Radix Journal

Radix Journal

A radical journal

Author: Paul Treitschke

Whites Behaving Badly

Sometimes life imitates art in all its absurdity, violence, and comical nature.

Sometimes life imitates art in all its absurdity, violence, and comical nature.

America witnessed what might be one of the most violent, yet darkly humorous events in its recent history on Sunday. A three-way biker gang battle erupted at Hooters rip-off (named after a David Lynch creation to top it off) in Waco, Texas that left nine people dead and several more injured. In a scene that could’ve come straight from a Lynch film, the bikers started their brawl over a parking spot, and it quickly escalated from fists and feet to chains and knives and then naturally to guns.

Did I also mention that this happen in a suburban strip-mall where most of the inhabitants were families enjoying a nice after-church lunch?

The violent conflict resulted in hundreds rounds of gunfire being exchanged—with some of it directed at SWAT teams who quickly swarmed the area—and over 100 weapons were confiscated. The most interesting part is that it appears that the majority of individuals involved were White, which, of course, prompted leftists to sneer at just how violent White people are and how they are just a bunch of thugs. (And, yes the Bandidos MC, despite its name, is a White gang.)

The Left had a field day pointing to Black riots and Muslim terrorism as unreflective of Blacks and Muslims in the same way that this biker shoot out is unreflective of White people. . .or proves that White people are worse because more people died in this incident. That is an easily dismissed line of reasoning because very few White communities support outlaw MCs, unlike Black communities with rioters and Muslim communities (excepting most American ones) with jihadis. This event also claimed no innocent lives and was strictly an internal battle among bikers. The same thing can’t be said of Muslim terrorism and Black rioting. Also, this is once-in-a-blue-moon type of incident, unlike Black criminality and jihadi acts.

Thus, that argument ultimately falls apart.

But there is something interesting in the whole idea of White people as thugs. Granted, this was an event that so incredibly stupid that it became farcical. Three gangs slash, stab, pound, and shoot each other over a parking spot at a restaurant called Twin Peaks. The Battle of Hastings this wasn’t. In addition, biker gangs sell poison into blue-collar White communities and engage in idiotic violence. . . like the great Twin Peaks Shoot Out of 2015.

But their “White thug” reputation is what drives the interest in a show like Sons of Anarchy and the fascination surrounding this midday shooting. White people sometimes want to relate with the bad guy, the outlaw of society, in a way he can’t with Black gangbangers and Hispanic drug lords. Bikers show White people as individuals you fear, not as potential victims of non-white crime. They’re modern-day barbarians—living outside the confines of the System and the law it imposes.

There’s a natural appeal there for the average law-abiding White guy. It goes against the cultural stereotype that Whites are just a bunch of goofy losers and it is a completely different lifestyle from that of the bourgeois norm. That’s why it’s not entirely a bad thing that the media is going wild with a story about White thugs—it’s a welcome respite from the normal reporting on domicile Whites.

While the shooting is definitely contemptible and insanely idiotic, certain media figures playing up the meme that White people pose a serious threat to public order is peculiar. It’s almost like they want us to become the new barbarians. . .

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Blockbuster Shaming

It’s getting harder to make blockbusters without incurring the wrath of the SJW sphere.

It’s getting harder to make blockbusters without incurring the wrath of the SJW sphere.

Case in point: the reaction to the “sexism” of Avengers: Age of Ultron.

Made by the self-declared feminist Joss Whedon, you’d expect this film to be kosher when it comes to gender politics and aware of the latest hot takes on women’s issues. Apparently not so.

One of the major gripes with the latest entry in the Avengers series is the role assigned to Black Widow—the supposed femme fatale played by Scarlett Johansson. Johansson loves to tout her feminist credentials and has lately become the go-to star for playing “badass hotties”—usurping the previous queen of Hollywood tough ladies Angelina Jolie.

Even though Black Widow gets to kick a fair amount of ass in Age of Ultron and the film goes to great lengths to portray her unbelievable martial skill, this wasn’t enough for the detractors. Their contention rests on the fact that Widow is abducted by the villain and serves for most of the movie as the despised damsel-in-distress archetype.

Even worse, the Black Widow, Natasha Romanoff, expresses intense guilt that she is unable to have children and feels like a monster for her forced sterilization. That set off feminists who think women (and really humans) shouldn’t be defined by reproduction and it’s simply a choice—like fashion styles and shopping habits.

