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On 9/3/2016 at 7:12 PM, Yoncé. said:
 

Very long anticipated pornos by grandmas were always loved and masturbated to. Rihanna definitely lost Interest in them. Aphrodite aka Lord Pikachu farted, blasting copies of ANTi thunderbolts into my butt hole. Taylor switches into Madonna the Menace without sucking the muscle-covering of her soaking dick. Marilyn Manson ate Joker after Harley shoved her out of the Circus. Anus is very irresistible when it's easy and enjoyable! I ate cunt before I drank Mariah's milkshake. Marina's heart grew strong and weaker when Me. I ate footlong dick, crunching every unsold Honeymoon Bible. My Anaconda sucked snakes for attention. Colton queefed permabans out of his alienpenises and killed LadyBunny and Madonna gave birth. Halsey manly ate bisexual children. Alvin legendarily ( tina1 )

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ari9

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Blond Ambition - Iconic
Confessions
Re-Invention - First Tour I ever went to in Miami
Girlie Show
Virgin
Who's That Girl
Sticky & Sweet
MDNA
Rebel Heart
Drowned World

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Spoiler
"[On 'Antichrist Superstar',] I was being grandiose, saying that I would be this icon that would have a lot of power in my hands and be able to decide many people's future. That ended up being true. Life imitated art and the story started writing itself.'Mechanical Animals' represented the middle of the story and 'Holy Wood...' ties all the pieces together at the start. It's a parable."
Marilyn Manson on the Tryptich.[1]

The Triptych's most commonly accepted timeline begins with Holy Wood, Mechanical Animals, and finally Antichrist Superstar, reversed from the actual release order of each album. However, each album's interpretation is debatable, and far more so when interpreted as a whole story.

How these three plots link together, should it be linearly or separated is unknown and for the listener to decide. Manson himself, however, has offered up this possible explanation, "[Holy Wood is about] wanting to fit into a world that didn't want me, and fighting really hard to get there. [The album's deepest elements] are idealism and the desire to start a revolution. If you begin with Holy Wood, the Mechanical Animals really talks about how that revolution gets taken away from you and turned into a product, and then Antichrist Superstar is where you're given a choice to decide if you're going to be controlled by the power that you created or if you want to destroy yourself and then start over. It just becomes a cycle."[2]

The plot of Holy Wood (In the Shadow of the Valley of Death) is a "parable"[3] that takes place in a thinly-veiled satire of modern America called "Holy Wood", which Manson has described as "very much like Disney World ... I thought of how interesting it would be if we created an entire city that was an amusement park, and the thing we were being amused by was violence and sex and everything that people really want to see."[4][5] Its literary foil is "Death Valley", which is used as "a metaphor for the outcast and the imperfect of the world."[3][6][7]

The central character is its ill-fated protagonist "Adam Kadmon",[8][9][10] a figure borrowed from the Kabbalah, in which he is described as the "Primal Man". In the similar Sufic and Alevi philosophies, he is described as the "Perfect or Complete Man"—the very archetype for humanity.[9] He undertakes a journey, similar to the protagonist in German philosopher Friedrich Nietzsche's Thus Spoke Zarathustra and Biblical parables, out of Death Valley and into Holy Wood.[6] Idealistic naïveté entreats him to attempt a subversive revolution through music.[6]

While disenchanted when his revolution is consumed by Holy Wood's ideology of "Guns, God and Government", he is co-opted into their culture of death and fame, where celebrity-worship, violence, and scapegoatism are held as the moral values of a religion rooted in martyrdom.[3][4][8][10][11] In this religion dead celebrities are venerated into saints and President John F. "Jack" Kennedy is idolized as the transfigured Lamb of God and modern-day Christ.[3][6][7][12][13][10][1]

This religion, called "Celebritarianism",[10] is a deliberate parallel of Christianity. The intention is to critique the "Dead Rock Star"phenomenon in American celebrity culture and the role that the Crucifixion of Jesus plays as its blueprint.[12][3][11][4][14][15][1] This concept was extended to the worldwide Guns, God and Government Tour that supported the album; the tour's logo was a rifle and handguns arranged to resemble the Christian cross.[16]

Manson told Rolling Stone that the storyline is semi-autobiographical, and that it "can be interpreted on a number of levels, but one of the simplest ways, is about a boy who wants to become part of the world that he doesn't feel adequate for, and the bitterness and rage becomes a revolution inside him, and what happens is that the revolution becomes just another product. When he realizes it's too late, his only choice is to destroy the thing he has created, which is himself."[7][17]

