Jump to content

Holy Wood (In the Shadow of the Valley of Death)

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by Red marquis (talk | contribs) at 21:54, 6 December 2010 (→Concept). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Untitled

Holy Wood (In the Shadow of the Valley of Death) is the fourth full-length studio album by American rock band Marilyn Manson. It was released on November 14, 2000 in the US and Australia by Interscope Records. Unlike their previous outings, Holy Wood was a commercial disappointment despite generally favorable reviews from critics[1] and marked a return to the industrial rock/metal style of the band's earlier efforts after the group's foray into glam rock on Mechanical Animals.

It is a concept album and the third and final installment in a trilogy that includes Antichrist Superstar and Mechanical Animals.[2] It charted at No. 13 on the Billboard 200[3] and spawned three singles ("Disposable Teens", "The Fight Song" and "The Nobodies") and a novel which remains currently unreleased.[4]

After its release, Marilyn Manson revealed that his concept album trilogy is told in a reverse timeline (chronologically reverse from their actual release dates). Holy Wood, therefore, opens the storyline followed by Mechanical Animals and concluded with Antichrist Superstar.[5][4]

Since it is the band's first album following the Columbine High School massacre on April 20, 1999, Holy Wood served the group as both rebuttal and retort at the accusations leveled at them. The band's controversial frontman has described the record as "a declaration of war".[6][7]

Origin and recording

The album's conception and gestation was marked by the singer's three month seclusion at his then home in the Hollywood Hills following the Columbine tragedy. After cancelling the remaining dates of the band's Rock Is Dead Tour,[8] the band retreated from public view.[4] During this period of relative silence, Manson avoided interviews and publicity.[4][7] The frontman spent this time vacillating on "what I was going to do and how I was going to react"[7], stating, "There was a bit of trepidation, deciding, 'Is it worth it? Are people understanding what I'm trying to say? Am I even gonna be allowed to say it? Because I definitely had every single door shut in my face...there were not a lot of people who stood behind me."[4] The singer would later admit in Alternative Press that there was also a genuine concern for his safety, "...one reason I didn't leave was, I genuinely believed that there was a realistic possibility that I could be shot Mark David Chapman-style". A further blow would come in the form of the disintegration of his long-term relationship with then-fiancée, actress Rose McGowan.[4] The one break in his self-imposed exile was in May of that year when the embattled musician began to address the accusations starting with his Rolling Stone magazine op-ed piece, "Columbine: Whose Fault Is It?".[9]

After determining to continue making music and settling on a course of attack, the band spent a year of production and recording.[10][7] Of the album, Manson stated, "The news media held me responsible for basically every act of violence that happened in America, no matter what. So what should I do? Stand there and let them fuck me over or turn around and smash their teeth in? I decided that I'm going to do the latter and I'm going to do it so hard that they'll wish they've never been born."[7]

The album was written in Manson's aforementioned former home, which is the same house where the Rolling Stones were rumoured to have written Let It Bleed.[5] Recording was done in a mansion that once belonged to escape artist Harry Houdini.[11] Manson has claimed that over 100 songs had been written during the production of Holy Wood, though only 19 made it into the final product.[12]

At the 1999 MTV Europe Music Awards, Manson revealed to MTV News' John Norris the title of his then-unrevealed album and movie screenplay, which he "will go into production sometime in the next year."[13] He further divulged,

I'm at that point in my career where I wanted to make this film and I'm [also] making this new record, where I really examine suffering and where celebrities come from. How it all kind of traces back in religion, and celebrities and Hollywood all kind of relate to each other. And that's very American.

— Marilyn Manson, Marilyn Manson To Probe Celebrity And Suffering In New Film, Next Album.[13]

Concept

In the ensuing moral panic following Columbine, Marilyn Manson and his band was held as a scapegoat,[14][15] being blamed with the large majority of the culpability by various media outlets,[16][7] religious figures[17], civic groups[18] and politicians[19][20] who made sensational allegations that the band's music and imagery drove Eric Harris and Dylan Klebold to kill their classmates[10] despite later reports to the contrary; that the two actually considered them "a joke".[21][22][7][23] Consequently, much of the album's content addresses the issue and articulates on American society's common obsession with firearms, religion, and media martyrs by appropriating criticism on what Manson sees as the three core ideals conservative Christian America hold above all else, "Guns, God and Government".[24][23] Parents and the news media are also attacked for the more harmful roles they play in the glorification and acceptance of wholesale violence in "mainstream" culture in comparison to music, movies, books or video games.[6][10]

