[Kamikaze]

(12-14-2014 01:32 PM)catoblepa Wrote:  

defining what's metal is quite problematic. It's more of a musical style with little if any conceptual or ideological unity.

Partially agree. Luckily, there are many "metal genealogy" charts floating around the internet that help classify "metal" bands into their sub-genres:



Here's a link to the image so you can see it blown up.

My preference is dorky, fantasy-based symphonic/power metal. I used to be a distance runner, and this shit got my blood boiling, really helped to push the pace.

Now that I pretty much lift exclusively, I prefer hip hop, EDM, etc. I'll only put on Blind Guardian when I'm doing a few of these sets:



Ha. Anyway, I doubt this type of stuff will get attention from the SJWs... we're the nerds of metal.

Edit: More evidence power metal is for geeks. Someone noticed Stratovarius' Stratofortress syncs up near perfect to the Lion King stampede scene. It's just a cool video, so I'll leave it here

[Quintus Curtius]

I know Henry Rollins is not "metal" but a punk-genre singer, but still....I'll be willing to bet he would have some choice words for the SJW crowd.

He's actually a very intelligent dude.

Just imagine what he would do if he caught some scrawny, dreadlock wearing, neckbearded male feminist knob-nibbler in the mosh pit...

[philosophical_recovery]

(12-15-2014 12:13 AM)Quintus Curtius Wrote:  

I know Henry Rollins is not "metal" but a punk-genre singer, but still....I'll be willing to bet he would have some choice words for the SJW crowd.

He's actually a very intelligent dude.

Just imagine what he would do if he caught some scrawny, dreadlock wearing, neckbearded male feminist knob-nibbler in the mosh pit...

I saw his spoken word live. He used to be very intense.

[Quintus Curtius]

^^^
That is priceless...lol

[AnonymousBosch]

Rollins is an odd one. He looks Red Pill, but...

When I spoke earlier in the thread about the over-earnest, moralistic, political-correctness of the grunge elite making rock dreary and hectoring, Rollins was one I immediately would have lumped in with that crowd. He's a hard leftist.

A lot of his spoken word is painfully-PC: racism is bad! homophobia is bad! Cops are racist! He often seems to be preaching to the converted later in the 90's and mid 00's, and I feel like some of his little speeches function exactly like SJW social media posts: say the safe PC thing to say narcissistic supply for easy applause and likes. Which is all well and good if that's his thing, but I didn't come to hear propaganda and sloganeering.

This always struck me at odds with his 'no such thing as downtime' persona and his well-read intellectual pose.

[Quintus Curtius]

^^^^

I didn't know that, AB. That's a damn shame. I didn't know he was party-line in that regard. Sad. Maybe like most celebrities, he finds it more profitable to toe the line.

[scotian]

Too bad John Denver isn't still around.....

[TigerMandingo]

Finally.....a worthy RVF metal thread.

[Chaos]

[AnonymousBosch]

(12-15-2014 01:20 AM)Quintus Curtius Wrote:  

^^^^

I didn't know that, AB. That's a damn shame. I didn't know he was party-line in that regard. Sad. Maybe like most celebrities, he finds it more profitable to toe the line.

Rollins only looks like one of us.

I typed Henry Rolins and a few buzzwords into Google:

HOMOPHOBIA

Quote:

Rollins sees gay rights as civil rights, and when he encounters homophobia, he says "it's that straw that breaks the camel's back." In other words, when Rollins witnesses this type of discrimination, just like racism he goes "real hard, real loud against it."

That's why as long as he's around, Rollins says "homophobia is an endangered species in America."

MISOGYNY

Quote:

The GOP grows more and more unpopular with female voters seemingly every time one of its leaders gets in front of a microphone. Misogynist is as misogynist does...

...To anger female voters in America is to tread on the tiger's tail. Women turn out in huge numbers, and they are well aware of how their bodies work and what they need. Any politician worth his or her weight in re-election would be absolutely insane to mess with them.

There's a Jezebel article where the commenters are all flicking the bean over that one.

ABORTION

Quote:

"I think abortion should be illegal. I could use a lot of words and waste space, but I won't. The fact that women are regularly abused, humiliated, and intimidated as much as they are in 1992 makes it too clear to me that they should at least have the right to control their bodies."

