Marilyn Manson: the essential timeline

The embryo of the band is formed with Manson hooking up with Daisy Berkowitz, Gidget Gein and Madonna Wayne-Gacy. The bands intention is to explore the limits of censorship.
Under the banner of Marilyn Manson and The Spooky Kids, the band began to gain a loyal following in Florida and were nominated for some local music awards. By the end of the year, the band were known simply as Marilyn Manson.
Trent Reznor offers the band a contract on own label and an opening slot on his tour. Gein was replaced with Twiggy Ramirez and the band won a South Florida Slammie award for Song of the Year with Dope Hat.
Portrait Of An American Family is released. Banned from performing in Utah, but Reznor invites Manson on stage anyway. More controversy arises when he rips up the Book of Mormon. Jailed in Florida for nudity violations, Anton LaVey bestows the title’ Reverend on Manson.
Lucas is replaced with Ginger Fish on drums, Berkowitz is replaced on guitars by Zim Zum. Smells Like Children is released and their cover of Sweet Dreams is picked up by MTV.
Antichrist Superstar released making top 3. Band is nominated for Best Hard Rock Video for Sweet Dreams.
The Long Hard Road Out of Hell, was published.
Zim Zum leaves the band and is replaced by John 5.
OctoberMechanical Animals tops the Billboard 200 Albums chart for a week. Marilyn Manson found his first bout of opposition when public officials in Syracuse,NY moved to stop him from appearing in concert there.
Release of Holy Wood (In The Shadow Of The Valley Of Death).
Tainted Love released.
Holy Wood (In The Shadows Of The Valley Of Death) was certified gold.
The Golden Age Of Grotesque released. Tops Billboard Top 200 Album chart for a week with The Golden Age Of Grotesque selling over 118,000 copies in the US its first week of release.
Manson takes the Ozzfest stage for the third time in his career.

Is eBay trying to ban black metal?

Rumors abound that eBay is banning the sale of black metal merch. According to a post on, Paula Hogan of Candlelight Records USA reported that "a few of [Candlelight’s] vendors who have sizeable eBay stores are now finding their items pulled down by eBay directly." Stephen Benbrook of Zion’s Gate Records in Seattle has been selling black metal on eBay for three years. "Within the last several weeks, we’ve has over 20 different titles removed from eBay," he tells Revolver via email, citing albums by Darkthrone, Satyricon, and Burzum. According to Benbrook, eBay removed the titles for violating the site’s ban on hateful and discriminatory materials. "But they don’t monitor it," he says. #An individual has to report it or claim it as such. So it can be anyone in the world who doesn’t like an artist or certain subject matter and say that it is hateful to them, and eBay will automatically remove it." EBay did not respond to Revolver’s request for comment.

How EMO became a tabloid scare story

Self-harm? Vespas? The press have found a new way to demonise rock fans.
Shame they’ve got it completely fucking wrong…