To top it off, a male co-star described the fictional female as “kind of a slut.” You guessed it—that’s slut shaming. Add in her failure to appear in toys for young SWPL toddlers ready to pursue a career as Russian assassins and you have an all-around gender sensitivity shitstorm.

And the misdeeds committed against the lone female Avenger isn’t the film’s only sin—there’s also a “rape joke” uttered in the script. The line considered a rape joke comes from Robert Downey Jr.’s Iron Man. After accepting Thor’s challenge that he can rule Asgard if he’s capable of lifting Mjolnir, Iron Man boasts that he will institute prima nocta if he gets the hammer off the table. That, according to Slate, trivializes rape and should never be included in a film made in 2015. Prima nocta, like Iron Man, is fictional and the jest was intended to highlight Tony Stark’s cocky and not-so-flattering persona. But apparently he needs to keep his douchebaggery within the limits set by political correctness.

All of these microaggressions set off an intense Twitter flame campaign against Mr. Whedon and forced the director to depart from the social media service. Like a good male feminist, Whedon claimed the idea he dropped out due to feminists was “horseshit” and he just needed to take a break from all the noise. . .that was caused entirely by angry SJWs.

Even though left-leaning outlets are up in arms over the movie, the Avengers sequel is raking in the dough at the box office and is nearly matching the records set by its predecessor. So this uproar is having virtually no economic effect and the only real result has been the sackless Whedon deleting his Twitter account. Guess the masses really don’t care what Vox thinks about gender injustices.

But Hollywood is receptive to what the chatterers of New York and DC have to say about current issues. The controversy surrounding the Avengers flick shows just how much a movie has to conform to the prevalent orthodoxy to avoid attacks. It’s now all but assured that the Black Widow character will receive her own stand-alone film. Whether it will do well is up in the air, but that’s not the point.

The point is to have a female superhero on the big screen and to convey to young girls that they’re just as tough as boys. . .even though there’s another trend that disproves that notion.

That trend is the rise of the safe space and “trigger” awareness on college campus. Driven by young women, we’re now taught we can touch certain topics because they might trigger trauma for certain females. The idea you get is that a lot of women—as implied by the idea of a safe space—can’t handle the nitty-gritty aspects of life.

So while young women are being victimized by the writings of Ovid, we’re at the same time supposed to buy into the idea that a woman of the same class can be a world-saving badass. Not to read too much into the character of Black Widow, but she does oddly resemble the dark side of urban elf womanhood.

Many urban elf females imagine themselves as ass-kicking feminists who can take on anything life sends them. Cat-callers, sexist bosses, rude comments—they can take them on (and by take on, they mean call on men with guns to handle those issues.) They’re good-looking but tough, and they don’t need no man to help them out. And they especially don’t need to have children to feel their life has meaning—their respective careers fill that void.

Black Widow’s image is all of these things, yet she needs the rest of the Avengers to save her from Ultron. And she ultimately feels like a monster over the sterilization that allows her to be a successful assassin. This side of the fictional hero is probably unintentional, but it is interesting how a character feminists are so worked up about reflects the unstated downsides of living as a sheltered career woman in a cruel world.

I wonder if they’ll explore that in the stand-alone film. . .

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The Beautiful People

That’s the gist of the recent flare-up surrounding ESPN reporter Britt McHenry. McHenry was caught on tape berating a towing company clerk—telling her she was fat, ugly, stupid, and had virtually no real job skills. While it’s likely true that this towing employee is all of these things, the media is attacking McHenry with a passion usually reserved for White racists.

”. . .And it’s ever so wrong to dare to be strong,” Sol Invictus sang on their ode to priestly morality “Kneel to the Cross.” But apparently in our age, it’s also wrong for a self-confident blonde to tell untermenschen brutal truths.

That’s the gist of the recent flare-up surrounding ESPN reporter Britt McHenry. McHenry was caught on tape berating a towing company clerk—telling her she was fat, ugly, stupid, and had virtually no real job skills. While it’s likely true that this towing employee is all of these things, the media is attacking McHenry with a passion usually reserved for White racists.

The Huffington Post blasted her for “fat shaming.” Salon labelled her an entitled brat. USA Today said her one-week suspension was not enough. Deadspin declared the sports personality had a history of being “rude as hell.”