RAPE

Quote:

.. Things get better when women get more equality. That is a bit obvious but I think it leads to better results up the road. If it’s a man’s world as they say, then men, your world is a poorly run carnage fest.

It is obvious that the two offenders saw the victim as some one that could be treated as a thing. This is not about sex, it is about power and control. I guess that is what I am getting at. Sex was probably not the hardest thing for the two to get, so that wasn’t the objective. When you hear the jokes being made during the crime, it is the purest contempt.

So, how do you fix that? I’m just shooting rubber bands at the night sky but here are a few ideas: Put women’s studies in high school the curriculum from war heroes to politicians, writers, speakers, activists, revolutionaries and let young people understand that women have been kicking ass in high threat conditions for ages and they are worthy of respect.

Lastly:

A positive article from Ramapo College of NJ's Women's Center, who wish to "Dismantle, from a feminist perspective, all forms of oppression, including but not limited to those based on ability, age, class, ethnicity, gender, race, and sexual orientation", is titled: "Henry Rollins: Not your average feminist." Their tongue is right up his arse, digging for gold.

I've read his books - puerile would-be intellectualism - and heard his Rollins Band music - generic hard rock funk-jazz. Both aspects were disappointing and of little note, (whereas I can respect women like Jane Austen and George Eliot). For someone who has been part of popular culture for so long, there's just nothing there that's intellectually-intriguing or vital, both of which I want from art. I assume the attention is because the leftist media really, really wants to be plowed by him, which is why they also tried to make the dreadful Evan Dando a star in the 90's, except America wasn't stupid enough to buy it. Fuck him entirely. He's a walking 90's children's cartoon.

The rumour back in the day from gay guys I knew was that he was gay, and trying too hard to come across as an 'ally'. They said he was a conspicuous grunter in the gym too.

[Bizet]

SJW’s tried to kill the metal...

[Handsome Creepy Eel]

I predict the metal community folding surprisingly early. All of the metal guys I've known in my life were stereotypical "paper Alphas" - passive aggressive, whiny, and prone to doing immensely stupid Beta stuff because of their groupies.

However, I admit that my sample size might not be big enough, or that the metal scene in the Balkans differs from that in other parts of the world.

[TravelerKai]

Was it AnonymousBosch or QC that said it before on the forum, how these SJWs are attacking the same things the religious puritans did in previous generations? Heavy metal bands like Slayer and Ozzy have been picketed, protested, banned, you name it. Can these SJWs have the same effect on these same kind of bands as was before? Eventually they gave up the fights and as far as I know, no one protests these kinds of bands anymore, not until massive sacrifices start being done on stage I suppose...

They attacked video games in the past as well. Mortal Kombat was the first major one. The ESRB was the biggest effect in that aftermath. What can these SJWs do that has not already been done? What's next? A new Temperance Movement?

[Blobert]

(12-14-2014 11:54 PM)Kamikaze Wrote:  

(12-14-2014 01:32 PM)catoblepa Wrote:  

defining what's metal is quite problematic. It's more of a musical style with little if any conceptual or ideological unity.

Partially agree. Luckily, there are many "metal genealogy" charts floating around the internet that help classify "metal" bands into their sub-genres:



Here's a link to the image so you can see it blown up.

Oh man, "trash metal". Seeing that never gets old.

And what's this "New Wave of American Metal"... All the bands listed under that are Swedish?

(12-15-2014 07:47 AM)TravelerKai Wrote:  

Was it AnonymousBosch or QC that said it before on the forum, how these SJWs are attacking the same things the religious puritans did in previous generations? Heavy metal bands like Slayer and Ozzy have been picketed, protested, banned, you name it. Can these SJWs have the same effect on these same kind of bands as was before? Eventually they gave up the fights and as far as I know, no one protests these kinds of bands anymore, not until massive sacrifices start being done on stage I suppose...

Nobody really cares about messing with blood and such. The metal bands that are still controversial are those with extreme right wing, racist ethos.

[Krusyos]

(12-15-2014 07:50 AM)Blobert Wrote:  

(12-14-2014 11:54 PM)Kamikaze Wrote:  

(12-14-2014 01:32 PM)catoblepa Wrote:  

defining what's metal is quite problematic. It's more of a musical style with little if any conceptual or ideological unity.

