the NachtKabarett

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All Writing & Content © Nick Kushner Unless Noted Otherwise
Collaboration with Brad Jaeger

April 25th 2006 : a multimedia version of the Celebritarian masthead showing Manson with the crown of thorns, MM stigmatist hands and a creepy Hitchcock presentation speech soundtrack surfaces. This new advent was the first time began to embody the hidden and numbered sequences which both Manson and the previously incarnations of have previously alluded to.

The collage first appeared on as a static superimposed image on January 7th, 2006, and then printed on a ' Celebritarian Tee' on March 15th, while the Celebritarian Corporation dark red logotype had been discovered on January 19th with the 'Seizure page'. A non-interactive version with a modified audio track was still reachable on Manson's site after its full Celebritarian launch in November 2006, by clicking 'The Style' in the 'Gallery of Shapes' section.

Below is a presentation of the audio tracks, coded sequences and swf files composing the multimedia introduction. Click here for an in-depth analysis of the Celebritarian emblem's graphic elements.

Click thumbnails above for each element the interactive Celebritarian masthead.



Audio Montage


Alfred Hitchcock Presents

Left ; Early Twentieth Century master of horror, Alfred Hitchcock. Right ; screencapture of Manson's short film 'The Mechanism of Desire'.


"Perhaps I should mention that we have decided that this flick, or homicide, is a little special, a little too macabre for the squeamish. Therefore we have labeled it for 'Juveniles Only.' Adults will not be permitted to this unless they are accompanied by their children"


The above audio preface to the Celebritarian splash is spoken by Alfred Hitchcock who was one of the early Twentieth Century's masters of the horror genre, writing such classic and then revolutionary horror films such as Psycho and The Birds. The audio may sound familiar as it was first utilized by Manson in 2003 for the short film released on Valentine's Day 2003 entitled 'The Mechanism of Desire'. The film was released in Manson's journal under the post "Valentine's Day Bring Us A New Taste Of Eonism" where the new look and aesthetic was unveiled for the first time. The audio does have certain connotations which allude to concepts involving Celebritarianism including the work of Gottfried Helnwein, as well as Manson, who explore the themes of innocence corrupted.


Albert Speer

The German voice which is sampled within the audio of the splash page, mistakenly by many as Adolf Hitler, is a speech by Albert Speer who is often known as 'the first architect of the Third Reich'. Speer had originally studied to be a mathematician but had decided to follow in his family's lineage of architecture, joining the Nazi Party in 1931. Hitler was fond of Speer due to his own artistic inclinations and Speer had designed such infamous Nazi monumental displays as the parade grounds where the Nuremberg Rallies were held. It should be noted however that Speer has remained apolitical throughout most of his life and his life was spared at the Nuremberg trials for showing remorse, instead being sentenced to 20 years in prison where he wrote in secrecy the semi-autobiographical books and later dying in London in 1981 due to natural causes.


Scene from the Nazi Nuremberg Rallies, prominently featured in the Nazi propaganda film "Triumph of the Will"
by Leni Riefenstahl. Massive swastika flags and setup designed and improved upon by Albert Speer.


Here is the entire original speech by Speer, a sample of which is heard during the splash page, translated by Nina and earlier identified by Indira, both members of the German translation team of The NACHTKABARETT:

"German Comrades!

Never have civilized people been hit so hard, Never have depredation and war-destruction been as capacious as in our country and never have people beard the cruelty of war with more endurance, tenaciousness and faith like you. Now you are all depressed and heavily shocked. Your faith changes into desperation and your endurance and tenaciousness into tiredness and casualness. That may not be!

The German people have demonstrated a corporate mind-set which will evoke an admiration of a righteous history in a later future. Especially in this very moment we might not mourn and bemoan the past. Only with determined work can we still bear our fortune.

The depredations which this war brought to Germany are only comparable to those of the Thirty Years' War. The loss of population because of hunger and epidemic plagues should not embrace that dimension. Only because of this reason sees Großadmiral Dönitz himself forced to not put down the weapons. It is the only meaning of the combat that is still fought, to let the German people who are still fleeing from or are still threatened by the Soviet army not die. This is the last duty in this hero-combat of Germany, which the people that beard the affliction of this war so brave, still have to carry. It lies by the way in the hands of the enemy how much honour and facility he allows the German people to receive, a conquered but heroically fighting enemy, so they can also one time go down into history as generous and decent.

But nevertheless, you can all, everyone at his own place, still contribute to keep the people from the worst damage. You have to raise the buildup-will in the next months, the will with which you, German workers and German works managers, always again tried to abolish the consequences of the air attacks. The understandingly lethargy, which came over the people because of the paralyzing shock and the overweening frustration of the last months, has to vanish.

For the closest future I give you the following basic guidelines:

1. The most important thing is the abolishment of the damage on the Reichstrain facilities. As far as the enemy somehow allows or commands, is it therefore under the commitment of all resources and also with the most primitive help to carry on with the rebuild. Because the transport makes the feeding of big areas possible in which the population otherwise undergoes serious dearth. And only because of temporarily repaired infrastructure can you find back to your families.