  On sunday,August 27, My Chemical Romance took to the stage at the Reading Festival and started a ferocious, arena-wide chant of: "Fuck the ‘Daily mail’!"
  Gerard Way and his bandmates were responding to an article written in the tabloid, titled ‘Emo Cult Warning For Parents’, that has been doing the rounds on the Internet ever since it’s publication before the festival.
  The poorly-researched feature claimed that the emo genre encouraged both self-harm and suicide (as well as Vespa riding!);pointed the finger at My Chemical Romance and – confusingly,despite having nothing to do with the genre – Green Day;and attempted to explain to parents how to recognise if their child was "an emo", saying that fans refuse "to open their curtains",that "their world is dark and airless", and that they indulge in "self-pity, introspection", and "self-dramatisation". Parents are also advised to be on the look out for "small T-shirts and ‘black air’ ".
  This isn’t the first time the mainstream press has touched on the genre – ‘The Times’ also explored emo with their July story ‘Emotionally Challenged’, but came to the logical conclusion that there was "no relationship between emo and depression, or cutting, or suicidal tendencies" and that "emo kids are just more open about it". It concluded that the real concern should be why "more kids in general are experiencing these things", not the music those kids are listening to.
  Sarah Sands,who wrote the ‘Daily Mail’ article, denies the paper was scaremongering. "Statistically," she says,"teenagers are extremely vulnerable to self pity and to self-harm and the ‘Daily Mail’ would not be behaving responsibly towards parents if it did not point this out.To you," she continues, "emo may be a fashion statement,but teachers and some parents are deeply uneasy about the associated cult of self-harm."
  But as one reader,Louie from Manchester, points out on the ‘…Mail”s website, "the link between emo self-harm is unfair.I am yet to meet an ‘emo’ who self-harms or has any reason to self-harm,in all honesty.Self-harm is a serious issue,not a trend."
  Fat Wreck Chords rising stars Love Equals Death were also mentioned in the piece;Sands claiming they were part of a genre called "Death Pop",which is, according to the ‘…Mail’, "popular in Germany."
  Bassist for the Bay Area punk quartet, Dominic Davi,is amused: "I find this so damn funny,I can hardly contain myself," he laughs. "Death Pop is a totally fictious genre;a term that has been tossed around a few times as a joke.If we are the head of a huge cult forming in Germany someone didn’t send us the memo."
  "Honestly,though," Davi continues, "as funny as I would like to think this is, and as much as I would like to think that people will dismiss this garbage,I am sure there are parents who will take this far too seriously,look at their children’s style of dress and their CD collections and assume the worst about their own child.The ‘Daily Mail’ should be more responsible."
  Indeed it should.Sands – who claims in her article (without providing any source for the accusation) that "emos exchange competitive messages on their teenage websites about the scars on their wrists and how best to display them" – was, back in 1995, criticised as a sensationalist when a memo she wrote to a colleague at ‘The Daily Telegraph’ was leaked to the public.
  In it she stated that "The ‘…Mail gets the best out of people through fear" and that ‘The Telegraph’ should "sell stories hard,but just stop short of distortion". "We should be friendly and fair-minded," she stated, "but then take people aback with ferocious militia-style attacks."
  Clearly Sands still favours this style of journalism, but the consequences of writing in this manner are far-reaching and dangerous.
  "Children who cut themselves need honest help and understanding," concludes Dominic Davi, "and targeting their choices of fashion and music and labelling it a possible ‘cult’ just misinforms those who are in a position to help them.
  "And that," he emphasises "is what’s really sad and alarming."

Souce: Kerrang! Magazine

ATREYU vs FROM FIRST TO LAST (It’s the vicious screamo feus everyone’s talking about.Here’s how it all kicked off)

When From First To Last set out on a US tour supporting Atreyu this autumn,the two bands were firm friends.They seemed like perfect tourmates,both rising to the top of the screamo pack with their similarly intense,dark-hued anthems.They even shared the same manager,and the tour seemed set for success.
Fans were left stunned,then,when From First To Last left the tour amid a vicious war of words.A post on their website bitterly complained of being "kicked off" the tour,claiming,"If we were allowed to be on the rest of this tour we would be".Atreyu responded in disbelief,frontman Alex Varkatzas slamming the Orlando,Florida band as "cocky" and "in it for the money".In a scene where camaraderie is so highly valued,the storm escalating around the two bands was explosive.
The root of the problem goes back to the Warped Tour.From First To Last were forced to drop out of the festival a few dates in because of vocalist Sonny Moore’s escalating throat problems.After undergoing surgery on his throat and resting for the remainder of the summer,the band assumed he was well enough to handle screaming duties again.But by the time the Atreyu tour reached Philadelphia on October 24, 14 days into the 28-date run,Moore tore a vocal chord and was advised by a doctor to completely rest his voice immediately for fear of causing irreversible damage.
"I didn’t recover in enough time",says Moore."At the time I was so depressed and bummed out about my voice.I was upset because I let a lot of people down but I didn’t care what we were doing at that point."
Rather than immediately dropping out,the rest of the band suggested continuing with Craig Owens of Chiodos,also on the tour,handling vocal duties,and Sonny just playing guitar.It’s here,it seems,that the confusion and acrimony began.FFTL apparently expected to be paid the same amount as they would have been with their frontman appearing.
"FFTL were difficult," explains Varkatzas."Matt [good,guitarist] one night poured water in our monitours.Another night he freaked out and kicked one of our guitar rigs.That’s pretty fucked up – but we didn’t doanything about it.Then Sonny,who’s a good guy,comes and tells us he needs to rest his voice.We’re sympathetic dudes and we don’t want to send anyone home so we offer them X amount to stay on the tour – a generous offer. They decided to leave anyway and then they posted on their web page that they were kicked off the tour and they did everything they could to stay,which is not true.They wereon a really expensive bus,they had stage props,wererenting lights,renting space in our semi for their gear and they didn’t want to get rid of any of that.It was allabout money."
So,while rumours of a lawsuit from FFTL flew – although both parties now say that no legal action is going to be taken (Varkatzas: "i can think of a couple of better ways to settle this") – relations between the twobands campletely broke down,FFTL claiming to have been kicked off,Atreyu accusing them of greed.The only person who’s so far stayed out of the fight is Moore,who was preoccupied with his medical problems – a planned UK support slot with Lostprophets has also been cancelled.
"I was kind of on the other end of things so I wasn’t too in the loop," he says. "I guess MySpace bulletins were posted and things were said that kind of riled each other.It’s just miscommunication.If you read something on the Internet,you can’t picture how they’re saying it.It just got out of context.There’s no malicious intent,there’s no fight,everything’s chill."
Tim Smith,who manages both Atreyu and From First To Last,strikes a similarly reconciliatory note.In an email to Kerrang!,he explained, "The bands have had a rough few weeks,and this has been very trying for both of them.Hopefully,time will heal those wounds and allow both these bands to continue doing what they do – making amazing music."
For Varkatzas,though,it’s clear that tempers are still frayed.
"Fuck FFTL except Sonny," he states. "They’renot true to themselves,their music or their fans.FFTL fans will hate us because of this and that’s fine – we know we did the right thing and if anyone’s got anything to say about it they can say it to my face."
Souce: Kerrang! magazine nº 1135