Partially agree. Luckily, there are many "metal genealogy" charts floating around the internet that help classify "metal" bands into their sub-genres:



Here's a link to the image so you can see it blown up.

Oh man, "trash metal". Seeing that never gets old.

And what's this "New Wave of American Metal"... All the bands listed under that are Swedish?

(12-15-2014 07:47 AM)TravelerKai Wrote:  

Was it AnonymousBosch or QC that said it before on the forum, how these SJWs are attacking the same things the religious puritans did in previous generations? Heavy metal bands like Slayer and Ozzy have been picketed, protested, banned, you name it. Can these SJWs have the same effect on these same kind of bands as was before? Eventually they gave up the fights and as far as I know, no one protests these kinds of bands anymore, not until massive sacrifices start being done on stage I suppose...

Nobody really cares about messing with blood and such. The metal bands that are still controversial are those with extreme right wing, racist ethos.

It's to be expected. Metal is supposed to be the aural incarnation of the word "fuck." First they attacked religion to offend people. Now nobody cares if you attack religion, so they make songs about killing blacks and washing the world in the cleansing fires of the Aryan race. Once that's no longer offensive, they'll move on to something else. It's really about "fuck you." If I don't agree with you, fuck you. If I do agree with you, fuck you anyway. It's the fuck you'ing that matters. So long as you are fuck you'ing stuff, you are metal. Metal is the soundtrack of trolling.

[The Reactionary Tree]

Just waiting for the day that there is an #RVFGate and SJWs try to shut us down.

[TheWastelander]

Rollins is one of those rare white city-dwelling lefties that's actually lived an interesting life. He didn't come from an upper middle class SWPL background and had to fight his way through school. I like his travel stories, his life stories, and the fact he did USO tours for the troops during wars he didn't personally support. I admire his work ethic. I don't care for his politics (and vehemently disagree with them) but he strikes me as a sincere, honest, in-your-face kind of guy and I'm alright with that. He's not a craven snarky SJW backbiter who thinks he's better than everyone else. In fact, there's a video on Youtube where those types try to make fun of him and rag on him when he's in a record store. He confronts them and they back down, of course.

[Blobert]

Oh and you gotta keep in mind that metal bands selling out is nothing new. Craving for mainstream recognition and money they change their music to appeal to a lower common denominator. If this can happen to bands whose roots were deeply in an underground movement in the 80s, Metallica etc., it certainly can happen to bands who were to an extent record label muppets when they started already (take Dragonforce or The Sword for example, two bands mentioned in this here thread - bands basically put together by a record label).


A great article on the early 90's phenomenon of commercialization of the mainstream heavy metal:
link

Quote:

[...]