Not surprisingly though, the woman McHenry belittled is very fat and very ugly. The “victim” also works for a company with a notorious record of doing its utmost to piss people off and she shopped around the video of the verbal assault for nearly two weeks. In addition, there’s a substantial amount of evidence that this towing company treats their “custormers” like dogshit and the video of McHenry’s outburst is selectively edited to only show her responses, not those of the clerk. The mean remarks could’ve been rebuttals to the rudeness of the woman behind the counter. It’s safe to say that this cashier deserved every insult she received from her famous foe and it is odd that the less famous clerk is receiving so much positive attention.

When do we take the side of towing companies against people they probably fucked over?

Well, when that person happens to be a hot, successful blonde who has no problem deriding her inferiors. This whole story is driven by ressentiment against those who are endowed by nature with superior traits and aren’t afraid to show them off. But we don’t want people to dare to be strong or dare to be beautiful—unless of course the ones daring to do so are actually ugly or weak.

Britt McHenry is being attacked because she’s prettier than most and is proud of it. The media wants to bring her low for calling a spade a spade (or in this case, a fatty a fatty) and shame her for being better than you. Make no mistake, if a chubby Black woman went on the same tirade against a towing company clerk, the media response would be “You go, girl!” and celebrate it as an act of speaking truth to power.

But McHenry is held to a different standard because we are taught to hate people like her. We think pretty blondes are inherently dumb, entitled women who deserve to be taken down a notch. Unless women like McHenry go on rants against racism, fat shaming, or some other SJW cause, we don’t support them. At the same time, every TV network—whether local or national—uses women like McHenry to sell their stories. America still wants to see pretty women on TV, not shoggoths like the tow truck lady. Yes, they are hired for their looks and not for their journalistic skills, and yes, it is unfair. But life is unfair and looks are distributed unequally. Beauty is where egalitarianism goes to die and the cold hand of nature can’t be denied.

But to overcome that unwelcome fact, our society promotes the idea that good-looking people are inferior when it comes to “inner beauty” in comparison with ugly people. Inner beauty is an utterly stupid concept that is taught simply to undermine the facts of nature. Most ugly people are also ugly on the inside, and, in many ways, physical features are a reflection of lifestyle, personality, and character. Being a blonde bombshell says that person is healthy, positive, and makes good life decisions. On the other hand, being a fat ass reflects low willpower, low impulse control, and poor life decisions. The whole purpose of “inner beauty” is to subvert our ideas of real beauty and to comfort the dregs. It only exists deep in the minds of resentful pests and is a classic example of Nietzsche’s priestly morality at work.

Fortunately for McHenry, she only got a week-long suspension, she still has her good looks intact, and her apology wasn’t addressed to the low-life her tirade was directed at. Meanwhile, her antagonist still works a shitty job and remains ugly. Sometimes the beautiful people do win in the end.

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Here’s your Monoculture

Azalea is a blonde-haired, Aussie-born rapper who has miraculously transformed herself into a black woman with a White skin. Her music is god-awful and her very existence represents the pinnacle of cultural Kali-Yuga.

What’s up with all these goddamn White rappers winning more awards than black rappers?

That’s the question White music critic Chris Richards tries to answer in his analysis of the phenomenon that is Iggy Azalea.

Never heard of her? Consider yourself lucky.

Azalea is a blonde-haired, Aussie-born rapper who has miraculously transformed herself into a black woman with a White skin. Her music is god-awful and her very existence represents the pinnacle of cultural Kali-Yuga.

She’s most famous for “Fancy,” but the full brunt of her degradation can be experienced in the music video for “Work”:

Her popularity alone is a searing indictment of the society we live in. Even worse, the music establishment found quality in it and awarded her Grammy nominations. Richards does agree that her music is terrible—albeit, from a perspective entirely different from ours. However, the real problem he has with Iggy is that she is a White “colonizer” of a black art form. For this critic, the marketplace is unfairly placing White performers over authentic black ones. He takes his fury out on the consumer that contributes to this prejudiced system:

That supply-demand-chicken-egg mystery will always fog the intersection of art and commerce, so here’s a tidy way to think about this particular moment in pop history: If “Fancy” is the only hip-hop single you purchased last year, you’re an unwitting participant in a tacitly racist marketplace that will not change what it’s selling until we all change what we’re buying.

Yes, audiences will always harbor a desire to see themselves reflected in the music they consume, but the greatest art should also nurture our empathy. It should encourage us to connect with the humanity of experiences separate from our own. We should always be making room for those kinds of experiences — especially when we’re picking winners.

