The MetalGate Band group produces a series of podcasts where informed participants in the movement against censorship in music meet to talk about issues of the day. If your Mom is in the room (for modern metal fans) or your children are (for underground metal stalwarts) you might want to keep the mute button handy because there is frequent, copious and gleeful use of obscenities.
Every episode has its own topic, and some high points which may be related. The peak of this episode seems to be the discussion about the difference between making media solely to make money or be popular, and those who want to be popular as a means of getting their music or movies out there to express an idea.
Based on my research, back in the 1980s this video caused quite a stir. Back then, America wanted to be a Christian and socially conservative country, although it leaned toward right-wing foreign policy and left-wing social policy. Neurotic, perhaps, but that was the political fad at the time. As the Parents Music Resource Center (PMRC) and others saw this video, it represented the intrusion of wild bohemian values that would disrupt a socially conservative nation.
Fast forward to the age of #metalgate: now we are a socially liberal nation, where most people believe in great 1960s stuff like gay marriage, legal pot and socialized healthcare. What a change! The guys who were The EstablishmentTM back then are now The (tame) Opposition, and the guys who were the radicals are now in charge. Back then, this video was bad because it offended conservative morals; now, it’s bad because it offends liberal morals.
If you aren’t laughing at our joke of a society by now, you’re not paying attention.
What makes this interesting is that we are in a time of historical cross-over. Back in the 1980s, the Reagan conservatives were the hardline authoritarians trying to keep us from enjoying our music. Now, the hippie liberal SJWs — and government, and media, and wow, big corporations too — are the authoritarians trying to keep us from enjoying our music. The sides have flip-flopped because a different side is in power, and this offends them for different reasons.
This does not change the fact that their reasons for opposing this video are wrong.
In the 1980s, heavy metal was a scapegoat. The real problem was most likely rising divorce, social instability, the Cold War and a nation which basically lost its purpose and goals. In the 1990s, it is also a scapegoat: SJWs blame metal because it is convenient for them to have an enemy which justifies their takeover of the genre, and they intend to use guilt to force you to get out of the way or — watch out! — the witch hunt will come for you.
Some opine that it is unimportant that SJWs are invading metal. “Just listen to what you like!” they say. They would not say that if government were censoring metal, but SJWs are censoring it, too; they have just changed tactics from the ineffective government means of the 1980s to the highly effective method of organized boycott. No business wants to be considered racist, sexist, anti-homosexual or otherwise inegalitarian, just like no citizen in Revolutionary France wanted to be seen as a Royalist. Your business and life will be destroyed and government will do nothing to protect you, because it approves of that act of censorship. Government gets to reap the rewards without taking on the risk of doing the censoring itself.
It is sexist to oppose this video. In fact, sexism itself is sexist. Men are men and women are women, just like every species known to humankind has sexes, and they have differences. To oppose “Animal (Fuck Like a Beast)” is to deny what men are: we are angry beasts that make war, make love and raise hell. We like to fight, fuck and otherwise demonstrate competence. This is how we know we are men. We also appreciate beautiful women.
On the flip side of this, and part of the same outlook, we also see ourselves as protectors of wives, daughters, sisters and mothers. If the guys from W.A.S.P. showed up and wanted to put a female member of my family into this video, I would punch them in the nuts and probably show them some real intolerance they never would forget. But the women in this video apparently do not have dads or brothers and chose to be involved of their own free will, in exchange for buckets of money. Why should I oppress them by claiming their choice is bad?
SJWs have confused the word for the deed and the tool for the goal. Instead of trying to make women, minorities and gays/transsexuals safer, they have scapegoated not just men but masculinity itself as the source of all their problems. They do not want “equality”; they want to destroy anyone who is not as unequal as they are. We have a term for that: bigotry. And until you call the SJWs on their bigotry, they will continue to invade your genre and re-write history to hide everything they have scapegoated.
SJW-controlled site Metal-Archives.com, famous for its desire to regulate what is “metal” and exclude non-leftist viewpoints from the site, has deleted user “bitterman” who gained notoriety for his realistic, masculinized reviews which expressed extreme intolerance of insincere, manipulative and mediocre metal. All of the writings of this person are now removed with no chance for the user to recover the hours of effort he put into the site.