2. The industry and the trade which have rendered incomparably much in this war are obligated to accomplish every order to rebuild the train facilities very fast and prefer them to all other orders.

3. In six years of war has the German farmer been disciplined and delivered his products exemplarily after the dispositions. Every German farmer has to take his delivers to the highest possible maximum in the forthcoming time. It is without question that the German farmer practices the harvesting with outmost acquittal. He knows how much responsibility he bears in front of the German people.

4. Food goods have to be driven before any other good. The food companies are to be provided with electricity, gas and wood before all other companies.

If we work with the same tenaciousness as we have done in the last years, the German people will be preserved without more big loss. If our enemy allows that cannot be foreseen. But I am bound to mobilize my labour until the last moment for the preservation of our people.

The aggressions that Germany received that last months are harrowing. It is not in our hands anymore where our fate will turn to. Only a better destiny can change our future. We ourselves can contribute with working determined and hard, with meeting the enemy dignified and self-confident, with getting decent inside and self-critical and with an unimpaired faith in the future of our people who will always and forever be. God save Germany. "

BBC Announce


(In actuality Hitler's doppelgänger, or body double)

Another self explanatory audio clip which is part of the sound montage is a BBC radio address from Stuart Hibberd dated May 1st, 1945 announcing the confirmation of the death of Hitler.



Celebritarian HymnIdentification of source courtesy of Bjornwad of MansonUSA.

From new audio comes the Celebritarian hymn, which features the voice of preacher Dr. J. Vernon McGee:

"Why do God's children suffer? Now, I do not entertain the vain viewpoint or the futile notion of the absurd idea that I am going to answer the question once and for all time and have a final word. I do not think I'll do that. Perhaps all that I am going to do is to add more confusion to a very mooted problem of human experience. Here is another group of people, "...and others had trial of cruel mockings and scourging, yea, moreover bonds and imprisonment: They were stoned, they were sawn asunder, they were tested, they were slain with the sword!" Now that's a slain state. Here's one group of people who by faith escaped the edge of the sword. Here's another group of people, who were slain by the sword and they did it by FAITH!"
Why do God's Children Suffer?, Vernon McGee


"Who through faith subdued kingdoms, wrought righteousness, obtain promises, stopped the mouths of lions, Quenched the violence of fire, escaped the edge of the sword, out of weakness were made strong, waxed valiant in fight, turned to flight the armies of the aliens. Women received their dead raised to life again: and others were tortured, not accepting deliverance, that they might obtain a better resurrection: And others had trial of cruel mockings and scourgings, yea, moreover of bonds and imprisonment: They were stoned, they were sawn asunder, were tempted, were slain with the sword: they wandered about in sheepskins and goatskins; being destitute, afflicted, tormented".
The Epistle of Paul the Apostle to the Hebrews, Chapter 11


Chapter 11 of Hebrews, which preacher Dr. J. Vernon McGee referenced is a short chapter which teaches that "by faith" we understand the word and work of God. To be more specific, this faith is a faith in the LORD:


"By faith they passed through the Red sea by dry land: which the Egyptians assaying to do were drowned.", "By faith the walls of Jericho fell down, after they were compassed about seven days", and numerous other examples in the chapter all detail that, "through faith we understand that the worlds were framed by the word of God, so that things which are seen were not made of things which do appear".



Before segueing by way of inclining scales into a choir singing, "Do you love your guns, your God, your government?", drawing parallels to The Love Song, which introduced three pillars of Celebritarianism: Guns, God, and Government.


Guns, as a metaphor for violence, death, and destruction
God, as a symbol of faith
Government, as a metaphor any of our bureaucratic overlords.


The Celebritarian Corporation further demonstrates the fundamental comprisal of these three elements, as it compiles them together into a blend of dissonant unity.

However, even present in the first track of Holy Wood, Godeatgod, Celebritarianism and its mantra of sorts was briefly described:


"Before the bullets,
Before the flies,
Before authorities take out my eyes"
Marilyn Manson, GodEatGod

This making making direct reference to guns and government, while many phrases also present in the song were directly tied to God, once again fulfilling what appears to be three central aspects of Celebritarianism.

As the song is titled as a "hymn", it adds a degree of involvement to the concept by unifying and herding the beliefs of the group by repetition and faith, which is within anyone's power to do when corrupted by corporations (be it the church, the government, authorities, or even violence)

This blind following is exactly what leads individuals to uniformity, herdibility, nonresistance, and ignorance, and subsequently, can lead us to misfortune (if we're lucky), and death if we're not so fortunate.



Coded SequenceThanks in large part to Bullsik of for the decoding finds.


1st Gate

Wait for all of scene to display fully & the Alfred Hitchcock
speech to complete. Cross will dull in brightness.


