the NachtKabarett
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MarilynManson.comI've been in the bored room this past month trying to explain the difference between a night club and a night stick to a pile of idiots, who for the life of them, could not see the connection betwixt the moustache of Dali and the "mustache" of Nietzsche. I have put the dirt back in my mouth and drank from the dead, regardless of what these powdered wig witch doctors prescribed. We will not be censored.
(..)
I am here,
MM
AD[posted 1/23/2003 U.S.A.]
Dali and Nietzsche are two iconoclasts which Manson has invoked and sought inspiration from in an innumerable amount of instances with the former being a more recently cited most frequently and with 1996's Antichrist Svperstar being a quoted tribute to the work of the latter.
In January 2003 leading up to the release of The Golden Age of Grotesque, Manson made a post to his journal on MarilynManson.com in regard to a comparison between the mustache's of Nietzsche and Dali along with two video previews of the song Para-noir. In a 1963 interview with David Bryson, Dali made this exact contrast between Nietzsche and himself based on their facial extremities which was prompted after imploring him to define his term 'Paranoiac.' The word 'paranoiac' is one which is short for the 'The Paranoiac Critical Method', Dali's method of painting he once defined as, "... A spontaneous method of irrational knowledge based on the systematic objectification of associations and delirious interpretations...", a method praised by fellow surrealist Andre Breton as the movement as a whole played upon the expression of the subconscious and irrational via the conscious mind and in a rational concrete medium of painting. This concept is also one which is no stranger to Manson who has to have experimented with the occult, sleep deprivation and narcotics to achieve of freedom of the subconscious in the creation of art, where the rational inhibitions of the conscious have been subsided to release the inner depths of creativity.
Paranoiac, more similarly, is also a remix of the song Para-noir, featured on the mOBSCENE single, which is itself a corruption of the word paramour meaning, 'a lover in an adulterous relationship', making it a befitting title for its theme.
BRYSON: Could you define the word 'paranoiac'? Could you define it in more detail?
DALI: The name is paranoiac critical method: one spontaneous method of knowledge based in the instantaneous association of delirious material: everything [that] appear[s] in my life, delirious, antagonistic, impossible [all] pushed together. My method instantaneously creates these miracles. Two completely different kinds of imagination. One is the romantic imagination where countries are represented by [the] Pre Raphaelites, Bouguereau, Rossetti, these people live in one dream but this dream is completely subjective, neurotic... this dream disappears, there is no possible proof this dream exists. ...my kind of imagination is the contrary of Pre Raphaelite is the same consistency [but] it is not romantic it is completely classic. The relationship between this classical Mediterranáen landscape is the same landscape of Greece [with the] fantastic mythology of the Greek antiquity and my monstruositites is the same kind of solid rock shape.
BRYSON: Yes, I understand that the geology, what you see here, confirms the images. The images are your private images in Dali's head but painted out they correspond to a reality.
DALI: Exactly because, my delirium is injected and sublimate in this rocks and in this geology. There's many kinds of imagination, [such as] the Romantic imagination, almost never exist in rock. It's only fog, music, evanescent visions of Nordic countries [where] everything is completly musical.
This also is very clear in my moustache because my moustache is the contrary of the moustache of Friedrich Nietzsche. Friedrich Nietzsche is the depressive moustache, plenty of music and fog and romanticism and the DalíÃ??Ã? moustache is exactly the same que two erected scissors completely metallic.
In short, the concept presented via the microcosm of the two mustaches is the dichotomy and differentiation between that which is depressive and romantic with that which is uplifted and pragmatic and thus yet another illustration and dimension of the dichotomy which is Marilyn Manson within the context of The Golden Age of Grotesque and two of the extreme influences thereof.