Propagation of deadly sins

    American newspapers wrote of the known "musical medium" Bryan Warner who united in his stage alias Marilyn Manson two names used as symbols of blatant sexuality (Marilyn Monro) and violent fanaticism in satanic worship (Charles Manson, Alister Crowley's follower):
    "Marilyn Manson-hard-industrial music is a hymn to violence, a poem of malice and barefaced hatred".
    "Marilyn Manson & Spooky Kids are the greatest antichrists of our time. If it is true that rock-n-roll had been invented for cowing down parents, then this group's songs are the spookiest thing that had ever appeared under the rock-n-roll aegis"
    Both music and words inspired by CPW in the headlong medium (often in the condition of a drug trance) are imbued with wild aggression and hatred towards God. Even a sympathising with Manson musical critic writes:
    "The first album of Manson's group 'The Portrait of American Family' outlined the musicians' image quite clearly: scoffing the values of conservative parents (i.e. those who do not want their children to become dregs - Heg. N) in a most pitiless manner. Drugs, utmost pessimism, most irrational aggression, lechery and ignominy, Sodom and Gomorrah. Add here huge dozes of pornography and satanism. To some degree it appeals to everyone! <> A vehement onslaught against Christianity, a call for the seven deadly sins and a hundred vices of less importance. It suddenly turned out that there are very few things left jeering at which is still able to shock <>
    Marilyn became a priest in the church of Satan, dedicated by Anthony La Way personally Several teenagers committed suicides after listening to his album 'Antichrist-Superstar', one of them - on the Saint Valentine day. He had received the record from his parents as a New-Year present"

* * *

    The main characteristic of both music and texts of the songs created in collaboration with CPW is their strong malice towards the whole creation. Inciting a storm of petty passions they are filled with desperate hatred for emotions just natural for an ordinary (i.e. not possessed) man - such as love, tenderness, friendship, self-denial, honesty, mere joy received from the beauty of nature or the exalted feelings of generosity and gratefulness. A particular spite is directed towards parents. CPW use their rock-mediums to wreck the natural fondness for parents in teenagers. The admonitions like "Future is disgusting, parents are abominable, work is depressing" are becoming usual for the modern rock-stars. Thus Peter Townssend, 'The Who' leader and "the chronicler" of teenagers' life, suggests: "I wish I am dead before old", and 'the Rolling Stones' call their listeners to "throw huge stones" into their parents windows. This group's very name suggests loss of touch, alienation, loneliness, hatred and menace.
    But what do the creatures of parallel world need all this for? Why should they bear malice against the friendly relations between a child and his closest people in the world? It becomes evident if we remember the CPW's "utmost goal": the re-education of people so as to make them a new race of devil-men deprived of any kind of God-given conscience. The obnoxious for CPW "traditional values" that children can take over their parents are in their way. For whatever secular they might seem they are based upon the ideas of conscience, virtue, morality, sense of duty, that prevent human person from decay and are Christian in their very essence. These (from the point of view of CPW) should be uprooted without hesitation: otherwise people would not obey them. Composers-mediums serve this goal quite efficiently, annihilating the natural bond between generations.
    The disturbing pulse of rock-music together with the recently triumphant satanist ideology that provides religious grounds for the history-old tower of Babel built in the hearts of men, inspired with hatred towards God and all that is really human, reveal the quite definite role that CPW perform in the notorious "progress" of mankind. Their insistent activity at dissolving the sense of values on a scale of the whole mankind through modern art, on the one hand, and the Satanist-religion ideology, on the other hand, display their genuine kinship.
    Nearly all present-day rock groups use the so-called subliminal messages in their work. This method of influencing the man subconscious realm was first tested by the American scientists in 1968 with the help of the famous 'Beatles'. Subliminal messages are assimilated beyond the threshold of consciousness and help to form an ordered behaviour patterns satisfying the customer's demands. Thus, a mass conscious programming is being effected in a great amount of listeners who are suggested a desired (for the 'programmer') reaction to a certain ideas, political figures or the production of this or that firm. Such mass conscious adaptation is being carried out nowadays mostly by the TV and, in a comparatively less degree, by rock-groups. These CPW's agents keeping control over the public conscience use this 'human engineering' to turn the former Soviet average men deprived of the divine grace and weaned away from thinking by the totalitarian atheistic system into a weak-willed amorphous pluralist alive only for the bodily cravings. Such man would seek only to muffle down his mental anguish (the inevitable result of the spiritual emptiness) in the roar of pop-music, vodka and drugs. The de-Christianised mob's consciousness programming allows making a nation a well-controlled herd, thus giving the CPW through their mediums such power over people that was not available to the most murderous tyrants of the past.

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