#metalgate: why SJWs became hipsters

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The hipster has one salient trait: ironism. Whatever everyone else is doing, he is not. He uses this trait in a passive-aggressive way to force acceptance through provocation. Where normal people gather, the hipster will show up looking as weird as possible, hoping that someone will say something because he knows that social pressure is on his side. If he is criticized, he can use the dominant paradigm of our age (individualism) as a weapon and claim the other party is bullying him, when in fact it is the hipster who is starting the argument by deliberately being unusual, different and “unique.”

This approach combines some of the ugliest aspects of human behavior. First is bullying, because the hipster is waiting for criticism so he can say, “Look boys, it’s just like in Napoleon Dynamite, the popular kids ganging up on all of us accepting and tolerant freaks! I’m just different, why am I the victim here?” and have an instant army of angry complainers to attack the critic. He has government on his side, which supports being freaky any way you want to so long as you pay taxes and don’t murder, and popular opinion. Second is egomania. The hipster is not concerned with truth, the future, the past or fact; he is concerned with social appearance, which serves as both his justification for existence and his weapon against others.

SJWs arose when people realized they could politicize this hipster approach. In addition to looking freaky, they took extremist positions within the dominant leftist+consumerism individualist ideology of the West. This attitude combines the liberal social attitudes of the left with the market-oriented attitudes of the right, and creates a nasty hybrid which supports freedom above all else, so long as profits (and taxes) are made. SJWs are not “different”; they are a different variety of the same. This allows them to style themselves as unique and deep thinkers without offending any of the current attitudes of society, but because they manifest these ideas in physically odd appearances and extreme versions of those accepted views, they provoke criticism and can then attack, increasing their own power in the process.

When SJWs decided to adopt metal, their first goal was to style the rest of us as aggressors. That way, the hipsters could passive-aggressively claim to be victimized and begin the group counter-attack. Their problem has been that metalheads use apathy as a weapon. We view this society as moribund and on its path to self-destruction, and so tend to consider SJWs irrelevant drama. On their second assault, SJWs refined their attack to “if you do not participate in our crusade, you are bad and must be destroyed.” This is why we now have articles on a regular basis talking about how metal is not accepting enough and must be reformed.

All of this comes as metal struggles with its own refinement, namely the smooth fusion of hardcore punk, progressive rock and heavy metal that was underground metal (death metal, black metal, grindcore and doom metal). The SJW hipsters do not like this fusion because it is too far from the warmed-over 1960s protest rock that they favor — let us face facts and admit that emo, and anything tinged with it, is basically Bob Dylan worship. Metal rode on a wave of energy caused by the need to make such a fusion, but once it was achieved, had no idea where to take it further. There were no further (coherent) extremes, nor new musical developments to occur. As a mature style, it is still waiting for fresh energy to revitalize its lexicon of techniques and conventions and put them into a new language, and while some bands have forged a path in this direction, most continue to either re-hash the past or re-hash other genres with metal flavoring. For this reason, SJWs infest it, because they sense a dying trend they can turn into something they control.

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#metalgate: SJWs make clear the agenda is making you OBEY

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To succeed in modern society, it is best to style oneself as a victim. We live in a time of victimhood politics where the person who successfully portrays themselves as being harmed finds that society steps aside to let them ahead, handing out freebies in the process.

Rape victims — whether a rape occurred or not — become overnight celebrities. Politicians gain stature for having been opposed, not for having been right. Every celebrity and actor has a story of how life harmed them early on. In a society of equals, the only way to be more equal is to be perceived as having been made less equal, thus a recompense — and rise in moral stature to “hero” — is deserved.

For most of their careers, SJWs have stayed behind the cloak of victimhood. In their view, someone out there is harming them, despite living in the nation with the best quality of life on earth, having government incentives for their hiring and renting, and being generally privileged college students working in easy media careers. They portray their crusade as correcting injustices.

But, as any cynic or observer of human behavior knows, those who perceive themselves as victims are usually simply manipulating others. Grackles — small brownish-black birds known for raiding dumpsters — will fake an injured wing to cajole extra treats from people eating at open-air cafes. This behavior is older than humanity itself. The difference with humans is that once given power, SJWs become insatiable attackers demanding that everyone else be cleared from their way. Their agenda is revenge against anyone having a better life than they are, which — since SJWs are the cause of their own underlying misery — is anyone who is not miserable.

