the NachtKabarett

All Writing & Content © Nick Kushner Unless Noted Otherwise

 

Manson's first predominant evocation of numerology first reared its head throughout 1996's 'Antichrist Svperstar' album and era. The record contained influences ranging from Nietzschean philosophy, the Kabbalah, alchemical transformation and, for purposes here, numerology. Many songs, namely 'Cryptorchid' made reference to numbers in the esoteric and symbolic sense. 7 for example, as lyricized in 'Cryptorchid', is the number of God and divine perfection which Manson seeks to obtain but encounters insurmountable impossibility. The book which Manson's revealed to be inspirational throughout composing the album, 'The Tetragrammaton', relied heavily on numerological significances within occult ritual and it was from this book which the symbols within the album artwork were derived from. See 'Antichrist Svperstar', 'Holy Wood' & The Tetragrammaton for more on this symbolism.

Underlying and subversive flirtations throughout 'Antichrist Svperstar' aside, it wasn't until 1998's 'Mechanical Animals' in which Manson became overtly open and forthright with numerological correspondences within his works. Namely, the number 15, which can be found consistently throughout Manson's works ever since, regardless of whether or not his current direction at the time contains any other significant or overt occult references.

In an MTV special entitled 'Man5on TV' conducted on September 14, 1998, the day prior to the release of 'Mechanical Animals', Manson answered to the following in regard to the integral nature of numerology and the number 15 within the album and his art as a whole :

The significance of the number 15 can be found intermittently and covertly throughout the Bible, numerology and the occult. Even further personalized for Manson, his birthday is January 5, 1969 ; a 15 double entendre with 1/5/69 containing both January 5th's representation as 1/5 = 15 and 69 combined as 6 + 9 = 15. Additionally, Manson's birth sign, Capricorn, is associated with the 15th card of the Tarot, uncoincidentally The Devil card.

15 is the product of 3 and 5 ; 3 being a very powerful number generally symbolizing strength, stability and the Holy Trinity, ultimately representing synthesis as it is the product of the activity of duality, and 5 which is often found to symbolize harmony, balance, magic and pure creativity. Their product together (3 x 5) creates 15, which if further combined in the form of 1+5, yields the sum of 6 which is often held to be the number of Man(son ; "The Son of Man") as on the sixth and last day of Creation, God created both Adam and Eve as,

The sum of 1 and 5 equals 6, is also found throughout the Bible and occult lore, is held to represent sin and imbalance, being it a reflection of Man's nature, fallen from grace and expelled from the Garden of Eden. Manson made an ominous reference to the power of the number 3 in his autobiography 'The Long Hard Road Out Of Hell' :

Further numerological significance to the number 3 can be found, again, in Donald Tyson's 'Tetragrammaton'. As Manson has quoted and referenced this book directly on more than one occasion, it can be inferred that the numerological occultism found within it is what Manson, at least partially, bases his own occult philosophy and workings upon. In regard to the power of the number 3, in the context of the Tetragrammaton, the 4 lettered name of God within the Bible, IHVH, which is made up of 3 unique letters :

If doubled, 3 yields the number 6, again the sum of 1+5, which is held to represent not only Man's imperfect and fallen nature but also as representative of the "man animal", or the "ape of god", if you will, which Manson lyricized in 'Disposable Teens'.

Although numerology, much like astrology and theoretical physics, can, if immersed deep enough, be used to prove and / or symbolize essentially whatever the aspirant wants to see. Though the above is a brief outline of the foundations of the number 15 and plausibly those which fits into Manson's cosmology and view of the occult which he materializes within his lyrics, art and personifications.

The following are various visual, lyrical, occult and other evocations and usages of the number 15 throughout Manson's body of work since 'Mechanical Animals'.

 

 

 

 

In a stunningly subversive prelude, or admission / foreshadowing, if you will to 15, numerology and the occult, Chapter 15 in Marilyn Manson's autobiography 'The Long Hard Road Out Of Hell' is entitled 'Antichrist Superstar'.

The significance of this is that the Antichrist Svperstar, as quoted by Manson in a countless multitude of sources, is representative of the final culmination of his ascension / transformation / personal evolution. The graphic which accompanies the title page is a fetus in the womb which is likewise a clear illustration of being "born again" ; the birth or heralding of Antichrist as

to quote from the album itself.

The introductory quote, again by no small coincidence is from Donald Tyson who wrote 'Tetragrammaton : The Secret to Evoking Angelic Powers and the Key to the Apocalypse' which Manson had additionally revealed in his autobiography to be one of the prime Kabbalistic and numerological inspirations behind the occultism referenced with the record. As mentioned prior it is from Tyson's book which the symbols contained within the album artwork, as well as the various numerological puzzles in the record, were stylized from.