Celebrity and the recognition accompanying it are highly addictive narcotics, and all three of
the thrash units sense of self-importance became so big that childish tiffs erupted during photo shoots,
tour buses and hotel rooms were transformed into fortresses of solitude, and members of the bands
belittled one another in the press. 8 On one of the few occasions when Dave Mustaine, Jeff Hanneman
and Scott Ian managed to set aside their differences for a joint interview “after many bitter
protestations,” the only thing the three could agree on was the need to make themselves seem superior
to every other thrash band in existence. None of the guitarists would own up to playing thrash, because
it was a “limiting term” and, according to Ian, you “could just turn on a speed drill and record it” to
make the “ultimate thrash album.” Testament was the only group mentioned by name, but the “titans”
spent the majority of the interview ridiculing the efforts of the innumerable “Slayer babies” or
“Metallibabies” and refused to name a single thrash band that they considered to be good. Hanneman
maintained that thrash was stale and unoriginal because the people aping his band lacked “self-worth,”
but Mustaine provided the real motive for the all-out assault on thrash bands when he flippantly
claimed the only thing separating Slayer, Anthrax and Megadeth from their less-well-known peers was
that “[w]e’re making money.” 99
The Clash of the Titans was never about the fans, the music or metal. The tour was a calculated
marketing venture that enabled the bands to tolerate one another to achieve a larger goal: padding each
band’s pockets and publicity portfolios at the expense of others. When asked about the purpose of the
tour, Dave Mustaine, never one to mince words back in the day, had a mission statement prepared:
“We can give credibility back to this scene and prove that this music is marketable.” Words Tom
Araya would have found comforting, since he was exasperated that negative coverage was “the only
publicity [Slayer] got” in the mainstream media. Obviously, none of the “titans” cared about the
“scene,” the bottom line was all that mattered, and Mustaine predicted that the absence of camaraderie
on the tour would have little effect on the outcome: “We’re going to co-exist. We’re all going to make
money, and the fans are going to be delighted.” The features in national and large regional papers
across the nation proved to be a boon for the bands, and the tour did ensure that they would be able to
stay active during the nineties, but any significant connections to the underground had been severed,
and bands of a smaller stature never reaped any rewards from the high-profile activities of the
“titans.” 10
As for the remaining member of the “Big Four,” an examination of their journey from thrash to
hard-edged radio-rock during this period supplies the reasons for the egotistical behavior of their little
brothers. The sins of Metallica are legion and legendary, but despite the incessant cries of “sell-outs,”
there has been little analysis of why or how the band actually sold out. Many regard the Black Album
as a stylistic shift that did not place Metallica beyond the boundaries of metal and view the alternative
imagery and music of the Load-era as the time when the band turned its back on heavy metal. In Sound
of the Beast, an “authoritative” history of heavy metal, for example, Ian Christe presents the Black
Album as the conclusion of a larger process of maturation metal was passing through that made
America over into “a nation of headbangers--housewives, sailors, software programmers, major league
ballplayers and all.” 11 And Metallica merely expedited the populist metallic groundswell by “craft[ing]
a thick sound befitting universal popularity--one that would carry to the back rows of big venues and
punch through the speakers of tiny transistor radios.” 12 In essence, according to Christe, it was a matter
of acoustics instead of any crass calculus based on money or popularity employed by Metallica. This
makes for a comforting bedtime story where everything ends happily ever after, but is shoddy history
that conceals much more than it reveals. For, in reality, Metallica’s wild Billboard bullet ride to the top
of the charts was the product of an industry-driven strategy which saw the most popular underground
band in metal discard the values that had allowed them to succeed and embrace the norms of the
mainstream in order to become a “serious” band receiving praise from rock journalists.10
With the well-wide-of-the-mark gambit at remaining relevant as metal has become “safe” again
that was St. Anger fresh in so many minds, it is hard for many metalheads to recall that at one time
Metallica was the most important underground band in heavy metal. Of course, one could argue that
Metallica ceased to be underground once they signed with Elektra and when ...And Justice For All
sold like hot cakes and ultimately went double platinum, it is almost foolhardy to place the band
outside of the mainstream, but Metallica had not yet totally shed the values that made thrash a hard sell
for record company executives. There was just something special about Metallica, and the furor over
the release of the video for “One” was a sign of this status. Many underground bands had made videos,
and Megadeth’s clip for “Peace Sells” had been voted on to the top-ten videos of the day numerous