Conceptually, the album's plot is a thinly-veiled satire of modern America centered on its ill-fated protagonist "Adam Kadmon". Kadmon is an idealistic abstract figure borrowed from the Kabbalah where he is described as the "Primal Man" or, in the similar Sufic and Alevi philosophy, "Perfect or Complete Man""; the very archetype for humanity.[11] Disillusionment takes over the protagonist, however, as he watches humanity consumed by Holy Wood's ideology of 'Guns, God and Government' into a culture of death and fame where celebrity-worship, violence and scapegoatism are held as moral values and martyrdom has become religion — a religion that canonize dead celebrities into saints and idolize 'Jack' Kennedy as the transfigured 'Lamb of God' and modern-day Christ. Deliberately a parallel of Christianity and a critique of both the 'Dead Rock Star' martyr/celebrity phenomenon in American celebrity culture as well as Jesus Christ's own role as its blueprint,[25] this religion is called "Celebritarianism".[6] In Manson's own words, "'Holy Wood' — which isn't even that great of a hyperbole of America — is a place where an obituary is just another headline. Where if you die and enough people are watching, then you're famous."[4] The Guns, God and Government world tour that supported the album expanded on this with the tour's logo — a rifle and handguns arranged to resemble the Christian cross. [26] 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.[11]

The record makes numerous references to events and figures in pop culture history to audit everyone's participating role in creating the culture that culminated in Columbine. The vast number of these allusions primarily draw from the cultural impact of the tumultuous and defining Cold War period of 1960s America.[5] A major theme of the record is Abraham Zapruder's film of the JFK Assassination[5], on which Manson has commented, "To me, that's the only thing that's happened in modern times to equal the crucifixion of Christ"[4] and further sarcastically described in an op-ed piece for Rolling Stone as "[a] good clip of mankind’s generosity to share his violence with the world in such a cinematic way."[27] The death of notable author and intellectual Aldous Huxley on the same day is also brought up — a fact buried in newspapers the following morning because JFK's greater fame ensured his assassination top priority in the headlines — and subsequently deplored with a quip often attributed to Joseph Stalin, "One death is a tragedy. A million deaths is just a statistic". The climate of fear directed against youth culture in the 1990's is also sharply compared with the Altamont Free Concert tragedy which brought an abrupt and violent end to the 'love generation', identifying the latter as the point that cemented America's fear of its own children.[5]

"If you die when there's no one watching, and your ratings drop and you're forgotten. If they kill you on their TV you're a martyr and a lamb of God... Nothing's going to change the world."

—chorus to "Lamb of God"

Allegories in the album to The Beatles' White Album and the Charles Manson murders[5] are especially significant regarding an issue brought up in the wake of Columbine — anti-mimesis or life imitating art), since the White Album was thought to have played a key role in the Tate/LaBianca murder case when news media reported that Charles Manson took inspiration from his misreading of the record, resulting in his infamous Helter Skelter manifesto. Marilyn Manson observed that the Beatles song of the same name ""was the first piece of music to be blamed and associated with violence".[5] In this sense, the rock singer drew parallels with the White Album; both him and it have been used as a scapegoat by a traumatized, knee-jerk reactionary American public and both expound on America's obsession with guns and violence and addresses the political concepts of evolution and revolution.[11] Most critically, however, the record puts a spotlight on the universal phenomenon of the press 'canonizing' people into media martyrdom in TV or print by turning their death into a vulturistic overexposed spectacle. He cites, as examples, icons of American assassination such as John Lennon, John F. Kennedy and Jesus Christ who have attained cult-of-personality celebrity-worship as a result.[11] Of Kennedy and Christ's martyrdom he opines,

Christ was the blue-print for celebrity. He was the first celebrity, or rock star if want to look at it that way, and [dying on the cross] he became this image of sexuality and suffering. He’s literally marketed — A crucifix is no different than a concert T-shirt in some ways. I think for America, in my lifetime, John F. Kennedy kind of took the place of that [as a modern day Christ] in some ways. [Being murdered on TV], he became lifted up as this icon and this Christ figure [by America].

