Did Rock & Metal Engineer Societal Destruction?

What do Jonathan Davis, Corey Taylor, and Scott Weiland have in common?  Answering the question “90 Hard Rock singers” would not be incorrect, but there’s something darker beneath the surface – all three men are rape victims.  Davis even documents the experience in graphic detail in a platinum selling album from his band, and many of Taylors lyrics are riddled with sexual abuse.

Why were the executives of the murder industry so keen on pushing rape victims as the new face of rock n’ roll?  Furthermore, why were the most popular genres of rock and metal so lyrically obsessed with self destruction?  From Grunge “morality is useless and life is hopeless” to Nu Metal “I’m a freak and everyone hates me” to Emo and Screamo “I’m lonely and will never be loved” to indie (soy) metal and rock “We failed to be what we should have been” the message of mainstream rock and metal music has constantly be one of self destruction.  This trend is mirrored by a 25% increase in American suicides in American suicides since the 1990s:

Suicide rates increased by 25% across the United States over nearly two decades ending in 2016, according to research published Thursday by the US Centers for Disease Control and Prevention. Twenty-five states experienced a rise in suicides by more than 30%, the government report finds.

More than half of those who died by suicide had not been diagnosed with a mental health condition, said Dr. Anne Schuchat, principal deputy director of the CDC.

“These findings are disturbing. Suicide is one of the top 10 causes of death in the US right now, and it’s one of three causes that is actually increasing recently, so we do consider it a public health problem — and something that is all around us,” Schuchat said. The other two top 10 causes of death that are on the rise are Alzheimer’s disease and drug overdoses, she noted.

With statistics like this, it’s absolutely time to panic: our society is being marred by growing influences- intentional or not – to destroy ourselves.  Let’s examine music’s relationship to this now obvious horror and see if we can determine why this is happening.

A Brief History of Lyrical and Aesthestic Themes in Rock

Rock music in the 50’s, considered extreme and dangerous at the time, was lyrically most focused more on an honorable romance.  Other themes included popular dance maneuvers and good times.  The fear was that the innuendos of the times – swinging hips, etc – were too sexually suggestive and could cause an uptick in immorality amongst the youth.

In the 60’s, all of the previous fears about rock were surpassed a thousand fold.  Morality was fully abandoned and rock music was used to force complete social liberation where there were no consequences outside of the individuals personal happiness.  Drug use, sexual promiscuity, and a complete lack of contribution to society were prevalent throughout most of the “classic” albums of this era.  From here and beyond, these themes would dominate the majority of rock music for decades.  This would evolve significantly when the 70’s gave us a more extreme opposition to mainstream culture in the form of punk rock.  Embracing degeneracy like never before, punk continued hippie liberalism while adding a more violent, anarchist opposition to real life.  Though themes of positively impacting the social issues of the age were present, punk was mostly about destruction, lawlessness, and chaos.  Sexual degeneracy increased, and BDSM clothing (influenced by gay fashion) emerged to define both punk and metal clothing for decades. The 80’s gave us hair metal, which saw the most visceral attack on masculinity in the form of skinny young men dressing up as girls.  Though no other form of metal reached the same level of mainstream success, its later revival in the form of metalcore and other “scene” saw the meterosexual/transexual trend continue.

But it wasn’t until the 90’s – the economic peak of the music industry and the height of its dominance over the world – that self destruction was pushed harder and more fiercely than ever before.  Grunge music idolized depression and uselessness more than anything before, and saw most of its most prominent musicians commit suicide.  Nu metal saw the rugged, alley dwelling badass metalhead recreated into a sexually abused loser that spent high school stuffed in a locker.  Emo saw the rock musician reconstructed into a weak, insecure, feminine, nerd.  The masculine vocals would never return.

Societal Decline

As documented extensively on the Amerika.org pages, Western society has been in a gradual decline since the French Revolution.  This was accelerated a thousandfold after the cultural revolution of the 60s.  Since then institutions of community, church, nationality, sexuality, gender, and education have slowly been chipped away in the pursuit of universalism.  While short term pleasures were abundant, long term happiness, meaning, and purpose suddenly faced extinction.  The suidcide rates are only part of the outcome – frat house rape increased, drug addiction increased, school shootings were invented.  Generation X were deveasted by a housing crisis.  Millenials aren’t even in the game.

The liberal societal change that was driven in part by 30 years of ultra-liberal rock and metal music was a disaster.  Rural America is hooked on heroin, suburban men are more concerned with video games that employment and reproduction, and lawmakers are now most interested in championing lawbreaker residents and people who chop off their own dicks.  Over 30% of Americans are now open to a different system of government because liberal capitalism has failed.