What Richards fails to take into account is that the majority of America is still White, and those people would like still like to “see themselves reflected in the music they consume.” It’s very hard to rail against the inherent nature of capitalism from your sheltered perch at the Washington Post and demand the average American to be less racist in their tastes.

What this reveals is a crack in the universal desire for monoculture. America’s chattering class is very insistent that everyone in this country mix, mingle, and amalgamate—but get furious when the natural product of that tops the pop charts. Iggy Azalea is the Frankenstein Monster of monoculture. A White woman doing her best to be black (even exclusively dating black dudes) and forgoing her own race for that of another should be celebrated by these fools. If race is a social construct, who’s to say Ms. Azalea isn’t black? And isn’t it grand that a White woman would degrade herself in such a way, all thanks to a culture heavily promoted to every part of the world Whites inhabit?

You would think she would cut the perfect hero for postmodern America. But the postmodernists refuse to crown her. These very same elites who jizz all over National Geographic’s “Faces of 2050” are horrified by the abysmal quality of the culture those faces would produce. But they can’t have their cake and eat it, too. The “black urbanity” that served as the incubator for rap can no longer compete with the more commercially-appealing sounds produced by the likes of Azalea. The same free market that has trampled the traditional culture of Europe will also relegate “authentic” rap to a ghetto of another kind.

That’s the reality of monoculture though. It’s also the nature of our current free market. If our society has spent years encouraging the denizens of this state to enjoy the worst garbage imaginable and to “open up their ears” to foreign sounds, Azalea is the natural result. A multiracial America will ignore Miles Davis and Public Enemy in favor of Ke$ha and Miley Cyrus.

If you want genuine artistic expressions of quality, demand an ethnostate. Otherwise, enjoy the next monstrosity coming to your radio dial.

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A Glaring Omission

The Martin Luther King biopic Selma might have a bigger historical problem than its treatment of Lyndon B. Johnson–it leaves out all the Jews involved in the civil rights movement!

The Martin Luther King biopic Selma might have a bigger historical problem than its treatment of Lyndon B. Johnson–it leaves out all the Jews involved in the civil rights movement!

Thankfully, the Jewish Daily Forward calls out this glaring omission and points to the large role Jews had in transforming American society. But in contrast to the argument put forward by other Jews that the chosen few aren’t European, this author considers her tribe White.

Anyway, here’s the rebuttal to Selma‘s “airbrushing” of history:

But those marches actually built on momentum generated by thousands of local efforts during the preceding months and years. Among the most significant were the 1964 Freedom Rides, in which well over a thousand volunteers, mostly white, and over half of them Jewish, risked their lives riding into Mississippi to face intimidation and harassment that included arrests, beatings, and murder. Among those providing support for the coalition of the Mississippi branches of the four major civil rights organizations were volunteers from the Medical Committee for Human Rights, the American Civil Liberties Organization, and Christian and Jewish clergy and divinity students recruited by the National Council of Churches, who provided traditional religious support while also engaging in protests, recruiting voter applicants, and going with them to register.

National outrage after the murder of the black Mississippian James Chaney, and two Jewish New Yorkers, Andrew Goodman and Michael Schwerner in June of 1964, helped lead to passage of the Civil Rights Act. I can still remember the day I learned that their bodies had been found. I wept for the young men I didn’t know, for all the Freedom Riders, and for my country, a place where such a thing could happen.

The American legacy of slavery, Jim Crow, and segregation is a wound so deep it may never fully heal. The constant efforts to de-legitimize President Barack Obama underlines this country’s entrenched racism. Current events like the failure to indict white police officers in the deaths of unarmed black citizens have outraged many. As a white person, I can barely imagine the daily indignities, humiliations, and dangers black Americans routinely faced 50 years ago and often face today, even though, as a woman and a Jew I have personally experienced some discrimination.

The black-Jewish relationship is complex, with many changes over time, but the historical record is clear. One of the founders of the National Association for the Advancement of Colored People (NAACP) in 1909 was Henry Moskowitz. According to the Religious Action Center of Reform Judaism, Jewish philanthropy was responsible in whole or in part for the founding of more than 2,000 primary and secondary schools and twenty black colleges (including Howard, Dillard and Fisk universities).