— Marilyn Manson, Marilyn Manson - Revelations of an Alien-Messiah[28]

When Bill O'Reilly suggested, in an interview on the O'Reilly Factor, that 'disturbed' kids could misinterpret certain lyrics in his songs to mean "when I'm dead everybody's going to know me", Manson replied by tying the aforementioned observations to Columbine,

Well I think that's a very valid point and I think that it's a reflection of, not necessarily this programme but of television in general, that if you die and enough people are watching you become a martyr, you become a hero, you become well known. So when you have these things like Columbine, and you have these kids who are angry and they have something to say and no one's listening, the news media sends a message that says if you do something loud enough and it gets our attention then you will be famous for it. Those kids ended up on the cover of Time magazine, the news media [and the American audience] gave them exactly what they wanted. That's why I never did any interviews around that time when I was being blamed for it because I didn't want to contribute to something that I found to be reprehensible.

— Marilyn Manson, Marilyn Manson on the O'Reilly Factor[29]

Packaging

Like Antichrist Superstar, the album also utilizes a compositional device called the song cycle structure dividing Holy Wood into four sections which form the framework and outline of Kadmon's story: A: In the Shadow, D: The Androgyne, A: Of Red Earth and M: The Fallen.

The album's cover, which portrayed Manson in a crucified pose with a missing jaw as a dual criticism on censorship and America's obsession with media martyrs,[5] generated minor controversy upon release and had to be offered with a cardboard sleeve featuring an alternative cover due to some retailers refusing to stock the album with the original artwork.[30] Manson described the move as "censorship" and stated that "those who seek to censor my album cover have successfully proven [the] point [of the image]."[7]

Book and film

Further information: Holy Wood (novel)

The album was originally to be accompanied by a book and a film of the same name which were to further explore the album's backstory.[7][31] In an interview with Manson in December 2000, Chuck Palahniuk briefly mentions the book and compliments its style, adding it is due for release "next spring".[32] The book has yet to be released, allegedly due to a publishing dispute,[33] and the film never began production.

Guns, God and Government Tour

Main article: Guns, God and Government Tour

In support of the album, Marilyn Manson launched the Guns, God and Government Tour. The tour began on October 27, 2000 and lasted until September 2, 2001. It featured six legs spanning Europe, Japan and North America with a total of 125 shows.[23] The Ozzfest leg of the tour is particularly notable since it marked Marilyn Manson's first performance in Denver, Colorado (on June 22, 2001) since Columbine. Predictably, the band met heavy resistance from conservative groups with the performer receiving numerous death threats and calls to skip the date.[34][35] The Christian organization Citizens for Peace and Respect asserted on their website that the band "promotes hate, violence, death, suicide, drug use, and the attitudes and actions of the Columbine killers".[36] In response, Manson promised,

I will provide a show where I balance my songs with a wholesome Bible reading. This way, fans will not only hear my so-called 'violent' point of view, but we can examine the virtues of wonderful Christian stories of disease, murder, adultery, suicide and child sacrifice. Now that seems like 'entertainment' to me.

— Marilyn Manson[36]

The Denver show also provided the backdrop for Manson's landmark interview on gun violence and America's climate of fear in Michael Moore's 2002 documentary Bowling for Columbine.[37]

Three concert films depicting the tour, Guns, God and Government, Guns, God and Government - Live in L.A., and The Death Parade, were recorded.

Reception

Critical reception

Professional ratings
Review scores
SourceRating
Allmusic link
Entertainment WeeklyB link
Robert Christgau(dud) link
Rolling Stone link
Los Angeles Times link

The album received generally favorable reviews. It earned a collective score of 72% out of 100 from Metacritic.[1] Barry Walters from Rolling Stone commented that "The band truly rocks: Its malevolent groove fleshes out its leader's usual complaints with an exhilarating swagger that's the essence of rock & roll.... On Holy Wood, Manson is as ambitious, personal and heavy as he's ever been, but the album is not, as he has proclaimed, the band's White Album. The music of these L.A. scenesters, though still evolving, can't hope to match the Beatles' level of eclectic experimentation or melodicism."[38] Stephen Thomas Erlewine of Allmusic commented that "Much of its charm lies in Manson trying so hard, perfecting details in the concept, lyrics, themes, production, sequencing, the tarot card parodies in the liner notes, the self-theft, the self-consciously blasphemous cover art. There's so much effort, Holy Wood winds up a stronger and more consistent album than any of his other work. If there's any problem, it's that Manson's shock rock seems a little quaint in 2000."[39] PopMatters commented: "The central flaw of Holy Wood is that the power of its message, an important and provocative one, is watered down by its artistic pretensions. While Holy Wood is often affecting, it would be a better album if it was shorter and dealt with its subject matter directly, instead of through the veil of the 'concept album'."[6] Katherine Turman of Amazon commented "The impact of Marilyn Manson's subversive musical agenda has waned, and what's left is a provocative, talented artist writing affecting, powerful, and yes, controversial songs...Rife with references to the Beatles and the Kennedys, and full of pop-culture barbs, Holy Wood is a musically diverse and powerful statement...Like Marilyn Manson the man, Holy Wood is intelligent, dynamic, and multifaceted, with myriad charms that are evident to the tuned-in listener."[40]