Looking back, one has to wonder – were the people pushing this garbage really dumb enough to believe this wouldn’t be the outcome?

An Accident?

One theory is that this social degradation of America through rock and metal was merely done in accident in the pursuit of money.  The progression of American capitalism (reflected in other “first world” nations) has seen our entire future sold to the highest bidder with absolutely no consideration on the long term success of the nation.  Two of the most obvious examples lie in “higher” education (colleges, who exist to enhance one’s knowledge and education, are now so expensive that students are entering a lifetime of debt) and healthcare (health insurance has become too expensive for young people, the health of whom should be prioritized).  Politicians are now bought by foreign nations, and soon the same will be of their children. Journalists and their ideologies are also bought and sold, church leaders are bought and sold, wars are waged to increase oil stock and pharmaceutical addiction is prescribed to generate the most revenue.

It could be that degeneracy was sold to the youth simply because it sold.  With no regulation on the entertainment industry, shock value was maximized for profit.  The more degrading it was, the more likely it would sell.  But industry executives kept pushing more and more, with no regard to how it affected people in the short or long term.  All that matter was the dollar, and nothing else.

A Larger Plot?

But another theory also exists: That it’s entirely possible this was part of a larger scheme to weaken citizens of the West, particularly in America and most particularly the most educated and most potentially successful (and therefore hardest to control) citizens in America – white males.  With its most dominant demographic and its historic identity America would be easier to shift into the globalist agenda.

Throughout the years since World War II, the elites of the western world sought to consolidate nations into a single state.  Organizations like NATO, G7, and others sought to establish a singular world power that chipped away at the sovereignty of individual nations.  The idea of a “first world” meant only those inside would be able to find social and economic success, while a “third world” – outsiders – were considered hopeless and undeveloped.  Slowly but surely nationalism would be dismantled, power would be consolidated to an elite 1% and identity would slowly but surely be transformed into a singular entity free of economic, religious, and racial constraints.  Borders would eventually be erased, and the identity of individual nations would be replaced by a singular identity (globalism, previously known as the “New World Order).

The internet appears to have been a big wrench in the plans of many world leaders.  With the freedom of information, many were able to explore different ideas and communications outside of the mainstream narrative of state media (posing as free press) and history books (heavily censored and controlled).  But recently, with CEOs of tech companies like Google and Facebook becoming the most powerful  and wealthy human beings on the planet, a centralized collective have discovered a way to consolidate a singular thought.  With recent evidence that Facebook may have been a CIA project from the beginning, it appears these powers (the CIA had previously infiltrated the media as identified in Project Mockingbird) had been slowly building an indestructible machine of censorship and control.  With these elites now censoring content and thought by manipulating search results (as seen in the removal of Wikileaks from Google a few years ago and YouTube’s censoring of dislikes in the recent “More than a Refugee” video), there may soon be a way where all information is once again streamlined the way it once was.

The internet started becoming a household commodity in the late 90s and early 2000’s. At this time, the internet – and whatever was happening on it – became a more influential medium of information than what was previously managed on television and radio.  Its complete lack of filter meant that everyday people could now access more than what was contained in 200 channels and 100 frequencies.  This meant that the music industry did not have the power of social control that it had in the 1960’s and beyond.  Ironically, this was the same period that the industry experienced a full collapse, with many record labels folding and their influence collapsing.

If there was a correlation between the music industry and the globalist powers that be, it would appear the music industry was written off as a loss (in terms of influence) at this time.  Therefore, the collapse of the music industry was allowed as a more dependable means of controlling information was needed – the ability to control information on the internet.  It also could mean that the plan to weaken this generation to maximum effect has been fulfilled and the globalist powers no longer need it to fulfill their desires.

Under this theory, the corruption of youth through rock and metal would have been successful.  White Millennial men – the most “educated” generation – are the first in many decades to be poorer and less likely to live as long as their parents.  Drug use is up, suicide is up, debt is up, and the middle class is almost fully evaporated.  Everything has gone according to plan.

The Importance of Theme in Music

Whichever of these theories is actually correct (of which I can’t say with absolute certainty), the one thing is for certain is that lyrics and cultural influence in music matters.  While always reactionary of other movements in culture, the type of lyrics and aesthetics have done a lot of harm to America and the world.  People are more liberal, less nationalist, less family oriented, less likely to succeed, more likely to die at a younger age, gayer, more defiant of their gender norms (causing great suffering), poorer, in more debt, unhealthier, and ultimately worse off than a society without a music industry.  Music was not the sole factor of this, but draws a sharp parallel.

