The Finnish publications Seiska and Findance published some new photos of Marilyn Manson, who was spotted with former Rob Zombie bassist Piggy D in the Studio City neighborhood of Los Angeles after going to Mexicali restaurant. These photos were taken on Wednesday, April 24th 2024.
A Star Is Born: How a Deceptive Underage Girl Led Marilyn Manson to the Creation of his "First Real Song"
Watching the news this morning, I heard the announcement that televangelist Pat Robertson has died at the age of 93, while New York City is experiencing the worst air quality ever in its history and currently around the world due to the massive Canadian wildfires. Putting the two together, it reminded me of an interesting story from Marilyn Manson's autobiography The Long Hard Road Out of Hell.
Manson's autobiography is often cited out of context by his accusers and critics to prove how horrible of a monster he is (not just was, but is), yet they very conveniently overlook the stories that contradict their accusations. One of these stories took place in 1990, when Manson was in Manhattan, just as he was beginning to play live shows in South Florida with the Spooky Kids. How he ended up in Manhattan and what came out of that trip are both fascinating, but he describes it as "a disastrous trip to Manhattan during which I wrote my first real song."
This is how Manson describes the whole thing in detail:
A girl with a pretentious name like Asia, who I had met while she was working at a McDonald’s in Fort Lauderdale, was spending the summer in New York and offered to fly me up for a weekend. Although I was going out with Teresa, I accepted—mainly because I didn’t like Asia and just wanted a free trip to New York. I thought that maybe I could find a record executive to sign our band, so I brought along a crude demo tape. I was never happy with our demos, which Scott always recorded, because we sounded like a tiny industrial band and I imagined us playing rawer, more immediate punk rock.
Manhattan turned out to be a disaster. I discovered that Asia had lied to me about her name and age. She had used her sister’s ID to get a job at McDonald’s because she was too young. I got pissed—it wasn’t that big a deal, but it was another case of a girl deceiving me—and stormed out of her apartment. In the street, by a coincidence or not, I ran into two club rats from South Florida, Andrew and Suzie, a couple of dubious sexuality. I always thought they looked sharp and stylish in clubs, but seeing them for the first time in daylight that afternoon I realized that they used makeup and darkness to practice Gothic deception. In the afternoon sun, they looked like decomposing corpses and seemed at least ten years older than me.
In their hotel room, the cable system had public-access channels, a completely new phenomenon to me. I spent hours flipping through the Stations, watching Pat Robertson preach about society’s evils and then ask people to call him with their credit card number. On the adjacent channel, a guy was greasing up his cock with Vaseline and asking people to call and give him their credit card number. I grabbed the hotel notepad and started writing down phrases: “Cash in hand and dick on screen, who said God was ever clean?” I imagined Pat Robertson finishing his more-righteous-than-thou patter, then calling 1-900-VASELINE. “Bible-belt ‘round Anglo-waste, putting sinners in their place/Yeah, right, great, if you’re so good explain the shit stains on your face.” Thus “Cake and Sodomy” was born.
I had written other songs I thought were good, but “Cake and Sodomy” was more than just a good song. As an anthem for a hypocritical America slobbering on the tit of Christianity, it was a blueprint for our future message. If televangelists were going to make the world seem so wicked, I was going to give them something real to cry about. And years later, they did. The same person who inspired “Cake and Sodomy,” Pat Robertson, went on to quote the song’s lyrics and misinterpret them for his flock on The 700 Club.
Against the seedy backdrop of watching Pat Robertson and a gay sex hotline commercial in a Manhattan hotel room after being deceived by an underage girl, Manson's first real song, his first anthem, was conceived.
Manson's autobiography is often cited out of context by his accusers and critics to prove how horrible of a monster he is (not just was, but is), yet they very conveniently overlook the stories that contradict their accusations. One of these stories took place in 1990, when Manson was in Manhattan, just as he was beginning to play live shows in South Florida with the Spooky Kids. How he ended up in Manhattan and what came out of that trip are both fascinating, but he describes it as "a disastrous trip to Manhattan during which I wrote my first real song."
This is how Manson describes the whole thing in detail:
A girl with a pretentious name like Asia, who I had met while she was working at a McDonald’s in Fort Lauderdale, was spending the summer in New York and offered to fly me up for a weekend. Although I was going out with Teresa, I accepted—mainly because I didn’t like Asia and just wanted a free trip to New York. I thought that maybe I could find a record executive to sign our band, so I brought along a crude demo tape. I was never happy with our demos, which Scott always recorded, because we sounded like a tiny industrial band and I imagined us playing rawer, more immediate punk rock.
Manhattan turned out to be a disaster. I discovered that Asia had lied to me about her name and age. She had used her sister’s ID to get a job at McDonald’s because she was too young. I got pissed—it wasn’t that big a deal, but it was another case of a girl deceiving me—and stormed out of her apartment. In the street, by a coincidence or not, I ran into two club rats from South Florida, Andrew and Suzie, a couple of dubious sexuality. I always thought they looked sharp and stylish in clubs, but seeing them for the first time in daylight that afternoon I realized that they used makeup and darkness to practice Gothic deception. In the afternoon sun, they looked like decomposing corpses and seemed at least ten years older than me.