According to LA Weekly, "Yeah, it's a party. And it's great rock music. Those who claim Manson "went back to Goth" and reclaimed Antichrist's noise after Mechanical proved too subtle for kids are only partly right. Okay, he virtually cloned his hit "The Beautiful People" in "Disposable Teens." And there are several familiar yell-and-stomp numbers on Holy Wood. But even those almost all contain a double-take chord change or a textural overdose or a mind-blowing bridge, and they'll be terroristic in concert. More important, there are a bunch of plain brilliant tracks where Manson anoints bits of rock history into his own church."[41] Billboard Magazine said, "Manson proves again that he's one of the most skilled lyricists in rock today." [41] DOTMusic commented "Where 'Holy Wood' does come together and threaten to transcend its at times cliched parts is in its clarity of vision. This is a lean, visceral album that is as tripwire lithe as its maker. Manson's also remembered to write some great pop-goth tunes this time out, nowhere more so than with first single 'Disposable Teens'."[41] Sonicnet commented "Nonetheless, while more ambitious than almost all of today's metal-flaked rock competition, the 19-track Holy Wood is not without its problems. On numbers such as "President Dead" and "Cruci-Fiction in Space," the band seems to be just rehashing old terrain. And, while The Wall may be a worthy role model, Manson and company don't quite have Pink Floyd's lyrical or musical range, adding to the rote feeling that troubles some of this overlong (60+ minutes) disc."[41] Robert Hilburn of the Los Angeles Times commented "Manson can go on teasing his fan base with his Grand Guignol circus show, but it's hard to imagine in the age of Eminem and other hard-core rappers that he is still even in the Top 10 on parents' most-feared list. That makes him seem severely dated--and he doesn't do much to correct the impression. For someone with the ambition and possibly the talent to be the new David Bowie, Manson appears resolved to settling for the new Alice Cooper. Manson is a smart, articulate, likable guy. He's too talented to be wasting his time chasing the ghost of Alice Cooper."[42][43] In 2001, UK music magazine Kerrang! named Holy Wood the year's "Best Album" at their annual Kerrang! Awards.[44]

Kerrang! published a 10th anniversary commemorative piece on the album in their November 10, 2010 issue called Screaming For Vengeance[7] in which they called the album "Manson's finest hour...A decade on, there has still not been as eloquent and savage a musical attack on the media and mainstream culture as Manson achieved with Holy Wood...[It is] still scathingly relevant today." The article goes on to say, "...perhaps that's where Holy Wood achieved its greatest success. In deflecting the attention that was targeted at him back onto the [news] media, they reacted exactly as he knew they would: by blustering and further exposing their own inadequacies... The shame of it all, though, is that so little has changed. That the album is still so relevant today suggests it failed in its task of changing attitudes. That it exists at all, though, is a credit to a man who refused to sit and take it, but instead come out swinging."[7]

Commercial performance

In the United States it debuted and peaked at No. 13 on the Billboard 200 and was awarded gold status in March 2003 for selling more than 500,000 copies.[45]

Track listing

All lyrics are written by Manson[2]