times and was even adopted by MTV as the opening music for their “news” segments, so it is odd and
ridiculous that Metallica would be held to a different standard than Testament, Overkill or Nuclear
Assault. But the band’s attitude and ideology before the “One” video was aired resonated with
underground headbangers and made a hostile reaction to the act inevitable.
In the years preceding the video, Metallica had consistently espoused anti-establishment views
that marked the band as underground metallers who would never play the industry game to achieve
success. Shortly after the release of Master of Puppets, the questions about what increased popularity
meant already began to appear, and James Hetfield set the record straight:
We’re doing it our way. We’ve always wanted to do it our way. I’m happy with it. We haven’t
had to conform to any certain standards, record companies or whoever else wants us to do it.
They haven’t molded us in a certain way, we did it all ourselves and that’s great. 13
By this time Hetfield had also become comfortable with Metallica appearing in the pages of Hit
Parader and Circus, coverage that had bothered him in the past, because it was “so widespread” and
often indicated that “another band was blowing it” by watering down their sound--but he took comfort
in the fact that the band was able to say what they “want to say in interviews and [magazines] are not
twisting the shit around.” 14 The preoccupation with doing it their own way was also expressed by
avoiding videos, radio, and other promotional avenues designed to lure consumers to a product, and as
late as March 1989, Lars Ulrich could assert that Metallica might be able to “reach a few more people”
through the mainstream media, “but the bottom line is that it has to be done our way” with a relatively
clean underground conscience. 15
“One” did not make Metallica mainstream, but the glitz and glamour surrounding the single
and video was intoxicating, and the seeds had been planted for what Christe correctly characterizes as
radio-friendly songs. The size of the speakers or venues was not the reason behind the alterations
though, since the roots of the plodding and bland beats of “Enter Sandman” are located in the reception11
Metallica received from the mainstream rock press. Heavy metal has always been considered an
obnoxious and loutish bastard child of rock ‘n’ roll that was not a genre to be taken seriously, and the 2
million copies of Justice flying from the shelves during the late eighties did nothing to change this fact.
Most coverage of metal was typed out with tongue planted firmly in cheek and petty swipes at the
accouterments and attitudes of headbangers were common. Moreover, as Metallica entered the
mainstream radar, jibes such as “thrash... is an artform that makes much of speed and use of little else”
and accusations of having “no class” due to the monotonal and monosyllabic nature of their songs were
common reactions from rock journalists. 16 And many variations of the following insulting opinion of
Metallica’s performance were read or heard by the band:
Most of what Metallica offered was indecipherable to anyone but the most avid followers. With
the exception of “For Whom the Bells Tolls,” and a song that prompted listeners again and
again to “obey your master...faster, faster,” [lazy idiot] each piece bore a striking resemblance
to each other piece. The effect was not unlike standing at the door of a blast furnace. 17
By Justice some journalists had made the effort to read the lyrics and listen to the albums and offered a
more favorable opinion, presenting the band’s music as “power-chord poetry” deserving respectful
consideration, but the damage had been done, and any approval was drowned out by a consistent
chorus of jeers in Metallica’s mind. 18
The first step to counter the criticism was to bring in Bob Rock, a Canadian producer
responsible for the slick sounds found on Motley Crüe, Bon Jovi and Loverboy albums, to soften the
band’s harsh attack. Metallica’s stated reasons for bringing this producer into the studio were many,
but one perceptive reporter saw the handwriting on the wall: “Bob Rock’s interest in making
Metallica’s music listener-friendly...actually coincided with the band’s own desire to burst out of
thrash-metal’s buzzsaw prison.” 19 Next, Hetfield, in this case, began to free Metallica from its “prison”
by establishing distance between the band’s musical past and present trajectory: “People are going to
label you forever. It really didn’t bother me so much; although the thrash title was one thing that did
bother us a little....People would have preconceptions about that.” 20 These moves proved to be
successful: the press was ecstatic and executives regarded the product (the Black Album) as “just what
the music industry need[ed]” to remain a viable force in entertainment. 21 Metallica was also pleased
with the results. Hetfield and Ulrich had quietly decided to quit “doing it their own way” in order to
win acclaim from the journalists and bands who had previously spurned the band, and the Danish
drummer exulted in the bands “artistic” success:
I know there were a lot of bands who went, “Oh, yeah, Metallica, they sell a lot of records, but
they can’t play or write songs....So this is a big ‘Fuck you’ to all the people who felt that way12
for years and years and who came up and smiled to our faces, but as soon as they walked away,