One of the most signature and memorable songs on the record, 'The Reflecting God,' is track 15 on the album. This of course can be taken at face value, however the song itself is about this exact manner of rebirth and transformation.

Thus lyrically the song represents Manson assuming the role as an equal to the gods, capable of creation and destruction, no longer bound to worldly limitation. Metaphorically of course. And as Manson reaches his culmination what he set out to be, the cycle begins anew with 'Mechanical Animals' and reveals an even further and more drastic transformation to have taken place, as which followed suite throughout each era of Manson's since.

Undoubtedly the most esoteric, ethereal and numerologically tinged track on 'Antichrist Svperstar' is the sixth song (six ; the number of man) 'Cryptorchid'. The title itself derives from the condition known as cryptorchidism which is the state of male maturation where only one testicle has descended from body cavity after birth. In the context of the song and record, seven, as in the Bible, is equated to represent God / Heaven and as the worm is unable to "learn the number seven" it is in reference to the transformation (or present lack thereof) of our protagonist Manson as 'The Worm' into the all powerful 'Antichrist Svperstar', like Shiva the destroyer of worlds.

Robert Oppenheimer, the physicist who spearheaded The Manhattan Project, used this very last descriptive to illustrate the advent of the atomic bomb, "...now I am become Death, the destroyer of worlds..." as paraphrased from the holy scripture of Hindu cosmology, the Bhagavad-Gita. Likewise the atomic bomb is one topic which Manson has continually evoked and particularly so throughout the 'Holy Wood' era due to this parallel. The bomb itself represents transformation, beginning with one weak, unstable and singular atom of Uranium 235 and as it undergoes a transformation (fission, ie - splitting) it unleashes the most powerful force which mankind has ever produced. Much akin the representation of 'The Worm' into 'The Antichrist Svperstar'.

During a winter 2001 interview with MTV Germany, Manson stated that although it is not necessarily the most positive, it is without equivocation the atomic bomb is most important creation since the advent of mankind. Representing in the context of The Triptych the burgeoning transformation which unfolds.

Still frames from the 'Tourniquet' video depicting Manson undergoing the metaphorical transformation process from the Worm, the chrysalis then the later emergence as The Antichrist Svperstar.

As Manson sings :

It is the most overt and potent reference to the divine nature and symbolism of numbers present throughout his art, along with the song 'Posthuman' on 'Mechanical Animals' just two years later. As outlined above, the number seven is traditionally deemed as the most perfect and god-personified number in the Bible and nearly all other spiritual theologies. Its connotation is one which hearkens however just as overtly to another occult science, that of alchemy.

There were a total of seven "planets" which were worshiped and whose knowledge of which was privy to the ancients. These were The Sun, Mercury, Venus, The Moon, Mars, Jupiter and Saturn. In alchemical philosophy each of these "planets" were likened to represent a metal. The purification and transmutation of which was the goal of creating gold, the most valuable, esteemed and divine metal known to man. The key to alchemy however is its true and metaphorical pursuit ; that being transformation of the practitioner. As one can infer, a lifetime's pursuit in creating gold from base metals does not equal in monetary value of that entire life spent which may or may not yield a fraction of an ounce of the metal. The true ideal and pursuit of alchemy is the microcosm that the purification and sublimation of the base metals is in actuality a microcosm for the ascension of the soul and the purification of the magician who is performing the act. The "impure" base metals are representative of the base desires and impure elements in each individual which must be overcome to ascend to a higher level. As such, alchemy has been a recurrent theme throughout 'Antichrist Svperstar', 'Mechanical Animals' and 'Holy Wood (In The Shadow of the Valley of Death)' and the concept of evolution / transformation is the allegory which all three albums of The Triptych each outline to convey, all each on their own and when viewed together as one conceptual entity.

 

 

Examples of 15 integrated within the album artwork of 'Mechanical Animals'

Depicted underneath the 'Mechanical Animals' disc tray is what is known as the Glasgow Coma Scale, initially published in 1974 at the University of Glasgow. The scale is a scored gradation of the severity and immersion of the comatose state which ranges from 1, being the deepest coma or death, to 15, fully cognizant. Another parallelism of 15, within Manson's conceptual weaving of 15 being a number of supreme attainment or transformation, by viewing the scale metaphorically the topmost waking state can be seen to represent the culmination of the soul's ascension to its next level, in the similar vein to its usage within 'The Long Hard Road Out Of Hell', if interpreted as deeper symbolism.