A: In the Shadow
No.TitleMusicLength
1."GodEatGod"Manson2:34
2."The Love Song"Ramirez, 53:16
3."The Fight Song"52:55
4."Disposable Teens"5, Ramirez3:01
D: The Androgyne
No.TitleMusicLength
5."Target Audience (Narcissus Narcosis)"Ramirez, 54:18
6.""President Dead""Ramirez, 5, Gacy3:13
7."In the Shadow of the Valley of Death"Ramirez, 54:09
8."Cruci-Fiction in Space"Ramirez, 5, Gacy4:56
9."A Place in the Dirt"53:37
A: Of Red Earth
No.TitleMusicLength
10."The Nobodies"5, Manson3:35
11."The Death Song"5, Manson3:29
12."Lamb of God"Ramirez4:39
13."Born Again"Ramirez, 53:20
14."Burning Flag"Ramirez, 53:21
M: The Fallen
No.TitleMusicLength
15."Coma Black"Manson, 5, Ramirez5:58
16."Valentine's Day"Ramirez, Manson3:31
17."The Fall of Adam"Ramirez, 52:34
18."King Kill 33º"Ramirez2:18
19."Count to Six and Die (The Vacuum of Infinite Space Encompassing)"53:24
Bonus tracks
No.TitleMusicLength
20."The Nobodies (Acoustic Version)" (Japan/UK editions only)53:35
21."Mechanical Animals (Live)" (Japan edition only) 4:41
Notes
  • The disc contains a data track which leads to a video no longer hosted by Interscope's website. [2] This video was later included as a secret track on the companion DVD of Lest We Forget.[46]

Charts, certifications and procession

Credits and personnel

Template:Multicol-start

Marilyn Manson[49]
  • Marilyn Manson — arranger, vocals, producer, art direction, concept, syncussion, optigan, mellotron, distorted flute, synth bass, keyboards, piano, pianette, ambiance, electric harpsichord, rhythm guitar
  • Twiggy Ramirez — bass, guitar (rhythm, lead, Leslie, warped), keyboards
  • John 5 — guitar (lead, rhythm, acoustic, synth, electric, slide, phase)
  • Madonna Wayne Gacy — synths, ambiance, keyboards, samples, bass synth, synth strings, mellotron, "Children's choir and canned laughter of dead people unsure of why they are laughing"
  • Ginger Fish — drums (live, drum machine), death & siren loops, keyboards

Template:Multicol-break

Production[49]
  • Bon Harris of Nitzer Ebb — synthesizers, programming, pre-production editing, organic drum programming, bass, keyboard, "Insect hi-hat", sleigh bells, (destructive) manipulation, electronics, piano
  • Paulie Northfield — additional engineering
  • D. Sardy (Dave Sardy) —- producer, synths, (organic) drum programming, mixing, noise rhythm guitar, "pills"
  • P.R. Brown — art direction, design, photography
  • Greg Fidelman — engineer, all Pro-Tools
  • Nick Raskulinecz — assistant engineer
  • Joe Zook — assistant engineer
  • Kevin Guarnieri — assistant engineer
  • Danny Saber — additional loops
  • Alex Suttle — backing vocals