Bitterman made a name for himself for thoughtfully but viciously reviewing the excess and stupor of contemporary metal, using a somewhat tongue-in-cheek “metal warrior” style as he skewered perpetrators of false metal like Watain. According to one commentator, “he paid the price for holding for-profit poseurs to the same standards as Onward to Golgotha and early Burzum” because of his vicious attacks on all that pretended to be underground metal and failed. Many of Metal-Archives.com’s staff are gamers who undoubtedly are aware of the SJW incursion into gaming that prompted #gamergate as well.
Wherever SJWs go, they censor all that is natural and right: masculinity, warfare, conflict, elitism, quality and excellence. Then they replace these with twee indie-rock metal hybrids and a policy of “acceptance” that rejects quality bands under the same excuse that Wikipedia uses, “notability,” while promoting the kind of hybrid dreck that 90s underground metallers would have thought belonged in the bin with Sonic Youth and Rites of Spring, not raging death metal and black metal.
Again we see the problem of allowing SJWs to infiltrate metal through media as, using that power, they change what it means to be “metal” while trying to purge metal of what makes it unique. At the end of this agenda, they will create a neutered form of metal-rock that will promptly collapse because it lacks all of what makes metal appeal to its audience, and the genre will collapse like the Soviet Union or Pol Pot’s regime. The SJWs will not care, because they got their 15 minutes of fame.
During the 1980s, a group of wives of senators and other busybodies got together to form a group they called the “Parents Music Resource Center,” or PMRC. Their intention was to protect children from the dangerous heavy metal, rock and rap music which had sexual, drug and occult themes. After essentially shaming the interesting bands, the group finally used the coercive power of shame to force labels and record stores to insist on warning labels for albums with content that might upset the precious snowflakes and their absentee parents.
Unlike acid-washed jeans and Valley Girl slang, the PMRC unfortunately did not die with the 1980s. It lives on in zombie form through the Parents Music Resource Center appreciation group, which has taken to flagging certain metal bands, zines and labels as hostile to decency, morality and good taste as all metal should be.
Morpheus Descends proved to be the most recent instance of quality metal running afoul of these deranged censors, who feel that the new material from this band will cause “casual sex, drug use, enema fetishism and voting Republican” (PMRC boss Tipper Gore was wife to Al Gore, at the time Democrat senator from New Hampshire). We’re not really sure that people — at least still living people — want to have sex to old school death metal, but as the internet’s “rule 34″ implies, any imaginable fetish has already occurred.
This clash between good and evil occurred at the moment when Morpheus Descends released one of the two newly written and recorded tracks to be on their From Blackened Crypts compilation. Check it out below.
The ongoing rebellion against censorship in the name of social justice #metalgate continued this week when metal fought back against commercial assimilation. Commercial assimilation and social justice censorship have the same root, which is a desire to make metal “safe” so it can be sold to more people. This requires metal denying its inherently apocalyptic realist nature.
In the most recent case, doofus retailer H&M got trolled when it offered a new line of clothing with fake metal band logos on it, trying to assimilate metal’s subcultural style of dress so conformist herdsters can look like weekend rebels. A member of a goofy metal band thwarted the effort by inventing bands and histories that satirized the clothing line and tied it to nationalist black metal:
Henri Sorvali of Finnish metal bands Moonsorrow and Finntroll admitted to Billboard and Noisey that he is part of Strong Scene Productions, the “art collective” that set metal blogs buzzing by creating fake histories to go along with the imaginary metal band logos attached to some pieces of H&M clothing.
Sorvali says he and a group of people whom he declined to name launched the joke because they were angry at H&M’s campaign — which includes items like a bomber jacket and pants with patches styled to look like metal logos — because it was “selling people fake, imaginary stuff from a subculture that is based on honesty and being true,” he says.
…”There is so much controversial stuff which is definitely not suitable for mass marketing, and we wanted to bring the ugly side of metal to their campaign, to show that we as metalheads are more aware of the content you are selling people that you are as sellers,” Sorvali explained during a phone call from Finland. “There are so many things wrong with commercializing metal without knowing what they are selling that we felt that somebody has to make a statement about it.”