In their hotel room, the cable system had public-access channels, a completely new phenomenon to me. I spent hours flipping through the Stations, watching Pat Robertson preach about society’s evils and then ask people to call him with their credit card number. On the adjacent channel, a guy was greasing up his cock with Vaseline and asking people to call and give him their credit card number. I grabbed the hotel notepad and started writing down phrases: “Cash in hand and dick on screen, who said God was ever clean?” I imagined Pat Robertson finishing his more-righteous-than-thou patter, then calling 1-900-VASELINE. “Bible-belt ‘round Anglo-waste, putting sinners in their place/Yeah, right, great, if you’re so good explain the shit stains on your face.” Thus “Cake and Sodomy” was born.
I had written other songs I thought were good, but “Cake and Sodomy” was more than just a good song. As an anthem for a hypocritical America slobbering on the tit of Christianity, it was a blueprint for our future message. If televangelists were going to make the world seem so wicked, I was going to give them something real to cry about. And years later, they did. The same person who inspired “Cake and Sodomy,” Pat Robertson, went on to quote the song’s lyrics and misinterpret them for his flock on The 700 Club.
Against the seedy backdrop of watching Pat Robertson and a gay sex hotline commercial in a Manhattan hotel room after being deceived by an underage girl, Manson's first real song, his first anthem, was conceived.
Manson never relishes over the fact that he was with an underage girl, but even at the age of 21, when some would find it mildly acceptable to be with an underage girl, especially in 1990, he notes how it was something that he not only didn't want when he found out she was underage and deceiving him, but it was a deal breaker to even stay in her apartment when he had nowhere else to stay. If he were a pedophile, in the loose sense of the term, he was literally given an open door to explore his fantasies, but because he is not a pedophile, not even in a loose sense of the term (by "loose sense" I mean she was underage, not prepubescent), he angrily walked out of that open door and did not look back.
In November 2021, Rolling Stone's piece against Manson titled "Marilyn Manson: The Monster Hiding in Plain Sight" even quotes a lyric from "Cake and Sodomy":
Within months of the July 1994 release of Portrait of an American Family, Marilyn Manson’s first middle finger to the world, an ardent fan base was clamoring to embrace the band’s sophomoric darkness. The cutting industrial-metal backdrops made Warner’s rancorous words (Sample lyric: “Who says date rape isn’t kind?”) all the catchier.
“Who says date rape isn’t kind?” is a lyric from "Cake and Sodomy" which has been cited by certain accusers as Manson advocating for date rape, which is ridiculous if anyone pays attention to the reason why Manson wrote the song and the context it is written in, which is about the red neck/white trash sex-obsessed mentality which buys into the hypocrisy of televangelists like Pat Robertson, though this particular lyric may even refer to another televangelist named Jim Bakker who with another preacher, John Wesley Fletcher, was accused by Jessica Hahn of drugging and raping her in 1980.
In November 2021, Rolling Stone's piece against Manson titled "Marilyn Manson: The Monster Hiding in Plain Sight" even quotes a lyric from "Cake and Sodomy":
Within months of the July 1994 release of Portrait of an American Family, Marilyn Manson’s first middle finger to the world, an ardent fan base was clamoring to embrace the band’s sophomoric darkness. The cutting industrial-metal backdrops made Warner’s rancorous words (Sample lyric: “Who says date rape isn’t kind?”) all the catchier.
“Who says date rape isn’t kind?” is a lyric from "Cake and Sodomy" which has been cited by certain accusers as Manson advocating for date rape, which is ridiculous if anyone pays attention to the reason why Manson wrote the song and the context it is written in, which is about the red neck/white trash sex-obsessed mentality which buys into the hypocrisy of televangelists like Pat Robertson, though this particular lyric may even refer to another televangelist named Jim Bakker who with another preacher, John Wesley Fletcher, was accused by Jessica Hahn of drugging and raping her in 1980.
Pat Robertson said of Manson's music in around 1997: “This music incites people to murder, to rape, to pillage.” Of course, he could cite no evidence to back up his claim, but it is worth noting that the outrageousness of the right-wing televangelists of the 1990's with their heavy-handed moralism has been usurped in recent years by certain left-wing activist groups, most prominently by the MeToo Movement. If you ask people today in regards to who said that Manson "incites people to murder, to rape”, either Pat Robertson or Evan Rachel Wood (or any other feminist involved in MeToo), you will likely get more people to say Evan said it. In a way, she has said it. She has stated that the reason she kidnapped her son, fled Los Angeles, and went into "hiding" with him in Nashville, is because Manson allegedly threatened to kill and rape her and her son. She has also said that Manson is a cult leader, who has the power over his impressionable cult following to do those acts to her and her son on his behalf at his bidding, since they are "extreme satanists, pedophiles, and nazis," which is how she described Manson fans at her custody trial. When Pat Robertson said these things in the 1990's, he was mocked and scorned by the media, but today when a bunch of far-left feminists say it, the media buys into it hook, line, and sinker.
In 2007, Manson was asked in an interview with Revolver about the death of another televangelist: "What's your take on the recent passing of Moral Majority founder Jerry Falwell?" He replied half-jokingly: "Hallelujah!" It wouldn't be surprising if he had the same reply for the passing of Pat Robertson, even though without people like him, we may never have had a Marilyn Manson.
In 2007, Manson was asked in an interview with Revolver about the death of another televangelist: "What's your take on the recent passing of Moral Majority founder Jerry Falwell?" He replied half-jokingly: "Hallelujah!" It wouldn't be surprising if he had the same reply for the passing of Pat Robertson, even though without people like him, we may never have had a Marilyn Manson.