the were laughing at us--‘These guys. What’s this thrash shit?’” 22
Metallica rapidly became a parody of the band it once was after “One” catapulted them into the klieg
lights of the mainstream, and Ulrich and his bandmates began to believe that the only type of music
worth playing was a style which would make it easier for “a lot of people...getting exposed to what we
do.” 23
Ulrich was no longer defiantly insisting that the “the public will change for us in a few years,
instead of us changing for them” and intimating that the mainstream was “defective” and “needed to be
replaced.” 24 This was because Metallica had become part of the faceless hit factory and jumped into
the fire of the hierarchical industry structure with both feet. Any allegiance to underground values or
music was buried under derisive statements about thrash metal, former lyrical subjects and the listeners
who felt betrayed. For one brief moment, it had seemed that an underground band who called for
“crushing all deceivers [and] mashing non-believers” and would “go against the grain until the end”
could retain their identity and integrity within the confines of the mainstream. However, Metallica shit
on their hardcore supporters, lashed out at the scene from which they emerged, offered no support to
up-and-coming traditional or thrash metal bands, and adjusted their sails to the prevailing industry
winds that would carry them from one ridiculous transformation to another--leaving metalheads with
an endless series of what ifs.
But as the similar impulses behind the Clash of the Titans prove, placing all the blame at
Metallica’s doorstep would be a simplification, and one could claim that the band’s decision to dive
headfirst into the mainstream was the result of a profound sea change in the underground. In fact, the
entire underground had linked its future to the music industry well before Metallica “matured” and was
defenseless when executives, publicists and the press decided to redefine what it meant to be metal. At
the first Foundations Forum in 1988, over one thousand metallers from bands, labels and PR agencies
met with industry representatives in an effort to discover why the growing popularity of heavy metal
had not been translated into “legitimacy” or “credibility.” James Ryan, the United Press International
stringer who covered the three-day event, discovered that many of the movers and shakers in metal
were at their wits end:
Band members complained that MTV won’t air their videos (except on its late night
Headbangers Ball program), publicists whined that magazine editors never return phone calls,
and promotions people lamented that only a handful of specialty radio stations give airplay to
heavy metal or hard rock. 2513
Some attendees blamed the inability of heavy metal to be accepted by the media and the industry to the
unholy trinity of Satanism, drugs, and death that was wrongly regarded as the be all and end all of
metal by outsiders. But Mike Greene, the president of the National Academy of Recording Arts and
Sciences and a member of the “Credibility and Respectability” panel, hit the nail squarely on the head
when he told the assembled audience that the “mainstream establishment” remained aloof because
heavy metal “music [was] saying things that society does not want to hear.” 26 Ironically, Greene was a
card-carrying member of the “mainstream establishment,” and his presence at the forum was not only
evidence of how far the underground had strayed from its roots, but also a harbinger of things to
come—because, despite the concerted effort to attain credibility, legitimacy and respectability, heavy
metal in its undiluted incarnation would never become part of the mainstream. Nevertheless, many
metallers at the Foundations Forum continued to methodically march towards the mirage of popular
acceptance and failed to heed the wise and prophetic words of an unidentified metal disc jockey: “If
this form of music tries to be respectable...then this form of music will disappear.” 27
Metal did not just disappear, however, it was twisted and distorted into a freakish caricature
that was packaged for wider public consumption, and the underground had become so wedded to
delusional dreams of achieving mainstream levels of sales and exposure that it went out with a fizzle
instead of a bang. As was noted above, the idea that “grunge killed metal” has become the orthodox
interpretation of why heavy metal experienced a severe slump during the 1990s, but the truth is that
grunge/alternative became metal for all intents and purposes. Metal could not just be discarded as a
category of music, since it was a significant part of the music market, accounting for four of every ten
rock sales in the late eighties, so industry insiders merely expanded the parameters of metal to
encompass bands that were not metal. 28 The designation “alternative metal” had been used sporadically
by some journalists to describe “heavy” bands that were not traditional metal fare, but after the
phenomenal sales of Nirvana’s Nevermind, the two terms were used interchangeably to create a new
brand of metal that would be palatable to mainstream tastemakers. 29
Industry insiders were jubilant that a tamer form of music which could be marketed as metal
had arisen and wasted no time in making sure that listeners would come to the same conclusion.[...]