“Por que os vocalistas de rock estão perdendo espaço para as mulheres?!” – Por Bruno Sutter

Pois é… se o seu sonho é se tornar vocalista de rock e você é homem… você está com um iminente problema à sua frente: as mulheres!

Você já ouviu falar com certeza em bandas como Nightwish, Evanescence (sei lá se escreve assim mesmo!), After Forever e por aí vai, não é mesmo?

Por acaso você tem a mínima noção do que é isso? Não! não é uma simples coincidência ou uma modinha de bandas com vocais femininos. Isso é bem maior do que se pensa!

A verdade por trás de tudo que está acontecendo é o resultado de uma espécie de “evolução natural” da história da música nos últimos anos. Duvida? Então vamos aos fatos:
Na década de 50, o rock n’ roll era a sensação de sua época, e além das reboladas alucinantes de Elvis Presley (do qual não questiono a sexualidade), havia um cara que dava agudinhos alucinantes e incendiava seu piano. O nome desse cara era Little Rirchard… tempos depois descobriu-se que ele era bicha (até aí tudo normal, pois aplica-se a teoria de minha primeira coluna). Foi o primeiro registro delicado na música pesada.

Na década de 70, o hard rock setentista era a febre do momento. E um jovem rapaz chamado Robert Plant, do Led Zeppelin começava a fazer performances um tanto quanto duvidosas nos shows da banda. Esse exemplo foi seguido por mais adeptos na época, como o vocalista David Byron do Uriah Heep e nosso já conhecido Rob Halford, do Judas Priest…

Já na década de 80, o rock tradicional foi tomado por várias vertentes diferentes que tomaram conta do universo. E é aí que houve um ‘boom’ de ‘boiolagens’, principalmente em seu estilo mais viado: o Hard Rock oitentista. Esse estilo em especial foi o responsável direto desse fenômeno que esta coluna trata, e merece um parágrafo a parte.

A extravagância do estilo, além da cultura já conhecida dos anos 80, criaram o ambiente ideal para vários artistas a soltarem a franga. Principalmente na estética, onde quase todos tinham cabelos bufantes e roupas brilhosas. Se somarmos a isso o aspecto da voz estar cada vez mais afeminada, facilmente chegaremos a nossa conclusão. (é só ver a foto ao lado).

Porra! Se os caras usam roupas de mulher, cabelos de mulher, cantam que nem mulher e são boioletas… não seria melhor uma mulher de verdade fazendo o serviço?

E é justamente isso que está sendo feito. O Hard Rock oitentista é o maior responsável por este novo estilo musical que nada mais é do que a mesma coisa com uma roupagem (literalmente) moderna e com as mulheres no comando. Para elas, parabéns, e para os travecos que estão perdendo o espaço… moooorram de inveja! hahahahahaha.