
As a master of ‘Shock Rock’ Marilyn Manson is highly skilled at taking classic images and turning them into controversial works of art that perfectly push his message of rebellion against oppressive forces. His use of symbolism allows him to further a notion of rebellion especially in this music video. From looking at the music video’s theme of rebellion against restrictive authorities we can see that the placement of Manson in religious settings and garb is an open attack on the Christian religion; this is important because as a figurehead for the young generation, fighting against a household staple, as well as an oppressive one, gives a ‘disposable’ group someone to look up to as the ‘antichrist’. It also shows the ‘disposables’ that there is no enemy great enough to stop the forces of ones imagination and ingenuity.

In the first image, Marilyn Manson is dressed in the clothing of a Pope. The foreground has Manson standing off center, and posing with his hands up and to the side. In the middle ground there is a crucifix with the bones of animals, specifically the skulls surrounding the bottom of it. The background contains a dull painted backdrop, as well as what appears to be a man with a baby tied to a stick. The baby is wrapped in white cloth and firmly attached with two ropes. The wide shot allows us to grasp the entire scene as a whole entity as seconds before this point, all we had seen was a close up of Manson’s face. The lack of bright colors, as well as the use of bones creates a sad, morbid and slightly cold image for the viewer. The attention first goes to Marilyn, as he is in the brightest outfit which makes him stand out the most. It then goes to the bones, which draws attention to the crucifix that they are sitting at the bottom of, and finally the baby.

In the second image, Marilyn is sitting in front of what look like wings while a ‘bird cage’ encompasses him. The wings resemble those that belong to an angel since they appear to be attached to Marilyn because of the way the scene was filmed. There is not as much of a clear separation of fore and background in this clip. With the darkness of the scene, again having Manson be the lightest image on the set, the eyes are drawn to the lamb head scarf or shoulder piece he is wearing. A little behind him, there is another painted backdrop which clashes with a sliced off ear which is off to the side on the right of the screen. Black strips of confetti are being tossed about all around the display as well, which makes seeing Manson clearly a bit difficult.

The idea that the video is replying or reacting to is that: to society teenagers are a disposable object. To our society it doesn’t matter if teens aren’t happy, or that their ideas are restricted because they’ll end up being a cog later in life anyway. What society truly cares about is the output of those teenagers and their ability to produce useful products to the economy, at every expense of their being. Manson is able to take the common oppressor of society and especially teens, the church, and flip it on its head by making it look absurd. By posing in religious scenes, Manson can directly tie his lyrics into the manipulation of the ‘sacred’ nature of the topics. Throwing in some not so holy objects, like a pile of bones, or a lamb shoulder wrap, allows the viewer to look at the church in a different light. A light in which all of the dark crevices in the façade of their oh so holy image will be brought forward for the world to witness. They can now maybe see some of the corrupt tricks that Marilyn does proves that the church can be fought against and that they don’t have to sit idly while being forbidden to express themselves.

Based on the title as well as the lyrics, the visual text is directed towards both the adolescents and the church, specifically those clerics in high authority such as bishops, cardinals and the pope. The visual aspect of the video is mostly being aimed at the church as the wardrobe and scenery of the video have heavy religious tones. Yet the way that Manson displays something, such as an angel, he does in a way that labels him an iconoclast. Having the image of a lamb in the video would be a phenomenal way to show innocence. However, by wearing the lambs as a scarf, the angel is massacring the idea of people’s innocence as jesus himself was known as the lamb of god. There is a similar message being delivered in the first image, when Manson dressed up as the pope intentionally done as a way to ,yet again, get the church’s goat . In the church’s eyes, dressing up as clergy is rude. So dressing up as the pope, and in such a scene with animal bones and a dead baby, is an incredible step against the church, a horrific travesty that knocks the work of the religion to the ground.

While the video does work in eliciting emotions without the music, the videos compelling ability to inspire does have a link to the music. The fast, upbeat tones of the video, as well as the inspiring lyrics give the listener an empowering experience. The music video empowers the viewer to not lie down at the feet of the church by removing the church from their pedestal. A highly religious person would most likely be angered by the video, both lyrically and visually. However, when one listens to the message of liberation from oppression, the video’s inspiration comes through more clearly. The feelings that tend to be elicited while watching this video are elation, invincibility, and wanting to go out and do something with one’s life. However, in terms of the church’s emotions the intent was to infuriate. It is also possible that by attacking the core images of the church, Manson wanted the church to act in an ‘nonchristian’ way to help his message about the corruption.

The images displayed in “Disposable Teens” are linked to the theme of the song, rebellion. The visual text itself is a stand against the Christian church, and in some ways, organized religions in general. Throughout his career, Manson has been described as the antichrist. After relentless attacks from a supposedly welcoming and accepting religion Marilyn exposed the corrupt nature of the organization. Though this is not the only time he fought against the religion, it is possibly his most successful ‘attack’ where he fought both the church and united listeners in their individuality.