We can see this pathology in a recent article by Laina Dawes (who unfriended me on Facebook for having a different opinion than she did) about “Heavy Metal Feminism”. Here’s the pitch:

Despite the global appeal and presence of heavy metal culture, widespread online distribution, and increasing awareness among a diverse audience, there remains great resistance to discuss ongoing sexism, racism, and other issues that can potentially dissuade fans from actively participating in the subculture. “I don’t know why it is so hard for people to understand that not everyone is just like them,” Phillips told me. And Phillips isn’t alone; other artists and journalists are questioning the pervasiveness of discriminatory practices and beliefs within a musical culture that, ironically, not only boasts of its “inclusive community” (in which membership is predicated on fandom and not gender, ethnicity, or sexual orientation), but also, because of its underground status, places an emphasis on fan participation and economic support in order to create and distribute music that will never, and doesn’t want to, receive true mainstream commercial attention.

At this point, the true message emerges: agree with us or you are bad and must be destroyed.

Never mind that what is popular is almost always wrong and corrected by the next generation, or that heavy metal might have its own way of dealing with this issues.

Despite all the citation of academic articles here, Dawes’ approach is fundamentally unscientific: cite lack of tons of female heavy metal bands as “proof,” then claim that only that will rectify the “problem,” and demand that everyone else drop everything they are doing in order to get ahead.

And throughout it all, no one answers the real question: what have these female-fronted bands done to make themselves important to metal?

After all, Lita Ford, Jo Bench, Lori Bravo, Mythic/Derketa and others have had no trouble being metalheads who also happen to be women.

But that shows us the real agenda that Dawes is pushing: she does not want women in metal, she wants propagandists. She wants women who agree with her to be shoved to the front of the line so they can drown out that bad old white male music.

Never mind that metal has never been exclusively white nor male. Never mind the legions of women who have been in bands, worked as journalists (including the underground zines that mainstream media refuses to mention), run labels or otherwise contributed vital things to metal.

They claim they are anti-fascist, these SJWs, but while they are not fascist they are authoritarians. Their goal is to replace metal with propaganda rock with the “right” opinions to cure a “problem” that is not a problem. And if you need any more reason than that to kick them to the curb, you have not been paying attention.

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#metalgate was right: SJW journalist Kim Kelly caught faking stories

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We know they coordinate stories to present the same trends/fads, and that they are fast and loose with details, but now #metalgate-involved journalist Kim Kelly has been caught faking a story. Or rather, from a couple years ago, as Metal Illuminati observed:

Do they really expect us to believe that two Seeds of Iblis members immigrated to post-war Iraq to start the band? Especially since Anahita has stated on record that they’re actively trying to score a record deal. (I doubt many A&R’s hang out in Baghdad — where Anahita claims Iblis have played concerts)

Ms. Kelly, how did you not notice that???

At the end of the day, there’s little reason to doubt that Anahita, Janaza, or Seeds of Iblis are anti-Islamic metal musicians. However, their Acrassicauda 2.0 backstory of currently living in Iraq and covertly dodging “religious authorities” as Kim Kelly’s (supposed) reporting describes just doesn’t add up. And since that was their main claim to blogosphere fame, it doesn’t seem unreasonable to promptly give them the Milli Vanilli treatment.

When we see the media darlings being introduced as “important” with nothing of note in their histories, and all of the chattering classes of supposed “metal journalism” gathering in a cult-like clique to support them, our warning signal should go off: this isn’t journalism, it’s advertising, both for the fake journalist SJW herd and their pet ideologies. While the stories being fake is not surprising, it’s good to see such solid evidence gathered against them.

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From banning “hate” to forced obedience

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Originally, the “no platform” idea was that when outright neo-Nazi bands scheduled a concert, people would protest and the venues would stop supporting them. While I find this dubious and believe it will backfire against its original intent, it was at least clear and limited to stopping undesired expression.

Now we see that it becomes: forcing all bands to have the “right” opinion if they want to perform. As the Times of Israel writes, a performer is being censored for not being pro-Palestine:

Festival organizers were driven by intense pressure from the Boycott, Divestment and Sanctions (BDS) movement, the reports said. Artists scheduled to perform at the event threatened to cancel their appearances if Matisyahu were to perform because he was “seen to represent Israel.”

The organizers gave Matisyahu an ultimatum, telling him if he would “sign such a declaration [publicly affirming his support for the Palestinians, he] can perform,” according to Spanish daily, El Pais.