Template:Multicol-end

See also

References

  1. ^ a b "Marilyn Manson: Holy Wood (In the Shadow of the Valley of Death) (2000): Reviews". Metacritic. Retrieved 2010-11-15.
  2. ^ a b c "Holy Wood (In The Shadow Of The Valley Of Death) Enhanced". Amazon.com. Retrieved 2010-11-16.
  3. ^ a b Billboard 200 and Canadian Albums charting. billboard.com. Retrieved 2010-09-18.
  4. ^ a b c d e f g h Tom Lanham (2000). "Marilyn Manson: Absinthe Makes The Heart Grow Fonder". Alternative Press (#148): 76–86. {{cite journal}}: |access-date= requires |url= (help); Cite has empty unknown parameter: |trans_title= (help); Unknown parameter |month= ignored (help)
  5. ^ a b c d e f g h Saidman, Sorelle (2000-09-18). "Marilyn Manson Unveils Tour Plans, First Single For Holy Wood". MTV News Online (latterly VH1.com). Retrieved 2010-11-16.
  6. ^ a b c d Robinson, Charlotte (2000-12-14). "Holy Wood (In the Shadow of the Valley of Death) album review". PopMatters. Retrieved 2010-08-22. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  7. ^ a b c d e f g h i j k Tom Bryant (10). "Screaming For Vengeance". Kerrang!: 40–42. {{cite journal}}: |access-date= requires |url= (help); Check date values in: |date= and |year= / |date= mismatch (help); Cite has empty unknown parameter: |trans_title= (help); Unknown parameter |month= ignored (help)
  8. ^ Sterngold, James (1999-04-29). "Terror in Littleton: The Culture; Rock Concerts Are Cancelled". The New York Times. Retrieved 2010-11-22. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  9. ^ Marilyn Manson (28). "Columbine: Whose Fault Is It?". Rolling Stone magazine (op-ed essay). {{cite journal}}: |access-date= requires |url= (help); Check date values in: |date= and |year= / |date= mismatch (help); Unknown parameter |month= ignored (help)
  10. ^ a b c April Long (10). "Holy Wood (In the Shadow of the Valley of Death) album review". NME Magazine: 76–86. Retrieved 2010-12-02. {{cite journal}}: Check date values in: |date= and |year= / |date= mismatch (help); Cite has empty unknown parameter: |trans_title= (help); Unknown parameter |month= ignored (help)
  11. ^ a b c d e Quelland, Sarah (2000-12-14). "Into the Mind of Marilyn". Metroactive Music. Retrieved 2010-08-10. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  12. ^ Basham, David (1999-12-16). "Manson To Walk In The "Valley Of Death" For Next LP". MTVNews.com. Retrieved 2010-11-17.
  13. ^ a b Norris, John (1999-11-24). "'Marilyn Manson To Probe Celebrity And Suffering In New Film, Next Album". MTVNews.com. Retrieved 2010-11-17.
  14. ^ France, Lisa Respers (2009-04-20). "Columbine left its indelible mark on pop culture". CNN.com. Retrieved 2010-11-17.
  15. ^ D'Angelo, Joe; Vineyard, Jennifer (2001-05-22). "Marilyn Manson Bows Out Of Denver Ozzfest Date". MTVNews.com. Retrieved 2010-11-16.
  16. ^ Jones, Steve (2002). Jones, Steve (ed.). Pop music and the press. Philadelphia: Temple University Press. pp. 126–127. Retrieved 2010-11-14. {{cite book}}: Cite has empty unknown parameter: |month= (help); Italic or bold markup not allowed in: |publisher= (help)
  17. ^ D'Angelo, Joe (2001-05-21). "Colorado Governor, Congressman Support Anti-Manson Group". MTVNews.com. Retrieved 2010-11-17.
  18. ^ Moore, Michael. "Outtake footage from [[Bowling for Columbine]]". Youtube user sicpit. Retrieved 2010-11-16. {{cite web}}: URL–wikilink conflict (help)
  19. ^ Burk, Greg (2001-01-18). "Marilyn:A Re-Examination (page 1)". LA Weekly. Retrieved 2010-11-22. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  20. ^ "Marilyn Manson Interview on Bowling for Columbine". Bowling for Columbine Official Website. 2002-10-11. Retrieved 2010-11-15. {{cite web}}: External link in |publisher= (help)
  21. ^ Holland, Meegan (2009-04-20). "Columbine High School massacre on 10th anniversary: 5 myths surrounding deadliest school attack in U.S. history". The Grand Rapids Press. Retrieved 2010-11-16. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  22. ^ Cullen, Dave (1999-09-23). "Inside the Columbine High investigation". Salon. Retrieved 2010-08-15. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  23. ^ a b c Burk, Greg (2001-01-18). "Marilyn:A Re-Examination (page 2)". LA Weekly. Retrieved 2010-08-22. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  24. ^ Jeff Perlah (01). "Marilyn Manson: The Wizard of Odd". Onstage Magazine. Retrieved 2010-08-22. {{cite journal}}: Check date values in: |date= and |year= / |date= mismatch (help); Cite has empty unknown parameter: |trans_title= (help); Unknown parameter |month= ignored (help)
