![]() ![]() On Heaven Upside Down, his 10th album, Manson embraces the tropes that made him a menace and a rock star and a stalwart of goth. In some ways, he’s a herald of the nightmare we’re in now, the original American edgelord, the man whose rumored surgically-enabled autofellatio dominated lunchroom conversations in elementary schools across the country. Twenty years on, it’s easier to see that Manson was merely processing the same cultural toxicity that might have moved Eric Harris and Dylan Klebold, not encouraging it and certainly not engendering it. Given how sunny the rest of the country looked on the surface, he stood out like an infected sore on a CoverGirl model, embracing nihilism and evil, cutting himself onstage, baiting transphobes with his drag performance as effortlessly as he baited Christians with his purported cahoots with the devil. ![]() Manson made for a convenient scapegoat in 1999. There’s something quaint, in retrospect, about how Marilyn Manson’s early albums were once considered so dangerous they were blamed for the Columbine High School massacre-as if one man smearing on eyeliner and screaming about the antichrist could alone move a couple of teenagers to deadly violence. ![]()
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