Additionally, and along with the 15 coinciding with the scale, 'Coma' or 'Coma White' represents within the album and 'The Triptych' as the unobtainable perfection which is undyingly sought for, and that which does not in actuality exist. Personified as a tragic and ill fated girl, a "maniqueen of depression" whom Manson / Omēga is infatuated with. As this ideal is a farce, it coincides with the grade of 1, on the scale, being the deepest state of comatose and discorporeal existence as the immersion in a nonexistent ideal of perfection (be it a love interest, fame, sex, drugs, religion, and so forth) is less romantically living but rather the dumbing down of the true self. As can be seen via the 'Coma' pill that the 'Mechanical Animals' CD itself forms.

For a much further elaboration on this complex metaphor within 'Mechanical Animals' see the Coma White section of The NACHTKABARETT. And along with the album artwork, the Coma scale was also made "animate" per se as utilized with ComaWhite.com, a MarilynManson.com hidden/sister website, the url of which can be found hidden inside of the 'Mechanical Animals' booklet.

Still frames from 'The Dope Show' video which appear instantaneously during the songs introduction. Left ; a sensitivity on one of the medical apparatuses which is set to level 15 and, right ; a number gauge on another medical device who sum, 8 + 4 + 3 + 0 equals 15

6, the sum of 1 and 5, has along with the connotations of man's fallen and imperfect nature, also relations to The Lovers card of the Tarot which symbolizes temptation, independent choice, beauty. All of which corresponds to man's pride, will and expulsion from the Garden of Eden. As illustrative of this, Manson is depicted on the album cover as the personification of Mercury, the Androgyne having 6 fingers on his left hand to represent the Nephilim, or 'Fallen Ones' ; half-human, half-angel hybrids which can be found in the Bible as well as throughout Greek mythology as an ill-fated race, never meant to exist, who were said to have been born with 6 fingers.

Left ; 'Easter Sunday,' watercolor painting by Manson. Right ; Detail of Mechanical Animals, showing Manson's sixth angelic finger

Still frames from 'I Don't Like The Drugs (But The Drugs Like Me)' video. A satire of the sensationalist American daytime TV talk shows, the fictitious channel of which this charade is being aired on is Channel 15, as seen watermarked on the lower right. The guests of which are publicly expurgating their deepest, dirtiest secrets for the viewing pleasure of the American public. Begging for repentance by embracing their "15 minutes of shame".

Literally meaning 'The End'. The last letter of the Greek alphabet which God proclaimed "I am the Alpha and the Omega" (Rev. 1.8), or "I am the beginning and the end". Manson's adoption of the Omega symbol as his emblem and persona during the Mechanical Animals era was done so in signifying it to represent the final stage of his evolution; the climax of the transformation he had begun on the previous album, Antichrist Svperstar.

Notably, in keeping with the numerological significances of the era, a total of 15 computer keys can be seen on Manson / Omēga's forehead within the logo. See also: Omēga in the Logos & Symbology section of The NACHTKABARETT.

Whether coincidentally or not, the letter 'O' is the 15th letter in the English alphabet, which Omega is the Greek equivalent letter of. Manson does later put the letter 'O' on par with his personification of Omēga, in quoting within the 15th hidden and untitled track of 'Mechanical Animals,'

Though not necessarily 15 related, the song 'Posthuman' which is the most esoteric and by far the most symbolism laden track, makes several numerological references and particularly in regard to the Kabbalistic view of the divinity of numbers. In this case however, moreso in a scathing and existentialist standpoint of that divinity being forever out of reach, intangible and unquantifiable. Noting additionally, that 'Posthuman' is track 7 on the album, the number of God and divinity.

The concept of divine numbers, and likewise numbers symbolizing divinity, is an aeons old established belief within strains of the occult and Kabbalistic thought. The applications of this range as diverse from Leonardo DaVinci including the Divine/Golden Ratio within his masterpieces and the divine correspondence of the Fibonacci Sequence to the Kabbalah with its highly complex system of correspondences known as Gematria, where each letter is assigned a numerical value and the sums of words and phrases are interrelated in the belief that the Hebrew language and the Torah alike are thought to be code sent to earth from God. It is in this view that the true name of God is, by nature of the philosophy, a number to be deciphered.

This is a belief which Manson was firmly aware of, both within the context of 'Posthuman' as well as throughout the 'Holy Wood' as he is quoted as such directly below of having hidden numerological patterns, and 15 alike, within 'Holy Wood.' See also Marilyn Manson, Fibonacci & 'Holy Wood'.

MM. The Roman Numeral representation of 2000. "MM=2000" was the manner in which Manson would sign his online message postings prior to the release of 'Holy Wood' as an occult and numerological augmentation of the imminently dawning era which was cultivating.

