Twiggy Ramirez

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Described as a “bassist with a guitarist’s attitude”, musician/songwriter Jeordie White has developed a style and stage presence all his own to become one of the more versatile players on the scene today. Influenced by the likes of Motley Crue, Van Halen and Iron Maiden, he first picked up a guitar at the age of 13. Although a New Jersey native, he spent the better portion of his youth in the Ft. Lauderdale area, where he quickly embraced South Florida's growing music scene and, by age 15, had joined his first band, The Ethiopians. By the time he was a high school senior, The Ethiopians had gone their separate ways. Soon after, he landed a gig with local thrash/hard alternative favorites, Amboog-A-Lard, first as rhythm guitarist and later switching to bass. The band's huge popularity on the local club circuit allowed them opportunities to share the stage with the likes of Anthrax, Exodus, The Ramones, Savatage and Saigon Kick. In June of 1992, Amboog-A-Lard captured awards in five categories at the 1st Annual South Florida Slammie Awards, with White taking home the award for Best Rhythm Guitarist. It was with the band's 1993 release, A New Hope, that Jeordie's talents as a songwriter first became evident, singlehandedly writing the music for the album's title track, as well as "Medicine Man", "A Matter Of Honor", and "Do Or Do Not." It was during this time that he met Brian Warner, frontman of local rivals Marilyn Manson and the Spooky Kids. Finding common ground in their mutual love of 80’s metal and 70’s hitmakers Dr. Hook and the Bee Gees, the two became fast friends, collaborating together in several side projects until the departure of Manson bassist Gidget Gein in December 1993 allowed for Jeordie to officially join forces with the Manson clan. Jeordie White became "Twiggy Ramirez", the moniker paying homage to the 1960’s British supermodel Twiggy and the infamous “Night Stalker” serial killer Richard Ramirez. Although contributing to the 1995 EP Smells Like Children (most notably the track “Scabs, Guns and Peanut Butter”, which he wrote and performed), it was on the band’s 1996 multi-platinum Antichrist Superstar where Jeordie truly emerged as an integral part of the creative process, establishing himself as the driving musical force behind Manson’s lyrics. If Brian Warner was the heart of Marilyn Manson, Jeordie had become the soul. Writing the majority of the album's music, he was also called upon to pick up the slack when guitarist Daisy Berkowitz left the band during the recording of Antichrist. Many of the tracks feature Jeordie not only on bass, but on lead and rhythm guitar as well. With Nine Inch Nails visionary Trent Reznor handling production, the band hunkered down for several months in Reznor's home base of New Orleans to write and record. The ensuing debauchery and chaos are clearly reflected in the finished product's relentlessly dark and pounding music and lyrics. Jeordie has described this full initiation into the world of Marilyn Manson as "one of the most painful things ever to do." 1998’s glam-influenced and critically acclaimed Mechanical Animals mirrored a new phase in the Manson saga, specifically the band’s relocation to Los Angeles and induction into the world of rock stardom. Taking a hands-on approach in the studio and again switch-hitting between bass, lead, rhythm and acoustic guitar, Jeordie reached back in time to the music that had inspired his idols -- David Bowie, the Stooges and Queen – to achieve the sound that he and Manson were looking for. Cultivating elements from both Antichrist Superstar and Mechanical Animals, the band’s fourth studio release Holy Wood (In The Shadows Of The Valley Of Death) found Jeordie playing more lead guitar and trying his hand at keyboards and drum loops as well. In May of 2002, Jeordie parted ways with Marilyn Manson to explore new creative paths, including a collaboration with Queens of the Stone Age's Josh Homme and an ecle