But white and specifically Jewish involvement in the Civil Rights Movement went far beyond institution-building fund-raising. Arnie Aronson was an important organizer of the 1963 March on Washington where Rabbi Uri Miller recited the opening prayer and Rabbi Joachim Prinz spoke before Dr. King’s historic “I have a dream” speech. The civil rights confrontations in St. Augustine, Florida, came to a head in the spring of 1964, when three wives of Episcopal bishops joined northern college students to take part in civil rights activities, during which Dr. King was arrested. From jail, he wrote to his friend, Rabbi Israel Dresner in New Jersey, urging him to recruit rabbis to come to St. Augustine, resulting in a huge mass arrest of the rabbis who responded.

In the new film, Dr. King makes a dramatic appeal to people of all races and religions to come and join him in Selma… This is a deeply moving and dramatically effective scene. But I looked in vain for the embrace of a man with a yarmulke, a scene that would reflect the historical moment when Dr. King marched with Rabbi Abraham Joshua Heschel, a leading Jewish theologian and philosopher widely respected beyond the Jewish community. He may be present in the grainy documentary footage at the end of the film, but he is not visible in the body of the film, nor are any other Jews openly recognized.

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The Nazi Rap

This week, the Afro-Trinidadian rapper Nicki Minaj released a music video that seemed quite at odds with her heritage and music style.

These are strange days we’re living in. This week, the Afro-Trinidadian rapper Nicki Minaj released a music video that seemed quite at odds with her heritage and music style. In the video for “Only,” Minaj presents herself as a fascist dictator surrounded by imagery straight out of a Nuremberg rally. There’s quasi-Nazi flags, red armbands, and marching stormtroopers—all at the will of a black artist with a black sound. This bizarre amalgamation is best represented by what replaces a swastika in the flags—a YM acronym standing for “Young Money,” Minaj’s record label.

Even though Minaj is black, and the other artists in the song are also black (with one even being a Jewish mulatto), this hasn’t stopped everyone’s favorite anti-anti-Semite organization from denouncing the video as insensitive (it was released oddly enough on the 76th anniversary of Kristallnacht) and amounted to propaganda for the most hated regime of modern history.

Here’s our man, Abe Foxman, on the matter:

Nicki Minaj’s new video disturbingly evokes Third Reich propaganda and constitutes a new low for pop culture’s exploitation of Nazi symbolism. The irony should be lost on no one that this video debuted on the 76th anniversary of Kristallnacht, the “night of broken glass” pogrom that signaled the beginning of the Final Solution and the Holocaust.

It is troubling that no one among Minaj’s group of producers, publicists and managers raised a red flag about the use of such imagery before ushering the video into public release.

This video is insensitive to Holocaust survivors and a trivialization of the history of that era. The abuse of Nazi imagery is deeply disturbing and offensive to Jews and all those who can recall the sacrifices Americans and many others had to make as a result of Hitler’s Nazi juggernaut.

Minaj, while certainly making the most bizarre addition to the phenomenon, is not the first to play with Nazi themes. David Bowie adopted a Führer-like persona in the late 70s that catalyzed the creation of Rock Against Racism. (Which naturally led to the creation of Rock Against Communism.) The first wave of punk had no problem throwing around swastikas and declaring “Belsen Was a Gas.” Third Reich iconography has always featured prominently in heavy metal and industrial music—even for bands without any political affinity for National Socialism. Slayer, for example, designed a logo with a Germanic eagle as the back, wrote lyrics about Nazi figures, displayed iron crosses, and even called their fan club the “Slaytanic Wehrmacht.”

Most heavy metal and industrial acts have used this imagery for its inherent power and “evil” associations. Similar to why they utilize the occult, it’s to give off a sinister vibe that coincides with the violent musical style. Early punk bands used the swastika solely for shock value. Bowie adopted a fascist dictator pose because he doped out of his mind.

So why is Minaj utilizing the Third Reich? Probably just to get views and to engineer controversy. There’s absolutely no connection between the imagery and the music, and it makes absolutely no sense for a black female artist to glorify National Socialism. This was likely a decision not made by Minaj, but by her (probably Jewish) superiors at the record company who thought that it would draw attention to the song, while being able to get away with it since the rappers involved were all non-White. A smart bet on their part.