 

 

'Holy Wood' was Manson's full-fledged return to full on dark occultism, rife with alchemical and obscure influences laden throughout. Prior to its release, he revealed via a news brief on MarilynManson.com that,

evoking not only the influence of Beatles, John Lennon's untimely martyrdom and as well putting it on par with the band's most multifaceted and conceptual heavy work to date, as was the Beatles' 'White Album' heralded.

The album tied together and acted as the culmination of The Triptych. Allusions had been exhumed which had not been touched upon since 1996's 'Antichrist Svperstar', the album which began The Triptych, themes and characters prevalent throughout both prior albums had been molded together in one record and expanded upon, essentially closing the circle of Manson's masterpiece and doing its best to sear all loose ends within the storyline despite the absence of the 'Holy Wood' novel which was intended to be released simultaneously with the record.

The Devil Tarot card. Left ; the version that Manson reinterpreted for the 'Holy Wood' album artwork and, right ; the traditional depiction as part of the Arthur Edward Waite version. Significantly, the number of The Devil card is uncoincidentally 15, and additionally is the Tarot card which is associated with Manson's birth sign of Capricorn. For more on Marilyn Manson and his reinterpretation of the Tarot's Major Arcana see, The Tarot, 'Holy Wood' & 'Antichrist Svperstar'.

'Holy Wood' and the intricacies and imagery of 'The Triptych' are detailed throughout the entire site in an encyclopedic and in as exhaustive a manner as possible, namely The Tripytch, Valentine's Day, Hidden Sites, Alchemy & Kabbalah, Celebritarianism, Coma White and many, many more sections of The NACHTKABARETT, there are however a few choice and direct references to numerology and 15 throughout the album..

As referenced earlier, The Devil card in the Tarot corresponds with Capricorn, which is Manson's birth sign and is also the 15th card in the Major Arcana of the Tarot, which Manson reinterpreted within the album artwork. Significantly in regard to 15 and the storyline of The Triptych, 'Coma Black', with is the "sequel" per se, or epilogue of 'Coma White' the most epic song on the album is track number 15. Or in other words, a direct continuation of the last track on the the 15 obsessed 'Mechanical Animals.'

For a full outline of 'Coma White / Black' refer to the Coma White section of The NACHTKABARETT, but in essence the track represents the irrevocable turning point on the record and the moment of revelation in which Adam / Manson / Omega's intended revolution has become a shell of its former self and must be destroyed in order to save himself. And thus track 15 signifies another transformation begun anew.

Though not as blatantly esoteric, the 'Holy Wood' was opened in mid 1999 with the song 'Astonishing Panorama of the Endtimes' which contained the key verse :

 

 

 

'The Golden Age of Grotesque' had acted as one of Manson's most dramatic transformations into the realm of the unexpected with the direction being undertaken. The entire era had been nearly a complete departure of the Marilyn Manson we had come to know up until 2002/2003. The occult, esoteric and diatribes against religion and society were replaced fully with art, vaudeville, burlesque and expressionism. Temporarily departed but evidently not forgotten as demonstrated with the following statement made by M on the question/answer forum known as 'The Oracle' on MarilynManson.com prior to the album's release, in regard to the album having a total of 15 tracks :

Click here to view the entire archive of The Oracle from MarilynManson.com, Spring 2003.

 

 

Two details of Marilyn Manson's 'Celebritarian Corporation' emblem. As can be seen from these two closeups, a total of 15 dagger points can be seen emanating from Manson's head on the left while 15 Celebritatian Double Crosses are encircling the perimeter of the Celebritarian seal.

 

 

During the whole Celebritarian era, hidden number sequences made of 0, 1, 3 and 5s were also disseminated everywhere in MarilynManson.com's source documents, file names, site layout and programmation codes, a good example being this 'coming soon' screen from a late 2006 incarnation:

The most signature track on 'Eat Me, Drink Me' makes two distinct mentions of times which the song was written and conceptualized. The first,

as discussed within the Lolita & Evan Rachel Wood section of The NACHTKABARETT, in a case of extreme synchronicity of life paralleling art, 6am marked the first time Humbert Humbert and Lolita made love within the novel 'Lolita', which acted as inspiration for the track 'Heart Shaped Glasses' among many other elements on the record. The second time mentioned within the song,

acts a very covert and purely numerological insertion of Manson's "magick number". The time 6:19am does not appear anywhere mentioned within the novel 'Lolita' but however 6:19am is another obscure allusion to 15 with 6 + 9 = 15.