This counter-troll showed great ingenuity and has retailer H&M backing away in denial. The truth is that society fears heavy metal on two levels: conservatives fear it is eroding social standards, despite those standards having been obliterated in the 1960s and 1990s. Liberals fear that it is introducing unwelcome realism that clashes with their spectrum of belief, all of which is based in the Enlightenment idea of individual human reason being superior to natural order, including logic itself.
We shouldn’t forget that censorship of metal bands for being outrageous was common back in the day:
Politicians caught wind of Eat The Turnbuckle’s European tour before it made its way into Glasgow earlier this week.
Audiences get to listen to their ear-spitting death metal sounds while the members of ETT attack each other with an array of weapons including fluorescent light tubes and baseball bats wrapped in barbed wire.
But despite playing show in Edinburgh, they arrived at Glasgow’s Audio venue only to be turned away over concerns that the police would halt the gig, reports the Daily Record.
While Eat the Turdbuckle seems like a joke band designed to sell records for a gimmick, the fact is that metal’s focus on extremism, or a refusal to ignore the vicious and terrifying sides of life, has made it a target since its inception. Normal people dislike anything which makes them feel as if they are not totally in control of their own lives. Lyrics and imagery of disease, war, apocalypse and evil will disrupt the happy oblivion in which the normal person exists, which was the intent behind heavy metal’s founding: Black Sabbath wanted to interrupt the “peace, love and happiness” apologism for the daily oblivion of humanity, and to inject some “heavy” realism instead. Since that time, metal has continued doing the same when it is at its best, and when it is not so great, has managed at least parodic obscenity that ruffles the feathers of conservatives and makes liberals turn into nagging victim-baiters.
This pattern plays out in more areas than heavy metal. Canadian site Best Gore was censored for its publication of images that revealed both the dark side of life and, by showing that Canada isn’t the paradise under the control of a strong benevolent guiding hand that its leaders want you to think it is, revealing government ineptitude:
Mark was charged with “corrupting morals” under section 163 (1) (a) of the criminal code, for being the first in the world to publish a report on the gruesome murder of Chinese student Jun Lin, by alleged cannibal Luka Magnotta, also known as the 1 Lunatic 1 Ice Pick video.
You can see the video below. If you have not figured out that this video might contain disturbing imagery, you have mental health problems. If you require special tags, warning signs and me to make a statement about how I don’t condone this and think it was a horrible tragedy and all the other fake altruistic boiler-plate salesmanship that political figures normally use, you’re a potato and should go somewhere else.
What most people refuse to accept is that censorship is the norm.
People do not like feeling out of control, and they only feel in control when in denial of all the scary things they can’t control like… death, disease, war, apocalypse, evil, and everything else in heavy metal lyrics.
Consider the case of Girls and Corpses magazine, which has not only been banned several times from Facebook, but had censorship issues in other areas:
We’ve had some problems. We did a Religion Is Dead issue and Ingram, I believe, is in Tennessee. They made us bag the magazine, because we did a religion issue. They said it was because of nudity, but there has never been any nudity in the magazine. They didn’t like that we took on religion. We went after all religions and it was comedic. We had Jim Caviezel in the issue. I did an interview with him. We made fun of all religions. Have a sense of humor. The only one we really tiptoed around was Muslims. We love Muhammad. We didn’t tread there.
Sorry I haven’t posed in a day corpses. I was ‘put on notice’ by Facebook after I posted a fully clothed photo of a female, that offended some loony chic who had her Bible Belt cinched too tight. This “community standards” thing at Facebook is censorship pure and simple. Mostly, the offended party is someone jealous of the freedoms that come with G&C Magazine or are simply a humorless twit. If you don’t like something at Girls and Corpses, feel free to just leave. Don’t go whining to Facebook that we have offended you with our images. If you are too sensitive and have no sense of humor why did you friend us in the first place? Girls and Corpses is an intelligence test. The smart ones get the gag and the dumb ones should just get out… preferably at high altitude.