Now, I know that people on the internet can get feisty about Israel and/or Jews, but I view this as a mistaken notion. Oddly, what I used to hear coming from the far-right I now hear coming from the middle-left, which is the usual smattering of fears that Jews somehow control the world or are responsible for its downfall. Back in reality, Jews are a small minority that — while disproportionately successful in science, the arts, entertainment and business — act in their own interests which seem to be personal in nature rather than The Protocols of the Elders of Zion-style conspiracy takeover of Earth. It is beyond this article to comment on Israel-vs-Palestine except to say that it is clear that the two populations seem incompatible with one another.

From that point, we can actually discuss the issue. But that is not what SJWs — who are all liberal and should know better as presumed defenders of individual rights, including speech — want us to do. They want discussion to end and only one viewpoint to be heard, which is that of a pro-Palestine anti-Israel outlook. What happened to Matisyahu crosses the line into anti-Semitism. He is not known for a pro-Israel position, nor has he offered one. But he is Jewish… and he performed in Israel… which is enough for his critics to equate “Jewish” with “pro-Israel” and demand he speak out in the issue in agreement with them, even if he has either a contrary viewpoint or any of a number of differing views. It is unclear whether he has any political views at all.

Censorship forms a slippery slope. At first, it is designed to eliminate ideas associated with known social harms, like violence and pedophilia. No one will stand up for those people, so the next generation aims at a broader target. Eventually, it becomes what we see it is now, which is “Agree with us or you will be silenced.” If you want to know what keeps me and other anti-censorship activists going, even if it means speaking up for icky people from 4chan or Reddit, it is that we know how censorship expands from known ills to failure to agree, and we want to stop that process before it starts.

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The new censorship: how corporations and complainers silence speech

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The ire generated by GamerGate and MetalGate showed us that a large segment of our society finds it disturbing to be called out on their constant demands to silence speech. Those however were merely private individuals; what happens when large corporations join them by enabling complaints as a means of censorship?

It might sound far-fetched, but that is exactly what the movie industry is trying to do:

This time, the studios are asking for one court order to bind every domain name registrar, registry, hosting provider, payment processor, caching service, advertising network, social network, and bulletin board—in short, the entire Internet—to block and filter a site called Movietube. If they succeed, the studios could set a dangerous precedent for quick website blocking with little or no court supervision, and with Internet service and infrastructure companies conscripted as enforcers. That precedent would create a powerful tool of censorship—which we think should be called SOPApower, given its similarity to the ill-fated SOPA bill.

In this case, the complaint system is based on copyright. But as we have seen in the past, internet websites — who lose money each time they must process a complaint — lump together copyright, harassment, doxxing and other bad content claims with the vague “offensive content” label. The raging SJWs that GamerGate put in their place found they had the power to silence others by merely mobbing some site with complaints, and the owners, wanting to avoid controversy and bad press from an SJW-compliant media, would simply remove the content, fire the employee or delete the user account.

This power is now being amplified through the American court system. Under this new precedent, if it succeeds, any website which does not filter certain content will find itself with legal liability, which means that all websites will quickly remove both copyright and merely controversial content. What defines what is controversial? If it gets complaints, it is controversial — and will soon be removed.

So far SJWs have gotten a pass from the legal system thanks to their perceived power in media and as a voting bloc, even if it turns out that 90% of them are internet brats on trust funds, living off food stamps in Williamsburg while making artisanal strap-ons for sale on Etsy. This type of “accountability” allows the complainers to determine what content will be permitted, and quickly marginalizes anything but the usual circle-jerk to the extreme corners of the internet. However, even those will be threatened because complaints go to their web providers, and those above providing services to those. The EFF article does a great job of pointing out the important fact here, which is that the complaint itself is viewed as proof. Someone complains, and your web site goes down, without a trial or anyone even considering if it is fair.

As metalheads well know, the problem in society is not so much the leadership as the people who choose it and their tendency to be petty, greedy and controlling. This latest step not only gives them a pass for their actions, in other words removing any accountability they might have, but also gives them the power of the law. While right now the focus is on movies, the mission creep/slippery slope of such laws in the past has rapidly expanded them to other areas. All who wish for uncensored expression owe it to themselves and future generations to fight this troubling development.

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The “metal bubble” bursts

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Humanity follows this pattern: someone breaks away from doing the same stuff everyone else is doing, does something different and it resonates with smart people, so everyone else starts doing it but they use it as a new flavor for doing the same stuff everyone else is doing. They think this will let them be both new and familiar at the same time, and it attracts an audience who thinks like them, and then the different thing is destroyed.
(more…)

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#MetalGate Band Podcast 3

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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.

