"Is adult entertainment killing our children? or is killing our children entertaining our adults?"
About this Quote
Manson’s line lands like a bait-and-switch headline: it starts in the familiar key of moral panic, then flips the grammar and exposes who benefits from the panic itself. The first question mimics the worried-parent talk-show frame - “adult entertainment” as corrupting force, “our children” as sacred, endangered mascot. The second question twists the knife by suggesting the real obscenity isn’t sex or shock rock, but a culture that can metabolize youth suffering as content.
The intent isn’t to offer a tidy thesis so much as to force an uncomfortable double exposure. On one layer, he’s mocking the late-90s/early-2000s ritual of blaming musicians, movies, games - any loud symbol - for social collapse. On another, he’s pointing to a media economy that turns violence into spectacle: wall-to-wall coverage, sensational trials, looping footage, tragedy packaged with a sponsor break. The “our” is doing heavy work, too. It implicates the audience and the institutions that claim to protect kids while profiting from fear, outrage, and voyeurism.
Context matters: Manson was routinely cast as a villain in mainstream discourse, especially after Columbine, when public figures searched for cultural scapegoats. This line is his counterattack, but it’s also a confession about the bargain at the heart of pop provocation: shock sells, and so does shock about shock. He’s not absolving “adult entertainment”; he’s indicting a culture that pretends to be horrified while leaning in.
The intent isn’t to offer a tidy thesis so much as to force an uncomfortable double exposure. On one layer, he’s mocking the late-90s/early-2000s ritual of blaming musicians, movies, games - any loud symbol - for social collapse. On another, he’s pointing to a media economy that turns violence into spectacle: wall-to-wall coverage, sensational trials, looping footage, tragedy packaged with a sponsor break. The “our” is doing heavy work, too. It implicates the audience and the institutions that claim to protect kids while profiting from fear, outrage, and voyeurism.
Context matters: Manson was routinely cast as a villain in mainstream discourse, especially after Columbine, when public figures searched for cultural scapegoats. This line is his counterattack, but it’s also a confession about the bargain at the heart of pop provocation: shock sells, and so does shock about shock. He’s not absolving “adult entertainment”; he’s indicting a culture that pretends to be horrified while leaning in.
Quote Details
| Topic | Ethics & Morality |
|---|---|
| Source | Help us find the source |
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