They make an important point, which is that those who call for this censorship are fundamentally not ideological, but seeking a sense of power. They don’t understand it, or it conflicts with their vision of themselves, so they demand it be removed. Facebook, like any other business, does what it can to provide a safe environment for its customers, which means removing things that make people feel unsafe, like nudity, violence, gore, racial comments, sexual innuendo, etc. These things are not the offense that people actually have, which is fear of the bad things that happen which are associated with these ideas. They see the symbol and, like the superstitious simians that humans are, they figure if they can remove the symbol and by doing so remove the awareness in their own minds of what it stands for, they can be in control and feel “safe.” All of that is nonsense on a realist level, but it’s how most customers an voters react.
What this means for #metalgate is that we should not take SJWs seriously. They are no different than the church ladies and feminists who were complaining about Girls and Corpses or the outraged government servants who wanted the Luke Magnotta video removed. They see it as a threat to their personal power. They need a “reason” why it should be taken down, and so they fall back on using social conventions we cannot criticize, like “do it for the children” or “respect the victim’s family” or ideologies which claim to defend the pitied and helpless, like feminism, anti-racism, sexual equality and the like. We make a mistake when we think SJWs believe any of this stuff. In reality, they are using it the same way commercials use sex to sell beer or tough guy images to sell pickup trucks: they want to create a pleasant image, or at least one we cannot imagine criticizing, in our minds and then use it to sell us the product. In this case, it’s their power and importance, because without their outrage they would have nothing and merely be a group of weird-looking socially-dysfunctional mental defectives.
Totalitarianism 2.0 doesn’t look much like the former version. In the past, a dictator in uniform — like socialist and diversity advocate Joseph Stalin — would command secret police to enforce speech codes. Now, government sits back and allows a vast media establishment to enforce political ideas which just so happen to coincide with the goals of government: more control of citizens and ideological obedience, which makes government stronger.
But it would be a mistake to categorize today’s p.c. culture as only an academic phenomenon. Political correctness is a style of politics in which the more radical members of the left attempt to regulate political discourse by defining opposing views as bigoted and illegitimate. Two decades ago, the only communities where the left could exert such hegemonic control lay within academia, which gave it an influence on intellectual life far out of proportion to its numeric size. Today’s political correctness flourishes most consequentially on social media, where it enjoys a frisson of cool and vast new cultural reach. And since social media is also now the milieu that hosts most political debate, the new p.c. has attained an influence over mainstream journalism and commentary beyond that of the old.
It also makes money. Every media company knows that stories about race and gender bias draw huge audiences, making identity politics a reliable profit center in a media industry beset by insecurity. A year ago, for instance, a photographer compiled images of Fordham students displaying signs recounting “an instance of racial microaggression they have faced.”
Now, several decades after the human rights movement traded its outsider status for influence in Washington, it is clear that this has produced negative as well as positive results. The movement has become a global behemoth. Sometimes it functions as a handmaiden to the power it was once dedicated to combating.
The most appalling result of this process in the United States is that some human rights activists now regularly call for using force to resolve the world’s problems. At one time, “human rights” implied opposition to war. Now some of the most outspoken warmongers in Washington are self-proclaimed human rights advocates.
Chait’s view is that this trend toward SJW hipster activism is in fact forming a parallel to the bad old days of 1940s totalitarianism:
The Marxist left has always dismissed liberalism’s commitment to protecting the rights of its political opponents — you know, the old line often misattributed to Voltaire, “I disapprove of what you have to say, but I’ll defend to the death your right to say it” — as hopelessly naïve. If you maintain equal political rights for the oppressive capitalists and their proletarian victims, this will simply keep in place society’s unequal power relations. Why respect the rights of the class whose power you’re trying to smash? And so, according to Marxist thinking, your political rights depend entirely on what class you belong to. The modern far left has borrowed the Marxist critique of liberalism and substituted race and gender identities for economic ones.
In effect, as Jonathan Frum writes in The Atlantic, political correctness represents the self-radicalization of liberalism toward a totalitarian mindset. We can clearly see this in #metalgate and #gamergate, where SJW hipsters have crushed not just dissenting voices, but any voices that fail to parrot their own agenda.