A most likely tongue-in-cheek numerological reference (though not related to 15) during the 2007-2008 'Rape of the World' tour, left ; "333 Half Evil" jacket worn during the 'Eat Me, Drink Me' era concerts. Right ; an early parallel; an illustration from 1995 as part of the Marilyn Manson fanclub newsletter. The duality/complementarity implied in the pun is reminiscent of the Double Cross' meaning and of course Marilyn Manson's own duplicity.

 

 

Marilyn Manson's 2009 release which is the first album showcasing Manson reunited partnership with Twiggy Ramirez, who together co-wrote 'The Triptych', of 'Antichrist Svperstar, 'Mechanical Animals' and 'Holy Wood' additionally reexplores many facets and references of the band's past evocations. Namely, subversive Biblical themes, the occult, and, in this case, numerology.

Though pushed back to one week later, the record's original release date had been slated for May 19, 2009, also represented as 5/19 ; 5 + 1 + 9 = 15. The album goes so far as to contain a track entitled '15', as the fifteenth track on the album. The number in which Manson continually uses to identify himself with and thus acts as the moment of "redemption", or at least self realization, on the album. Some of the first words which Manson has revealed on this track as well as the album as a whole are :

Marilyn Manson "Spread Eagle" tour shirt, reproducing the Nazi "Reichsadler" on the front, with a Celebritarian Double Cross instead of the swastika, and a red color reminding of the Phoenix identification and the idea of getting his wings back. The back offers a fuller depiction of the M/M15 logo, and another Double Cross formed by the tour dates. For more interpretation see: Arma-Goddamn-Motherfuckin-Geddon. .

 

On the sacrilegious thirteenth track of the record, 'I Have to Look Up Just to See Hell', Manson repeats,

This is a telling nod to The Gospel of St. John, where we may read

While normally using the King James Version for his biblical references it appears that in this instance Manson may have used the New International Version instead, as the text is closer to the album lyrics – "The light shines in the darkness, but the darkness has not understood it."

This is where perhaps the most interesting subtlety is buried; a reference sub rosa another reference. The chapter and verse of this particular biblical excerpt? John 1:5. With the prominent reemergence of the number 15 in The High End of Low, this cannot be overlooked or written off.

Correlating to the above, the single artwork to 'Arma-Goddamn-Motherfuckin-Geddon' contains a cryptically obscured Masonic symbol to the left of Manson. Directly relating to St. John as per the preceding verse, the swastika of compasses is a Masonic emblem of St. John the Evangelist. While likewise the illustration as a whole, entitled Arms of the Masons", by Carl Alexander Heideloff, is dated as being created in the year 1515.

Details of the original engraving, the "Arms of the Masons" and a the swastika compass which is a Masonic emblem of St. John the Evangelist. For more in regard to this symbol as well as the imagery within the artwork and video of the single see the 'Arma-Goddamn-Motherfuckin-Geddon' section.

In keeping with the potentcy of calculated action, The cover of the album itself was likewise unveiled to the internet via MarilynManson.com on April 15, 2009.

On June 19, the new and first Official Messageboard since 2003 gets linked from MarilynManson.com on 6/9, with a further allusion to Manson's numerology.

Still frames from "Running To The Edge Of The World" revealed on Manson's Myspace prior to the video's release.

Following the same principle, and echoing the lyrics of "If I Was Your Vampire" (the only song from Eat Me, Drink Me which is still played live in 2009, being the most confident song on the album as it was written last), the "Running To The Edge Of The World" video was made available online at exactly 6:19pm on November 4th, 2009, as officially announced by Rudy Coby on the Babalon Messageboard (also note that the Coolest Magician on Earth joined the Marilyn Manson Official Forums on... 6/19!) :

Left; "Vampires are everywhere". Right; "I can hear something". Photographs of the aforementioned 15 tattoo behind Manson's ear, eventually unveiled among his Myspace Mobile Photos, respectively on November 24 and 25, 2009.

Left; "this is the last moon of it's kind for 15 years", photograph of a Blue Moon (second Full Moon in a single month, also reminiscent of the Werewolf theme) that occured on December 31, 2009 uploaded from Manson's mobile on his myspace on January 4, 2010. Right; "and I know I'm ready", picture taken during the tour and posted in Manson's 'photogropornography' Myspace album on December 29th, 2009, probably an hotel room.

 

 

S e e   a l s o   o n   T h e   N A C H T K A B A R E T T :

 

 

 

Home

All writings, images and content © 2004-2024 Nick Kushner
Any unauthorized reproduction without prior written consent from the author, other than a brief excerpt for review or linking purposes, is a violation of copyright.
Technological innovations by Alex Deleyn