Increasingly pop music is willing to play with subjects previously verboten. “Only” has completely degenerate lyrics that try to play up how the “artist” is a character “not to be fucked wit’”. Minaj’s last video “Anaconda” was basically pornography. Besides the hyper-sexuality of pop music, there’s also a desire to pair shocking images with unrelated songs. The best example of this is Katy Perry’s performance at the 2014 Grammys. She performed a relatively unthreatening song with tame lyrics…surrounded by Baphomet statues and dancing around in an occult manner. This is also coming from a singer who began her career in Christian Contemporary Music.

What it reveals is not an actual engagement with the themes portrayed, but a simple desire to offend Middle America. There’s no chance Minaj has an interest in Fascism, and there’s a strong possibility Perry had no idea what she was dancing around. But the ones selling their records and managing their decisions do, and they just want to make a buck off of America’s decline.

I wouldn’t be surprised if Nazi themes start taking off in black music if Minaj’s video becomes a major success. It already has over a million views after being out for all of two days. Our managers of culture might’ve hit on another successful formula, but at what cost?

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All About Fat Acceptance

The beauty of women is the latest standard to come under attack, with the implied notion that all women are beautiful no matter what size or predilection. That’s why concerns about the dangers of obesity and the natural aversion to it are now deemed “fat shaming.”

In Canada, a woman is pursuing her dream of a world where appearance doesn’t matter—particularly in regards to employment. “Fat shaming” has entered the public lexicon as a term akin to racial profiling, frequently employed to shout down critics of obese women.

We’re now a culture that values not having standards—except diversity and tolerance, of course. The beauty of women is the latest standard to come under attack, with the implied notion that all women are beautiful no matter what size or predilection. That’s why concerns about the dangers of obesity and the natural aversion to it are now deemed “fat shaming.”

And unfortunately for humanity, this trend has an anthem in Meghan Trainor’s “All About That Bass.”

Trainor’s ode to female chunkiness has climbed the charts and become the hit of summer 2014—in stark contrast with the summer of 2013’s hit “Blurred Lines”, a celebration of male sexuality and the ambiguity between consensual and non-consensual sex. “All About That Bass” not only promotes the supposed attraction to fat women, but argues that they are in fact superior to thin women.

It’s a laughable notion that doesn’t rely on the actual desires of men, or at least White men. That’s the point though. This is about reinforcing and comforting the widening (in more ways than one) demographic of young American women who are overweight, yet full of themselves (also in more ways than one). For an entire generation of women that were promised their respective Prince Charmings and were told that their very existence made them beautiful, the reality of the sexual marketplace is a bucket of ice cold water on their self-esteem.

Fortunately for them, the sexual marketplace of the Kali-Yuga hands women the power and even Eldritch horrors like Lena Dunham can get laid. Due to the expanding size…er…percentage of obese women in America, many men find themselves lowering their standards to adjust to the new normal. This could possibly supply one of the myriad reasons porn has proliferated in the modern world as men get to visualize their lust for women they never meet in real life.

The Age of Dunham is strange era indeed.

“All About That Bass” is a doo-wop influenced modern R&B number that’s heavily influenced by Black music and culture. Trainor sports a prole face, a stubby figure, and a Black voice that makes her an odd choice for a pop starlet—even for this era. The song isn’t worse or better than anything else on the radio from a musical standpoint. Trainor’s Black influence is also far less disgusting than that of Iggy Izalea—the other popular White female singer courting Blackness.

It’s the message coupled with the music video that makes this a song indicative of a larger cultural trend. As previously noted, the song is an argument for the attractiveness of heavier girls. How so? Because they got bigger “booty”:

Yeah, my mama she told me don’t worry about your size /
She says, “Boys like a little more booty to hold at night.” /
You know I won’t be no stick figure silicone Barbie doll /
So if that’s what you’re into then go ahead and move along

Her “mama” obviously didn’t give her good advice. The “Bass” in the song is in reference to this added cushion. No “treble” means no healthy sizes to be had here.

Where it gets more of an “inspiring” tone is telling girls that every inch of their body is beautiful, no matter what people say:

I’m bringing booty back /
Go ahead and tell them skinny bitches that /
No I’m just playing. I know you think you’re fat /
But I’m here to tell ya /
Every inch of you is perfect from the bottom to the top

Note this shifting of traditional norms concerning beauty only applies to women—if we rely on the music video.

The video details Trainor magically stealing a Ken Doll-like man from a gorgeous, petite brunette while Black back-up dancers twirl around. Oh, and the mandatory big, Black twink awkwardly dancing is here as well.