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It’s sexist to oppose this video

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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.

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The historical background of MetalGate

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From a recent interview with our editor:

You and the other reviewers are notorious for having incredibly harsh reviews. What would you say are your favorite metal albums of all time?

These metal albums have stayed in weekly rotation over the years:

  1. Massacra – Final Holocaust
  2. Slayer – Show No Mercy
  3. Incantation – Onward to Golgotha
  4. Sepultura – Morbid Visions/Bestial Devastation
  5. Deicide – Legion
  6. Beherit – Drawing Down the Moon
  7. Cianide – A Descent Into Hell
  8. Atheist – Unquestionable Presence
  9. Demilich – Nespithe
  10. Demoncy – Joined in Darkness

The reason my analysis is different than that of other metal sites is that populist writers prioritize surface novelty and underlying similarity to mainstream rock, where I look at metal as a form of art in its own right. It should be measured by the quality of its internal organization and ability to artistically represent a vision of power. The popular “best of” lists specialize in bands that will be forgotten in a few years because when the novelty is gone, they are the same old stuff you could get anywhere else.

I keep a copy of Sepultura Morbid Visions/Bestial Devastation in every room in the house. I dislike being too far from one at any given time.

What contemporary bands should we be paying attention to?

In music as in all things, I am an elitist. This means that I want the best music available because time is short and there is no point wasting it on the trivial. Keep an eye on Demoncy, Sammath, Blaspherian, Kjeld, Desecresy, Kaeck, Blood Urn, and Kever.

Some accuse your site of manufacturing a controversy with MetalGate but the SJW infiltration of political correctness in metal has technically been going on since the late 90s. Do you think metal can actually be tamed by leftists and what is your perspective on the attempts to make metal safe?

SJWs are incapable of understanding the aesthetics of metal, which is why all leftist music tends to be metal-flavored riffing wrapped around rock or punk. Metal music sounds the way it does because its outward form represents what its composers wish to communicate. Ignoring lyrics and imagery, which are entirely secondary to composition much as production is, the music itself conveys an abstract and distant sound that makes beauty out of ugliness through a respect for power. In metal, what is powerful creates excellence, and from within that comes the elegance of form and portrayal of reality that makes great art.

Rock takes the opposite view. It is basically intense repetition with an ironic twist at the end, which means that it differentiates itself through “message.” People love catchy lyrics that embody some idea they find appealing at the time, but these are always experiences based in the individual, which is why almost all of rock music is love songs or “protest music” that wails about how inconvenient it is that some complex idea stands between the individual and a good time. You cannot both be pro-nationalist and listen to rock music.

Metal came about when Black Sabbath wanted to interrupt the hippies — what they called SJWs back when they opposed The Establishment — with some “heavy” (hippie slang for intense, epic and terrifying) realism. The West was falling apart, and the popular movements insisted that if we just focused on peace, love and happiness, all our problems would magically vanish. This focus on reality makes metal appear right-wing to leftists. It embraces consequentialism, worship of the ancient, distrust of the narcissism in the individual, and the idea of conflict itself, so that those who are strongest win. This inherently clashes with the individualist groupthink of the left, which seeks to avoid conflict and manage people indirectly through guilt.

When SJWs make metal, it ends up sounding like punk rock or rock because those forms of “protest music” reflect the individualist and yet group-oriented mentality of the SJW. Like the Christians with their “white metal” in the 1980s and the many times commercial record labels have tried to launch rock bands disguised as metal to capture the metal audience, social justice workers (SJWs) are trying to force entry by liberal ideas into metal so they can take over the space of culture that it dominates, and its audience, and indoctrinate them in leftism. Both media and labels support this because it is cheaper to make rock bands than metal bands.

Metalgate rose to resist this conspiracy and call it what it is, which is an attempt to control our minds through propaganda in music, as well as a gambit to replace what we know of as metal with a “safe” version based in indie rock. Most people do not know it, but metal generates a lot of income because metal fans are loyal to the genre over the course of their lives. Record labels could make a lot of money if they could sell the same old pap with metal flavoring. Luckily metalheads are resisting as they have resisted every attempt to assimilate their genre into rock ‘n roll, break its spirit and make it repeat the same dogma that exists in every other genre of music.

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#metalgate: SJW-controlled Metal-Archives.com censors realist reviewers

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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.

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