  25. ^ Manson, Marilyn (2002). The Dead Rock Star (op-ed essay). Rolling Stone magazine. {{cite book}}: |access-date= requires |url= (help); Cite has empty unknown parameter: |month= (help); Italic or bold markup not allowed in: |publisher= (help)
  26. ^ Segal, David (2000-11-27). "Welcome to His Nightmare: Acceptance". Washington Post (latterly Los Angeles Times. Retrieved 2010-12-04. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  27. ^ Manson, Marilyn (1999). Last Poll Of The Century (op-ed essay) (Millennium Special ed.). Rolling Stone magazine. {{cite book}}: |access-date= requires |url= (help); Italic or bold markup not allowed in: |publisher= (help); Unknown parameter |month= ignored (help)
  28. ^ Paul Gargano (1999). "Revelations of an Alien-Messiah". Metal Edge. 44: 08–13. {{cite journal}}: |access-date= requires |url= (help); Cite has empty unknown parameter: |trans_title= (help); Unknown parameter |month= ignored (help)
  29. ^ "Partial transcript of Marilyn Manson on the O'Reilly Factor". FOXNews.com. 2001-08-28. Retrieved 2010-11-16.
  30. ^ Manson, Marilyn (2000-11-15). "Mothers Against Marilyn Manson" (Interview). Interviewed by Carson Daly. {{cite interview}}: |access-date= requires |url= (help); Unknown parameter |callsign= ignored (help); Unknown parameter |city= ignored (|location= suggested) (help); Unknown parameter |program= ignored (help); Unknown parameter |subjectlink= ignored (|subject-link= suggested) (help)
  31. ^ Norris, John (1999-11-24). "Marilyn Manson To Probe Celebrity And Suffering In New Film, Next Album". MTVNews. Retrieved 2010-11-17.
  32. ^ Chuck Palahniuk (2000–2001). "Destiny's Child". Gear Magazine: 73. {{cite journal}}: |access-date= requires |url= (help); Cite has empty unknown parameter: |trans_title= (help); Unknown parameter |month= ignored (help)CS1 maint: date format (link)
  33. ^ "Alien Autopsy: Marilyn Manson and David Duchovny on Area 51". Official U.S. PlayStation Magazine. 2005. {{cite journal}}: |access-date= requires |url= (help); Cite has empty unknown parameter: |trans_title= (help); Unknown parameter |month= ignored (help)
  34. ^ "Marilyn Manson: 'I'm Always Going To Be Bad'". Blabbermouth.Net. 2007-06-02. Retrieved 2010-11-20.
  35. ^ "Marilyn Manson: 'My Greatest Fear Has Always Been Not Being Able To Create'". Blabbermouth.Net. 2007-04-15. Retrieved 2010-11-20.
  36. ^ a b D'Angelo, Joe (2001-05-21). "Colorado Governor, Congressman Support Anti-Manson Group". MTVNews.com. Retrieved 2010-11-17.
  37. ^ "Marilyn Manson Interview on Bowling for Columbine". Bowling for Columbine Official Website. 2002-10-11. Retrieved 2010-11-15. {{cite web}}: External link in |publisher= (help)
  38. ^ Walter, Barry (2000-11-22). "Holy Wood (In The Shadow Of The Valley Of Death) review". Rolling Stone. Retrieved 2010-11-22. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  39. ^ Erlewine, Stephen Thomas. "Holy Wood (In The Shadow Of The Valley Of Death) Enhanced review". Allmusic.com. Retrieved 2010-11-16.
  40. ^ Turman, Katherine. "Holy Wood (In The Shadow Of The Valley Of Death) [[Enhanced CD]] Editorial Review by Amazon.com". Amazon.com. Retrieved 2010-11-16. {{cite web}}: URL–wikilink conflict (help)
  41. ^ a b c d "Critic Reviews for Holy Wood (In the Shadow of the Valley of Death) - Marilyn Manson". Metacritic. Retrieved 2010-11-22.
  42. ^ Hilburn, Robert (2001-01-15). "Marilyn's Moon on the Wane page. 1". Los Angeles Times. Retrieved 2010-11-20. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  43. ^ Hilburn, Robert (2001-01-15). "Marilyn's Moon on the Wane pg.02". Los Angeles Times. Retrieved 2010-11-20. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  44. ^ "Manson wins Kerrang! honour". BBC News. 2001-08-28. Retrieved 2010-11-19.
  45. ^ "RIAA Database Search for Marilyn Manson". Recording Industry Association of America. Retrieved 2010-11-16. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  46. ^ "Lest We Forget: The Best of (Bonus Dvd) (Coll) Explicit Lyrics". Amazon.com. Retrieved 2010-11-16.
  47. ^ Allmusic Billboard charts & awards. Allmusic. Retrieved 2010-11-17.
  48. ^ Modern Rock Tracks charting. billboard.com. Retrieved 2010-09-18.
  49. ^ a b "Holy Wood (In the Shadow of the Valley of Death) credits". Allmusic. Retrieved 2010-11-17. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Holy_Wood_(In_the_Shadow_of_the_Valley_of_Death)&oldid=400931327"