I am not taking a Reganist or Baptist view on this and saying that rock and metal are evil and should be destroyed.  With a lyrical, aesthetical, and thematic embrace of traditionalism, nationalism, religion, and realist restoration, rock and metal can be a great and positive thing.  But continued themes of destruction and hopelessness are going to influence these behaviors on the listeners.  So instead I ask, dear reader, what are the lyrical themes to your favorite bands, and how are they influencing the life you have come to live?

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15 thoughts on “Did Rock & Metal Engineer Societal Destruction?”

  1. Stefanos says:

    Great article!

  2. Korrektor says:

    These themes of self destruction and depression in these styles of music are an indication and reflection of where western civilization has ended up in the past 60 years. Particularly in the last 20 the ideology of individualism propagated by leftists has made men into wimped out pacifists that blame their failings on the wrong aspects the past instead of recognizing their own brainwashing by left leaning society.

  3. Reduced Without Any Effort says:

    I don’t buy that great metal must be propaganda to be positive. That’s an ok mindset if you’re trying to push a certain worldview first and are an underground metal fan second. Many of the most profound works of art however are vague enough that they are what we make of them – and for great individuals, that can be a great thing. Great music should stimulate the imagination and spirit and tie in fundamental, genuine emotion on part of the composer and performer to form a connection with the listener. Everything else that is worldly, culture wars, ideological propaganda, etc should come second if at all. Name a political album as great as In The Nightside Eclipse. It is a mistake for a metal site to promote politics first and musical greatness second.

  4. All of this is true:

    The Beatles were a CIA psych/cultural-warfare weapon.

    Killing Joke was formed by Tavistock Institute employees.

    The proliferation of black metal in mainstream media is used as an “exotic catalyst” to form underground hero worship in an atheist society (i.e. a Jesus character could be Euronymous). Doesn’t take much more insight to figure how and why indie-rock musicians appropriated it. See how a Vice documentary on so called black metal would champion Jonathan Davis style fatalists while decrying something like Burzum.

    Jim Carrey promoted leftist cucks Napalm Death and underground hip-hop/speed metal fusion Cannibal Corpse through media. His recent “art craze” show signs of MK Ultra programming.

    Watain plays pedestrian music and has a live show no different than others of their ilk which could cause one to wonder how they got so big. A possibility is that they promote Judaism. This is not a joke.

    1. Reduced Without Any Effort says:

      you are vastly overestimating the competence of the elite

    2. canadaspaceman says:

      “Jim Carrey promoted leftist cucks Napalm Death and underground hip-hop/speed metal fusion Cannibal Corpse through media. His recent “art craze” show signs of MK Ultra programming.”

      1) “hip-hop/speed metal fusion Cannibal Corpse” … what ?!? Are you talking about the same bunch of teenage longhairs into thrash metal / death metal ?
      2) Jim Carrey grew up in a poor/middle-class family from southern Ontario, and was not really part of show business until his late teens/early 20s.
      Highly doubt Jim Carrey was “programmed”.

      Otherwise, you are correct.

    3. Varg was another MK Ultra victim… It’s obvious in his word choice describing his murder of Euronymous, “I had the knife… And then I stopped him” — telltale sign of those who have been under hypnosis/programming…

      Euronymous himself was a CIA informant (the totalitarian communist obsession was a convincing front) who was drugging Dead’s food with LSD microdoses. Unfortunately after Dead’s successful suicide Euronymous rebelled against his handlers, placing himself on the burn list….

  5. 1349 says:

    “what are the lyrical themes to your favorite bands”

    Death (as a phenomenon, not as a goal; which makes metal a kind of religious art in that it focuses on very high-level, principal things)
    Satan (as a godlike person / “symbol”)
    Norse / pagan gods
    The past
    Jews =)))

  6. Socially engineered goyim says:

    Tavistock, that is all.

  7. FATALITY says:

    For the commenters that conflate metal lyrics with political propaganda, I think you’re way off target.

    For Brock, I really like thought-provoking articles like this and I like that you didn’t buy into the conspiracy theory straight up. I would recommend – to you and to any Alt-Righters out here, we all need good books – you check out John Gray’s “False Dawn : The Delusions of Global Capitalism”. It’s a book about the global free market as a political project and a symptom of utopian thinking. It is an absolute masterpiece in terms of information on societal collapse due to the economics of global capitalism in major countries in the last quarter of the 20th century ; it shows countless examples of the destruction of the middle class due to economic reforms pushed by globalists and it explains the thinking behind it as the latest Enlightenment project of a universal civilization.