Hover mouse over cross for a IIV, which fades into a III,
to appear on the bottom bar on the left.
Click the IIV within the cross and type 1 on keyboard.
An instantaneous flash shows Manson wearing iron teeth and a mouseketeer hat with a SS totenkopf
where the traditional Mickey Mouse Club logo normally stands. Though the animal features and iron teeth
are a new evocation of the Beasts of Revelation, the mouse ears also suggest additionnal Biblical dimensions:
The ears are enough to evoke the Mouse and also Disney, now a secular authority and a successful corporation that many want to identify with, if only to take the role of David in fighting Goliath. The simple cap is the sort worn by the Pope, cardinals, and, on occasion, by some Jewish men. In contrast, the large mouse ears attached rather ludicrously to the top of one's head are worn by children and do not evoke serious religious meaning. Nevertheless, Disney tries to make a serious spritual connection, quoting Jung in their book on Mickey [Mickey Mouse. The Evolution. The Legend, The Phenomenon!, 2001] : "'The circle always points to the single most vital aspect of life - its ultimate wholeness.'- Psycholigist Carl Jung, analyzing Mickey Mouse, observing that his head was comprised of a trinity of circles." Two simple black circles attached to a black cap have become a talisman of the Mouse and Disney, symbolic of playfulness and animalistic high spirits (the Freudian id), and of magical verses adult, human, civilization (superego). The ears are a body part, and might at times be considered symbolic of breasts; if so, wearing the ears feminizes the wearer; they are hardly "macho."

In sum, the ears are playful, animalistic, magic and feminine. "The ear 'hears' the word of creation and so is associated with the breath of life." [J.C. Cooper, An Illustrated Encyclopedia of Traditionnal Symbols, 1978.] They are the ears of an animal albeit an anthropomorphized mouse. Symbolically the mouse has been attributed with "the powers of darkness; incessant movement; senseless agitation... the devourer; the mouse is depicted as gnawing at the root of The Tree of Life;... Hypocrisy; duplicity." [Cooper.] These fit the persona of the Mouse define by Jungians as the trickster.

Attached to the Mouse Disney and Contemporary Art, Holly Crawford.
University Press of America, 2006.


'THE FIRST GATE, HAS BEEN OPENED' scrolls across bottom cross bar, but has later been removed on May 3rd.
(Click here to interact with the flash sequence without this message.)



2nd Gate


Wait for Cross to dull again, then hover over it. When V appears,
click the V and type v on keyboard. A flash will be seen & heard.



3rd Gate

Cross will eventually turn red. When cross is red type 0. Celebritarian Hymn plays.
While the song is playing and the cross is red, typing 3 & 5 will bring it back to grey. A red IIV which fades into a III is present when
hovered over in the same fashion as above, which is probably residual from the Flash actionscript.

The cross will remain bright after Celebritarian Hymn plays without dulling again...

Periodically also, the MM on the hands can be seen shaking, and the MM © logo has a vibrating silhouette while hovering over.

The number: 3113150113151150335313, also appears within the source code as a search keyword, which is unknown what its significance is but relates to the number sequences of the updates last January as well as the "seized" sites afterward.



313 Detach

All .SWF files within introduction currently known thus far: galvanizer, ohm, bg, celebritarianhymn_no26, conf1, conf2, conf3, 01355, detach313

It is noteworthy to mention that the detach313 file is in itself a reference to the Kennedy assassination; another tie to the martyring of individuals into Celebritarians. In the infamous Zapruder film, frame number 313 is the head shot which killed John F Kennedy, and detached parts of his skull from the impact.



Two stills of frame 313 of the Zapruder film which appear in the opening vignette of Frame 313 of the film, being annotated, is the frame in which Kennedy's head
is impacted and explodes; coinciding the song "President Dead" is 3 minutes and 13 seconds long.



Galvanizer & Ohm

Two of the .swf files which launched – galvanizer.swf, and ohm.swf – carry electric symbology present within their titles. Continually visible in metaphor and central to the identity and message of Marilyn Manson is the concept of dichotomy,which is brought forth in yet another new form. The definition of a galvanizer is that of an object which stimulates or promotes an electric shock, while the ohm represents its antithesis, a measurement of electrical resistance.

Shock symbol, the universal warning symbol of the risk of electric shock (photo taken by NK in Romania where the symbols
literally line the street corners).
The Ohm symbol, denoted by the omega, the symbol of electrical resistance.

And as with much of Manson's art, it is interconnected to prior work, and interconnects with a symbol most Manson fans are familiar with; the symbol of Omega, which the ohm uses to represent itself. Manson has previously stated that both albums Antichrist Svperstar and Mechanical Animals were dual counterparts, inverses in a sense which this lends an additional interpretation of opposites merging to create a balance.



Phantasmagoric  reversion


Coinciding with Walpurgisnacht, the heralding of the spring and rebirth, the previous phantasmagoric flash was reverted back to the homepage of with the now current, sequenced Celebritarian splash page accessible by clicking the flashing montage.