View Full Version : "I am the God of Fuck."

The Overman
10-26-2015, 10:36 AM
From page 21 of the revised paperback edition of Ed Sanders' The Family, published in 1989:

A young redhead named Lynette Fromme joined Mary Brunner as addition number two to the inner circle of ladies. She was picked up near the beach in Venice, California where Charlie coaxed her off a curbside as she was sitting, crying. Legend has it that she had just been thrown out of her father's pad in Redondo Beach following a quarrel.

She was initiated. "I am the god of fuck," she later claimed he said after they first made out.

10-26-2015, 11:00 AM
Yes, I've read that he said this in numerous locations, definitely a Charlie-ism Manson wanted to use for his own. You may also have noted that his illustration of Baphomet printed in The Long Hard Road Out Of Hell is titled God Of Fuck. The androgynous nature of it, and the obvious goat's head on a human body relate further to the skeleton you have just written about being liberated from The Process Church. That in turn links nicely with Manson's Baphomet pose on the cover of Antichrist Superstar, and androgynous appearance on Mechanical Animals. He might not be too interested in referencing Charlie and The Family so much now, but their shadow still loomed over the Triptych projects.

Oh, you'll like this as well, as a brief aside. Talking to Revolver magazine in 2009, prior to the release of The High End Of Low, Manson said that he had involved a "coven of witchy girls" in the studio sessions:-

"If you are going to do something, do it well. And leave something witchy."
Charles Manson, 1994

The Overman
10-26-2015, 11:04 AM
You know, I hadn't even connected the Baphomet drawing to the Process Church's man-goat skeleton, but you're absolutely right.

That's fucking amazing.

11-06-2015, 07:14 PM
That's really insightful, a little creepy sometimes realizing just how many things he's brought together, all the subtle references. He's used a ton of Charles Manson stuff, and he talked about it in one of the articles in Art That Kills. He said some people doing that kind of music got pissed off about it, like, "Hey, that's Charlie's line, you're stealing it." And he was like, "Well of course, do they think I'm stupid . . . I'm bringing it to the mainstream." Looking at all those artists doing sort of the same thing around the late 80's/early 90's, it looks to me like he took everything they were doing, distilled it down to all the best points, and did it right. Even Boyd Rice admitted he had always wanted to do the Nazi rally setup ("Antichrist Superstar") with the lightning/SS symbols in the background, but Marilyn Manson had beaten him to it. One of the most striking Charlie connections I noticed, which surely somebody has already posted somewhere (but it's still interesting) was that in a film made by Nikolas and Zeena Schreck (Charles Manson Superstar), the opening credits read, "A HOLYWOOD PRODUCTION". So my reaction to that album title, such a great "play" on "Hollywood", was true; but Ms. Manson didn't pull it out of a vacuum, either.