Message: even if you’re fat, you can land the man of your dreams, and you should expect nothing less. I can already see this as the argument for many purchases of thousand calorie cupcakes and missed days at the gym. As American society continues to sit idle and watch obesity sweep over it, songs like this serve to spread unrealistic and harmful expectations to young women that lead to disappointment and major health problems.

These women unwilling to challenge themselves to exercise and eat healthy will be met by the brutal reality of male desire and spend more lonely nights with their real boyfriends Ben and Jerry. Far more troubling is the fact that more of these women turn to the only men who find “Bass” attractive—and they sure aren’t White.

In fairness, White men are growing fatter as well and obesity is a scourge that applies equally to both genders. But men don’t have number 1 hits telling us to love our lard.

In spite of the song’s message against beauty standards, the feminist shriekosphere despises it. Why? Because it implies that a woman has to rely on a man for self-esteem. Apparently you just need the shriekosphere to tell you your obesity is a-ok and not worry what those evil men say.

Regardless of the feminist consensus, this song has done far more than they have to spread fat acceptance of women than they have. Not every woman reads Jezebel. Nearly every young woman has heard Meghan Trainor. What this song shows, in addition to work of Lena Dunham, is a culture that is hell bent on encouraging women to not heed good sense and accept their chosen deficiencies. It’s also a culture that wants men to see women like Trainor and Dunham as beautiful, when reasonable standards say otherwise.

But good sense, Tradition, and enforced standards are signs of a healthy society. We don’t live in a healthy society.

I’m already dreading the inevitable release of the next fat acceptance anthem “Real Men Love Extra Curves.”

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STIHIE Country

Not even the White, working-class based music of country can escape the curse of multiculturalism. Listen to college-circuit favorite Corey Smith croon about how much he loves everyone–except his own…

Not even the White, working-class based music of country can escape the curse of multiculturalism. Listen to college-circuit favorite Corey Smith croon about how much he loves everyone–except his own people–in a song that tops John Lennon’s progressive nightmare “Imagine” in the disgust category.

I love black people. I love brown people.
I love Muslims and Jews, Hindus and atheists too.
Yes, I love everyone.
I love gay people. No, I’m not afraid people.
I may sing with a drawl, keep a little slack in my jaw,
but I love everyone.

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Dol Guldur

No other artist in any genre is able to capture the atmosphere of Tolkien’s world like Summoning

“And some things that should not have been forgotten were lost. History became legend. Legend became myth. And for two and a half thousand years, the ring passed out of all knowledge.”

The works of J.R.R. Tolkien have probably done more to instill a love for traditional European culture and identity than arguably any other literature. Painting a world full of majestic landscapes, magic, and a place where heroes still live and die would make any youth wish for Middle-Earth over Modern Earth.

It makes perfect sense that Tolkien would inspire many metal acts in their lyrics and their choice of band names. But few metal artists have been able to capture the epic majesty of Middle Earth with their music itself—with the glorious exception of Summoning.

Summoning began their career as a decent, melodic Black Metal band that fit within the style of the promising Austrian metal scene. That changed when they decided to push guitars to the back of their sound and embark on a keyboard-driven style that became the defining feature of their style on their second album Minas Morgul.

But it is on their third album and magnum opus Dol Guldur where Summoning hits their stylistic peak.

One of the main criticisms of their music from the metal crowd is that it is too heavy on the keyboard instead of the guitars. Unlike most Black Metal, the music isn’t aggressive or particularly fierce. It is more akin to a soundtrack for an incredible fantasy film that is too cool to exist. Also, unlike most Black Metal music, Summoning’s work is less dark and foreboding. This is more of the hero’s soundtrack than that of the cruel villains he slays.

Returning to the criticism that they’re too heavy on the keyboards, this is what gives Summoning the ability to weave a sonic landscape that allows you to escape the banality of the modern world for the enchanting terrain of fantasy. It helps that the music is minimalistic and repeats motifs throughout the (long) duration of a composition. It’s simple, but it works to create a trance-like effect for a listener wishing to experience another world with their choice of music.

On Dol Guldur, the songs are long and are bereft of choruses. Stereotypical, rock song structure is left far behind for more adventurous song structures that allow its atmosphere to take precedence over trying to rock. Keyboard riffs drive the music instead of guitar riffs, which gives the music a very different edge from that of their metal peers. Drums are programmed and the guitars serve as a kind of buzzing reminder of the danger surrounding us and that not all is beauty in this fantasy world. The highlight of the album would have to be the epic middle number “Khazad Dum”—a powerful 10 minutes that never at any point sounds cheesy.

