville) 和夜總會 (cabaret) 以及更殘酷戲劇類型的元素。
這張專輯也有非常粗重的政治泛音，但它還加入了美國迪士尼的反諷元素，
混合了嘉年華會式怪異殘廢的美麗，暹羅雙生子，彈鋼琴的女孩......有和
我們一起的表演者，不是企圖展現什麼前所未見的東西，而是要在隨時可見
的東西上建構出更多。所以它有一直有的一切，然後其他一些。
ME：同樣地，第一場 OZZfest 你在大白天出來。你有因此修裁你的配套，還是
你拆解了你的主標題演出？
MM：完全不是，我認為重點是要了解迪士尼樂園和紐倫堡，還有任何你曾在任何
城市街道上見過的抗議，全部都是在陽光下進行，因為有精神在它們背後。
這場表演的精神，有誇張的政治元素，還有幼稚的錯亂失常元素，全部都會
結合在一起，對我而言會是最富娛樂性的東西。我期待它甚於一切。
ME：米老鼠耳朵的意義是什麼？它是不是本來要用作專輯封面？
MM：嗯，我們創造的全部圖像都是 The Golden Age of Grotesqie 的一部分，
但是本來並沒有特別想將哪張放在專輯中。最後放在專輯裡的是那些被許可
納入的。我們採用一個不同的做法－我們不說我們是在配合專輯設計東西，
我們設計一堆東西，然後我們選擇那些我們要的。很多被退回，有些被採用，
所以我們決定把那些退回來的在別的地方展示。你說是表演的一個大部分，
因為這場表演有一大堆關於政治和宗教的陳述，還有關於藝術，還有我如何
適應這全部。它們會是表演的主要部分，我想每個人都會驚訝。
ME：OZZfest 變的有點可以預料。我猜你想改變情況？
MM：完全沒錯。我是指，會有一個時間點，我召喚暹羅雙生，我可能有三隻腿，
或者我可能會需要兩個頭。無論是什麼情形，在那裡我會娛樂大眾，讓他們
思考某些與我上舞台之前不同的思考，這是可以肯定的。
ME：迪士尼熱愛訴訟。你有預期他們會帶來法律問題嗎？
MM：沒有。我做的事情只不過是用影像挑戰或激發人們，他們可能會把這些圖像
與某些迪士尼的東西連結，因為我根據我的想像，以幼稚的方式表現自己。
我創作的影像不存在於任何地方，它們只在我的腦袋和 Gottfried Helnwein
的作品裡面，所以不可能侵犯任何人的權利，不過它們的確可以使人們產生
某些感覺。這些感覺是藝術的動機。藝術是個問號，答案則是人們如何反應。
--
撰文的記者文采相當漂亮
--
￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣
im not in love but im gonna fuck you til somebody better comes to love
im not in love but im gonna fuck you til somebody better comes to fuck me
ˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍˍ
--
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◆ From: 61.230.131.248
※ 編輯: CREgodfather 來自: 61.230.132.93 (11/02 00:51)