The reason they target metal is that metal is chronically disobedient. We do not like illusions, metalheads, and we did not buy into the “peace and love” of the 1960s which culminated in ex-hippies getting into office and authorizing drone strikes on suspected extremists. We did not buy into the “just follow Jesus and Gordon Gekko” outlook of the 1980s, nor the 1990s dogma that all was going to be right through globalism, McDonald’s and peace. We see human society for what it is: an ugly tussle of animals competing to put their favored illusion above the rest, all while ignoring the majesty of reality as it is.
Remember how the Parents Music Resource Center (PMRC) acted back in the 1980s. First they said they wanted to stop “dangerous” content about sex and drugs, and suddenly, any album with swear words on it got the infamous warning label. This encouraged record stores to card you for buying the album, to not stock the album, or to put it in a special section. A few years later “censored” versions of Metallica and Cannibal Corpse albums could be found in your average record store, with conspicuous bleeps editing out the words that we shouldn’t hear, to the detriment of the music (often not in key).
It’s easy enough to ignore #metalgate right now because it may not affect you directly. But the important point is that it intends to. SJW hipsters behind the incursion into metal that provoked #metalgate want to censor your words and mine, not just avoiding bad stuff as they claim, but forcing you to repeat “good stuff” as they envision it, to the exclusion of anything else. If this isn’t totalitarian thought control, nothing is.
Detractors included Phil McSorely, who was fired from the band Cobalt for using hate slurs towards Curtis-Brignell and others, accusing them of trying to establish a “USBM [American black metal] friendship scene” and “liberal agenda” in extreme metal. The incident became one of the flashpoints for #metalgate, a short-lived hate campaign and offshoot of #gamergate that attacked journalists and artists accused of attempting to “censor” heavy metal.
She lies. Cobalt was not the trigger for #metalgate; SJW demands for censorship and exclusion on the basis of one writer’s opinions were. And #metalgate was neither launched by #gamergate nor a “hate campaign.” It remains — and is growing in strength — a resistance campaign against intrusion by the newcomers who are hoping to make SJW metal mainstream. (As a side note, it appears that Mr. McSorely has “un-friended” our editor on Facebook, possibly for his own sometimes liberal sensibilities.)
Look at Caïna for example. Highly hyped by labels, heavily supported by media, and yet it has no staying power because metalheads do not want kumbaya indie-rock. We want metal. Like other bands of this ilk, it sells to a certain audience but goes no further, and within weeks is forgotten. No one cites Caïna as a cornerstone of the genre, which is why the SJW hipsters are trying to bring it back with this article as if it had ever been relevant in the first place.
He articulates what SJW hipsters actually want — a “safe space” meaning removal of all ideas that threaten their worldview — and tries to conceal the censorship threat behind that mentality:
“I’m done with metal culture in a sense — conventional metal culture, that is,” he explains. “I guess in the positive, it showed that there are people who did agree with me about metal’s attitude towards certain groups. So I think my real change is to be ‘done’ with hedging. I can’t backtrack and adopt some new persona to weasel out of what I said. I believe what I said. I think in the few days that followed the drama, I could have tried to distance myself from whatever it was I was accused of being.
“But no, fuck it, I absolutely believe that metal should be a safe space for women, people of colour, differently abled people, the LGBT community. There’s nothing metal about arbitrary exclusionism. Safe space: unsafe music.”
This reminds us of the 1980s, when the PMRC decided to make metal “safe” by removing lyrics about sex, drugs and obscenity. Or in the early 1990s when Christians decided to make black metal safe by releasing “white metal” or “unblack metal” which sounded like black metal, but had Christian lyrics (with Horde being the forefront). Now we have SJWs who are releasing “safe metal” which sounds like shoegaze trying to be black metal and has safe, politically correct lyrics which seem to follow the agenda of their media overlords.
In the meantime, this controversy rages in other areas. The assault is coming from the media and their lackeys, and numerous communities are reacting, with gamers being first but now metalheads and other subcultures responding. The attitude generally is not that those who react are opposed to the viewpoints offered, but they do not like the form in which they are forced upon the audience, which is a “my way or the highway” ideological test by which you either endorse the SJW hipster viewpoint or are seen as an enemy of the State… errr, media.