No other artist in any genre is able to capture the atmosphere of Tolkien’s world like Summoning, and they do a masterful job of it on Dol Guldur. If you’re a fan of neoclassical like Winglord, you should easily dig this. Even if you hate Black Metal for being too harsh, you should give this is a try and realize there’s more to the genre than Burzum’s early works.

All of Summoning’s albums are worth a listen, but Dol Guldur is where you should start.

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The PC Metal Inquisition Continues

The metal media appears to have taken up a new crusade recently—the rooting out of thought crime in the music scene and interrogating all potential dissidents.

The metal media appears to have taken up a new crusade recently—the rooting out of thought crime in the music scene and interrogating all potential dissidents.

Earlier this year, the black metal band Inquisition faced a media storm worthy of their name and had to endure media harassment for alleged Nazi ties. Most of the story originated from a rabid leftist blogger who wants the metal scene to work harder to include transsexuals and a “reformed” skinhead who alleged the band made pro-Nazi statements in his presence.

This is all it takes for a witch hunt to now be ordered against a metal band.

Now the press has found a bigger target for the self-righteous indigination–the Guitar Hero favorite and purveyors of cheese Dragonforce.

In an interviewwith the Vice music affiliate Noisey, Dragonforce founder Sam Totman undergoes an interview that’s more akin to a kindergarten teacher harranguing one of her students for sticking bubblegum under his desk.

Totman is repeatedly askedt to “explain” why an old band of his had “racist” and “homophobic” content:

NOISEY: So, I wanted to talk to you about something that happened way before the new album. I was digging around a little bit and found Demoniac, the band you were in before Dragonforce. I really want to know what the fuck you guys were doing.
Sam Totman: Hah! We started that, me and my friend, back in New Zealand in the 1990s. It was when I was 18 or something. We were having a laugh basically. We just sort of thought “Oh, let’s play some black metal” because we didn’t know any good singers so we couldn’t do any other kind of music except for black metal, death metal. It was just kind of a big joke really. Our first record was all serious, Satan this, Satan that, and we did quite well with that. The second one kind of turned into NOFX crossed with black metal, and then the third one got into power metal so it was like power metal crossed with black metal, and no one really got it basically.

In fairness I don’t know if NOFX ever sang about “killing faggots” and raping children and killing black dudes. That was what I saw when I looked up the band.
We had some strange characters in that band and everyone kind of wrote their own songs, so any dodgy ones weren’t anything to do with me…

I can’t get over the lyrics honestly. Has nobody ever pulled you up about that before?
Nah.

Really?
Not really, no. Nobody really cared about that band anyway.

I mean, it took like five minutes on Metal Archives to find all that. You guys have really young fans, and you’ve got songs about raping “old fags” and killing “queer cunts” and that’s…not so good.
We had a bit of a twisted sense of humor. We were just having a laugh.

Things are a little different now than they were in ‘99. I don’t think it’s really that funny. What if a 12 year old kid goes on there and thinks “Oh, so Dragonforce thinks it’s cool to beat up gay kids”?
To put it simply, it was us having a laugh and all the dodgy stuff like that was mostly our old drummer. It was just a laugh and it was a long time ago so it’s not really a big deal.

And the interview continues on like that for its entirety. Totman says it was just them joking around, interviewer keeps demanding an apology. Nothing is resolved.

One noticeable shift from the treatment of Inquisition is how Dragonforce were treated easy in comparison. Another major metal outlet even published a defense of the band and dubbed the lyrics of their past band youthful stupidity. Both the previous band, Demoniac, and Dragonforce both have the same Asian guitarist and this might sufficiently satisfy claims that they aren’t racist.

For a genre that likes to glorify itself as outside the norms of conventional society, those norms seem to be sweeping through the scene and ensuring that everyone keeps to their dictates. While the lyrical content of Demoniac was certainly not tasteful, the majority of metal lyrics aren’t high prose either. The point is now how the media demands penitence for any past transgressions and assurances that it will never happen again.

Just like the proverbial kindergarten teacher with her bubblegum terrorist of a student.

Like the rest of society, expect more victims for the PC metal inquisition in the next few years.

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