Much like in Mechanical Animals, another lesser character is found in "Coma Black". Similar to the character of "Coma White" from the previous album, Coma Black is an obscure figure which, simultaneously, may or may not be an unattainable ideal, an androgynous facet of Adam or an actual person.[18]

Mechanical Animals then follows the sojourn of two characters, the protagonist now with a new name but within the triptych the same character as Adam: Omēga (pronounced oh-mee-gah) a Ziggy Stardust-like rock star and alien who falls down to earth, is captured and then, with a band called The Mechanical Animals, turned into a rock star product whose rock anthems are simply hollow. He has become numb to the world, becoming consumed by his addiction to drugs that has left him emotionally dissociated and broken. Acting as foil to Omēga is Alpha, a character based on Marilyn Manson and his experiences around the conclusion of the Antichrist Superstar tour/era. Alpha is only just beginning to feel emotion for the first time and trying to learn how to use them properly. He begins to despair about how little emotion most humans feel, observing them to be "mechanical animals". Both are looking to come back into the world - looking among the mechanical animals for the thing they need to make themselves whole. They call it Coma White, unsure if she is real or simply a drug-induced hallucination. At the climax of the album in Untitled, Omēga comes to terms with his life and seems ready to make a choice but whether that choice is to change his life or end it is unclear.

Finally, Antichrist Superstar follows the abused and trampled being "The Worm" who, like Adam Kadmon, attempts to lead a massive revolution against the world of the oppressed and its kratocratic masters "The Beautiful People". In this respect, the revolution plot line may also be seen as a retrospective of his journey up to that point. In his book The Long Hard Road Out of Hell, Manson likens the Worm to "an insignificant shadow looking for his place in an infinite world of light". In his quest to self-empowerment, he fashions himself into a charismatic and influential anti-hero and hierophant, the "Little Horn", proselytizing self-realization which is met with adoration and blandishment by the people. Though he is successful overthrowing The Beautiful People, the Little Horn soon sinks into an apathy then hatred for those very adoring and sycophantic disciples along with the world when he comes to the realization that they aren't interested in being saved and quite content to remain weak, imitative and oppressed "victims" (Philosopher Friedrich Nietzsche's 'slaves' in his Master-Slave theory). His message then is frustrated and futile. This failure leaves him cold and bitter, determining to use his power and influence instead to become a repressive and fascist tyrant, the eponymous "Antichrist Superstar" (or alternatively, "The Disintegrator"), as he now concludes that what the people truly desire is a master-slave dynamic. He also begins to adopt as his personal insignia the oppressive epithet of his precursors "When you are suffering, know that I have betrayed you" as he lets his vitriol spiral into nihilism and self-destruction. Now as the disconsolate "Man That You Fear", he embarks on a scorched earth policy of apocalypse, tearing down everything his revolution fought for, oppressing the very people he aimed to lift up and destroying everyone and everything around him declaring "pray your life was just a dream, the cut that never heals. The world in my hands, there's no one left to hear you scream. There's no one left for you". As he reduces the world he created to dust, he begins to understand that "when all of your wishes are granted, many of your dreams will be destroyed".

 

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Idk where else to post but heres a rank of my fav album rn and possibly of all time.  

 

Years & Years

Palo Santo

 

01. Hypnotised
02. Palo Santo
03. Coyote
04. Lucky Escape
05. Rendevous
06. Don't Panic
07. Karma
08. Valentino
09. Howl
10. Preacher
11. Here
12. Hallelujah
13. Up In Flames

14. If You're Over Me
15. All for You
16. Sanctify
17. Play

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Opening Credits: Marilyn Manson Running to the Edge of the World
Waking Up: Marilyn Manson Cryptorchid
First Day at School: Emigrate featuring Marilyn Manson Hypothetical
Falling In Love: Kesha Dance Attack
Fight Song: Wake Up Hate Love Me Like a Hurricane
Breaking Up: Gerard Way featuring Lydia Night Dasher
Life’s Ok: My Chemical Romance Give 'Em Hell, Kid 
Getting Back Together: Kesha 31 Seconds Alone 
Wedding: Lana Del Rey Art Deco
Birth of Child: My Chemical Romance Bulletproof Heart
Final Battle: Kesha Last Goodbye 
Death Scene: Kesha Blow (Deconstructed Mix) 
Funeral Song: Britney Spears Shadow
End Credits: Britney Spears Love Me Down

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now bitch why did you quote this? LMFAOOOOO OMG.  


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