In response to this we wish to open up the more comedic, playful, camp, ludic, carnivalesque dimension of black metal and black metal theory. In so doing, we set out to “pink” black metal by questioning its more nihilistic impulses (“blackening” and more “blackening”) in favour of more affirmative approaches and utilizations of BMT.
In “pinking” black metal/theory (and we are thinking here of critical and ironic BM-related gestures such as The Soft Pink Truth, Pinkish Black, Zweizz, Deafheaven, not to mention the influence of My Bloody Valentine and “pink noise” on shoegaze, post, or “hipster” black metal) we also hope to queer it by decentering the cisheteronormative and patriarchal underpinnings of both the black metal music and philosophy scenes. We wish to further BMT from a range of feminist, LGBTQ, and intersectional perspectives, including disability studies, crip theory, animal studies, and cute studies. Our interest in a more rainbow approach to black metal would also seek to consider and destabilize the racial normativities of black metal musical and theoretical traditions.
In other words: if it doesn’t fit the status quo, we’ll “study” it until we can argue that it does, and then use that to exclude anyone who doesn’t toe the line as being deviant. Just like SJW hipsters have done with #metalgate so far.
The SJWs keep up a simple strategy for dealing with #metalgate: pretend it never happened and, if it did happen, it died an early death.
Instead, #metalgate is ramping up as the collision between Political Correctness and heavy metal intensifies. Recently metalcore band All That Remains’ vocalist Phil Labonte made some comments that riled a few basement neckbeards:
In 2005, on the ‘Sounds Of The Underground’ DVD I said, ‘PC is for f–gots.’ That was the first time people went, ‘Whoa, what did he say?’ I have nothing against gay people. It’s just a word. Honestly, I think the only people that have a legit grievance when it comes to any racial slurs is the black community. I know the homosexual community has problems with it and I understand their hurt feelings.
But homosexuals were never property. They’ve had a rough time and I’m not trying to minimize that, but I think the black community has a whole lot more room to be upset about a word than the LGBT community.
Apparently this outraged and upset Rob Flynn of alternative-metal band Machine Head, who seems to spend a lot of time on Facebook. He carefully assembles a series of clichés and strung them together into a post which raged against Labonte:
Where are the god damn protest songs? Where are the “War, What Is It Good For’s”? Where are the “Fight The Power’s”? Where are the white metal bands protesting about Ferguson and Staten Island? Why don’t metal bands stand for anything anymore? When did we reach this point in society where it’s unpatriotic to question our military or our police? Why are so goddamned proud to just fall in line?
Here we see the underlying issue that propelled #metalgate rising to the top: the PC people recognize only certain issues, but metal is in fact fighting back against the actual problem, which is a religious approach to reality denial through secular (but unrealistic) politics. In the PC view, if we just change our thinking, we have changed reality. This is why for SJWs it is essential that everyone think the same way, speak the same way and act the same way regarding political issues. We will be in lock-step like good Nazis/Communists/Christians and since we will all be uniform, no deviation can occur. Problem solved! …right?
The metal point of view takes an entirely different approach. In the metal view, problems do not go away until you find the root and fix it. People do not “just get along.” In fact, the more you push people to publicly affirm an idea, the more they resist it in private. In the metal view, there are no magic bullets like laws, rules, and speech codes that fix problems that have persisted since the dawn of humankind. In the metal view, it seems reckless to — knowing that these problems exist — bring them into our communities by demanding that we “tolerate” the endless clashes that result.
Flynn’s rant is stupid because he refuses to acknowledge that metal has for years endorsed sensible responses, but they are not ones that are politically correct because they do not affirm the public paradigms that everyone else is affirming. Every major corporation, police department, court, Congressperson, media outlet, and metal magazine agrees with Rob Flynn and will enthusiastically say so. They do this because people act as a herd, and while the herd is always wrong, the herd rewards its own. His opinion is not radical, it’s the norm. Metal has resisted the norm and this is why it upsets him. He even admonishes us to be more like Bob Dylan and John Lennon, two hypocrtical Baby Boomer communists who quietly enriched themselves while talking up the working classes.