    In my view the cultural developments were also a response to the changing economic landscape, and it’s good to understand how this happened first. I really dislike conspiracy theories because they just simplify things ; that does not mean that people with a globalist perspective do not influence culture (see every media executive maybe), but one cannot blame them (or just the culture they produce) for the shit we’re in when the problems are way more complex and are mainly due to economical and political factors.

    As for your final question, what makes a metalhead raise above simple self-destruction is for me mostly the pagan warrior spirit of Norwegian black metal (see for example the lyrics for Darkthrone’s “As Flittermice As Satans Spys”, Immortal’s “Battlefields”, Burzum’s “War” etc.). They represent indeed the renewal of the Romantic spirit in the modern age, as Brett Stevens has excellently written about.

    There is also strength in the brave acceptance of death and meaninglessness as in most death metal (see Deicide’s “Repent To Die”), combined with the desire for freedom from social constraints and a predefined way of life (like in Brutal Truth – “Walking Corpse”). What is common in both of these lyric examples is a rejection of universalism (either through a religion, like Christianity, or through an economical regime, like capitalist society) and a praise of individualism. This is strength and quite remote from the whiny rock and nu-metal you cited. Destructive forces are the themes of most extreme metal, but most of all they are a show of spiritual force against a dying world.

  8. Covfefe says:

    You forgot one thing: pop music was and is still bigger and more influential than rock, let alone Metal.

    So….. cool story bro.

  9. S.C. says:

    I don’t really pay attention to lyrics in metal. The world is over populated and I think that the hopelessness in a lot of rock and metal is less an influence on and more of a reflection of the state of humanity.

    1. MetalAnon says:

      While I can say the same with regards to lyrics, a lot of normalfags otherwise are very impressionable and malleable, not just boomers and kiddos alone, and to just wave off the latter fact is the same thing fencesitters and apathyfags do to ignore the ever declining standard of living in the Western World.
      Sometimes I go through the lyrics of some songs if they catch my interest, like GBK or Infester for instance, but otherwise I ignore it partially because I know what I’m gonna get otherwise based on the title, or it’s lefty rhetoric I don’t feel like being bombarded with.

  10. Marc Defranco says:

    Quick answer to the title: nope

  11. Nathan Metric says:

    Examples of lyrical themes I enjoy

    Black Sabbath – Iron Man (Romantic)
    Black Sabbath – Children of the Grave (Moralistic)
    Rainbow – Kill the King (Romantic)
    Terrorizer – Victim of Greed (Realism/Moralistic)
    Slayer – Hardening of the Arteries (Realism)
    Massacre – Aggressive Tyrant (Realism/Romantic)
    Sinister – To Mega Therion (Realism)
    Napalm Death – Seige of Power (Realism)
    Morbid Angel – Angel of Disease (Romantic)
    Celtic Frost – Circle of the Tyrants (Realism)
    Metallica – Creeping Death (Romantic)
    Grave – Into the Grave (Existential)
    Cloven Hoof – Reach for the Sky (Romantic)
    Bolt Thrower – Eternal War (Realism)
    Weregoat – Crushed Under the Banner of Baphomet (Realism/Existential)
    Bathory – Born for Burning (Romantic)
    Manowar – Thor (Existential/Romantic)
    The Bezerker – No One Wins (Moralistic)
    Deicide – When Satan Rules this World (Realism)
    Blood – Sodomize the Weak (Moralistic)
    Sepultura – Bestial Devastation (Realism)
    Bestial Warlust – At the Graveyard of Gods (Realism/Romantic/Existential)

    I might be incorrect about some of the artist’s intended themes here, but I’m just telling you the theme I was experiencing subjectively upon listening to these works. As for does all this music influence me? I’d say it does.
    The existential themes reinforce to me the idea that Only Death is Real and that there has to be something of value to be found in life that transcends death.
    The romantic themes appeal to the more amoral and animalistic side of me. They romanticize power or virtue.
    The moralistic themes give insight to the things in life that are actually meaningful or identify that which is not meaningful.
    The realist thems regiment my ego to the idea that evil tends to run the world or prophecies the domination of evil in the future which I tend to believe is the brutal truth if good men choose to do nothing. Realist metal presents a reality that transcends the individual. Non-realist forms of metal and all forms of pop music including punk and rock music are only about the subjective reality of the individual.

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