Damn that quote turned out to be long already... The full article is 18k words long.



But you gotta ask, what does a metal band gain here and now by bowing to PC pressure? Will they gain new market by stopping saying "faggot", or toning down their music videos? Will lose their current fanbase if they don't do so? I don't see that happening at all. Silly buzz like this is only free publicity. Even if mainstream metal bands have next to no integrity, this isn't an issue they're likely to care about.

[Quintus Curtius]

Rollins is sort of a class by himself. Some of Black Flag's old stuff is just classic. He's built like a stack of cannon balls, looks like a wrestler, and will not hesitate to power-check people who talk shit to him. But I heard he also writes poems and screenplays and has a sensitive side.
From that YouTube clip, it also looks like he doesn't put with shit from women, either.

[Wreckingball]

The last time bitches tried to mess with heavy metal, they got fucked in the ass.
Perhaps they liked it.

People seem to think that heavy metal music correlates with low IQ. I'm an avid heavy metal fan and I met lots of fans. You have the idiots that perpetuate the low IQ image, and then you have really intelligent people.

I am still not aware of what metal gate really is, but you cannot censor art.

Dear Mille, can you please be less agressive and brutal?

[Blobert]

(12-15-2014 12:57 PM)Wreckingball Wrote:  

Dear Mille, can you please be less agressive and brutal?

They DID become heaps less aggressive and brutal though. Just compare their 90's records to their early stuff.

[godfather dust]

(12-15-2014 12:34 PM)Blobert Wrote:  

Silly buzz like this is only free publicity.

Good fucking point. I think metalgate is an overextension, they can handle themselves fine (the non-androgynous faggot ones that are filling the shows these days anyway.) I fail to see ANY scandal or anything just some cunts bitching. Cuz bitches like to bitch, that's why they call them bitches. (I don't refer to all women as bitches, but these SJW are cunts bitches or whatever "misogynistic" term you choose.)

Am i missing something, or is it just a bunch of women and fairies complaining? #Gamergate, now that's a god damn scandal.

[AnonymousBosch]

(12-15-2014 12:53 PM)Quintus Curtius Wrote:  

Rollins is sort of a class by himself. Some of Black Flag's old stuff is just classic. He's built like a stack of cannon balls, looks like a wrestler, and will not hesitate to power-check people who talk shit to him. But I heard he also writes poems and screenplays and has a sensitive side.
From that YouTube clip, it also looks like he doesn't put with shit from women, either.

Respectfully QC, if you and Roosh are talking about taking sides in a culture war, you have to understand Rollins is the enemy. This man is a traitor to his sex. Read my links above. This is a man who wants Women's Studies to be in every high school curriculum, and for all high schoolers (and he obviously means men and only men) to be educated in what is and isn't rape. He's Ezra Klein.

On the constituation:

Quote:

It's such an amazing document and it really gives you all the ammo you need to win against the homophobes and the misogynists.

He's educated, but speaks like an SJW. This is a guy who repeatedly praises women to the heavens, yet says he doesn't want a girlfriend and will never get married, and says he has few friends. There's some kind of social dysfunction there, because iron builds brotherhood. Why was he rejected? People might call me a misogynist, but I've had many health emotional and sexual relationships with women.

Fuck him. He's Lena Dunham with muscles. He would throw every man on this forum under the bus.

I'm calling it now: he will shill for Hillary Clinton, come election time.

[Dr. Howard]

(12-15-2014 12:26 PM)TheWastelander Wrote:  

Rollins is one of those rare white city-dwelling lefties that's actually lived an interesting life. He didn't come from an upper middle class SWPL background and had to fight his way through school. I like his travel stories, his life stories, and the fact he did USO tours for the troops during wars he didn't personally support. I admire his work ethic. I don't care for his politics (and vehemently disagree with them) but he strikes me as a sincere, honest, in-your-face kind of guy and I'm alright with that. He's not a craven snarky SJW backbiter who thinks he's better than everyone else. In fact, there's a video on Youtube where those types try to make fun of him and rag on him when he's in a record store. He confronts them and they back down, of course.

I agree, I've seen him speak a few times and have really admire his intensity and self motivation. I also think he's really blue pill/bad with women though with some pretty soft views...he's more of a MGTOW ideal than red pill I'd say. I was the same way when I was younger, really intense with a romantic ideal when it came to women.

He's a sensitive guy that got put through a meat grinder as a kid and came out tough, independent and found a way to quit the world through hard work.

[kaotic]

Rollins WAS a bad ass, but he's also not what you think he is.

I admire his workout ethics, his music (Black Flag), his attitude and mindset about the media (during the 90's).

He has only a FEW red pill traits but he's a dead set liberal/blue pill in most actions and opinions.

But that motherfucker isn't afraid to get in your face and call you out. Like calling out hipsters in LA.

I could care less about gays, as long as they mind their own business and don't interfere with others.

The gay rumours have been going on for years. I agree he's more of a MGTOW

Most kids who were punks in the 80's grew up into fucked up adults, the whole 80's hardcore scene was fucked up, loud, fast, short and sweet.