Let’s face it: in the highly politicized decade in which we live, songs about social justice are the equivalent of love songs in the 1950s. They offend no one. They shock no social norms. They give people something to bond over, which is how terrible gays, lesbians, women, minorities and other groups who should be pitied are treated by the bad white people. Because, see, SJWs are the good white people — and the vast majority of SJWs are college-educated whites who didn’t quite hit the jackpot, the same audience that creates all the hipsters. Being into social justice is their way of showing you that they are “good” (and thus concealing all that is bad about them behind that symbol of goodness) like politicians kissing babies or celebrities giving money to the homeless. SJW metal is like Justin Bieber except instead of using candy pop to sell records, it uses candy opinions and recycled hippie cons to make you think the people behind it are “good” even though you know only one thing they think or do and the rest is concealed.
Metal says that society is illegitimate because it denies reality. Whether that is through its approach to religion, politics or social activity, it is all lies: it would not be popular if it were not a lie. That is not the same as saying “because it is popular, it must be a lie,” because some things are popular for simply being catchy and vapid, and sometimes society is even correct. But it says that only lies or other things which do not threaten the human pretense at the root of our rotting society become popular. Thus, if you see that all the dunces are in confederacy in favor of something, be suspicious.
SJWs have a simple plan. They will censor through guilt. This allows them to avoid using Nazi-style government tactics to enforce speech codes when they can simply make Soviet-style speech codes mandatory by attacking anyone who does not agree. Rob Flynn is the witch-hunter here, the same sort of person who 200 years ago would have burned witches when the crops went bad, hung black people without a trial when a rape happened, or even a generation ago would have banned kids from school for wearing all black. He is the totalitarian. He and the SJWs are using “social justice” as a means to seize power and subjugate the rest of you. Metal — nearly alone, but with a few brave others in #gamergate — is resisting this authoritarian takeover.
The same thing gets tried every generation. Charlie Hebdo was attacked so that all cartoonists and writers would think twice about criticizing Islam. Despite all the protests by people who were at absolutely zero risk, and all the warm fuzzies from media about how free speech will save us, the result of the attacks is more crackdown on people who criticize Islam, both from governments and their insurance companies who do not want to pay out for preventable deaths. The PMRC’s campaign to have record warning labels made law failed, but the legal campaign won because it intimidated record labels into putting the warnings on those records or they could not get them into stores. SJWs will do the same thing by labeling some metal as “verboten” because it did not join their politically correct view of the world, and then it will be unable to be sold openly. That is their goal: censorship. Their method is a 2.0 to book burnings, public executions and other censorship 1.0 techniques, but it aims at the same thing and is more effective.
You can see how Bieber-like it is when you look at this comment on Mr. Flynn’s comments:
You just GAINED one more fan. I don’t even know what you sound like yet.
The SJW outlook is not new. It is not revolutionary. It is what governments of the USA and EU endorse. It is in fact conformity. They however want to convince you that their ideas are “revolutionary” so they sound unique, different and exciting. They want to look like brave outsiders denying the will of shadowy oppressive forces and liberating us all. In fact, they are attempting to enslave us all — wonder who our Al Sharpton will be — and they are every bit as mainstream, ordinary and socially accepted as Justin Bieber. They appeal to the herd by telling it what it already accepts, just like Bieber offers music with absolutely no surprises that resembles every big pop act that went before it. But if you listen to them, they are heroic Christ-like bearers of enlightenment and the rest of us are just idiots in comparison and should be silenced as a result.
Uproxx unearthed a list of bands that SJWs in the Soviet Union tried to ban for reasons such as nationalism, racism, neofascism, sex, eroticism and their favorite, “Anti-Soviet propaganda.”
Included on this list were Black Sabbath, Alice Cooper, Nazareth, AC/DC, Iron Maiden, Judas Priest and Kiss. As we go through another round of political figures attempting to brand metal as evil and force people to ostracize it, it helps us remember who their ideological ancestors are.
Last night, the Music, Metal and Politics mailing list had its archives available for the world. Then we ran an article here showing various list members calling for censorship, career destruction and other forms of retribution against me for having published articles critical of SJW antics in #metalgate.
This morning, the list archives are password-protected, as if there were something to hide and a fear of outsiders. In round one of #metalgate, the SJWs struck what they thought was a decisive blow, but in the end, they blinked.