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Nemoris Inferioris
03-27-2019, 11:51 AM
Has anyone else ever wonder why the Celebritarian logo was used so often throughout the BV era, even being on the CD/ Vinyl; all while the album had no themes of celebritarianism? Unless I'm missing something, none of the songs hint at the idea (except for maybe Murderers Are Getting Prettier Everyday). I feel like this was a poor attempt to revisit the abandoned Celebritarian era. During the Hey, Cruel World... Tour the symbol was used extensively also. And I also guess in 2013 he sort of sported the Celebritarian era hairstyle, slicked back and shaved sides.

S.D.
03-27-2019, 12:32 PM
Without meaning to sound pithy, if you can't see the crystal clear Celebritarian ideas running through nearly every second of the album, then it might be worth a re-listen.

Nemoris Inferioris
03-27-2019, 12:55 PM
Without meaning to sound pithy, if you can't see the crystal clear Celebritarian ideas running through nearly every second of the album, then it might be worth a re-listen.

I have looked over the lyrics and I do see it in songs like Hey, Cruel World, Slo-Mo-Tion, and Children Of Cain; but the other songs seem to be about their own things, like Flowers Of Evil and Overneath the Path of Misery. And some songs (Disengaged) I don't know what message they're trying to convey.

S.D.
03-27-2019, 01:37 PM
Although I've never been sold on wishy-washy, vague definitions from fans on what Celebritarianism is, I think Born Villain does a really good job of dissecting the nature of 'Celebrity', often using ideas and statements Manson had only hinted at before. When you compare it with Holy Wood it explores a lot of the same themes. Sure, it's not the gargantuan epic that Holy Wood was, but I don't think it tries to be either.

From the sarcastic opener that sounds like a suicide note, the narcissism rife throughout No Reflection, the immolation and sexual gratification on-camera in Pistol Whipped and Slo-Mo-Tion, the study of classical culture and violence in either Overneath... or Children Of Cain, and then songs about Manson's personal life that he peppers with well-known or culturally relevant imagery and phrases, it's all very Celebritarian.
You might recall that for a long time, The Celebritarian Corporation motto was WE WILL SELL OUR SHADOW TO THOSE WHO STAND WITHIN IT, which since EAT ME, DRINK ME, is exactly what Manson's been doing on his records. He learned and perfected how to mythologise his own life on Antichrist Superstar, and then pointed that lens outwards for the rest of The Triptych. After his brief hiatus from music in 2006, although the rumoured Celebritarian album didn't come to fruition, I think he's said everything he would have done on that record, but spread across several.