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Phil Anselmo Speaks With Eddie Trunk on Racism, Social Justice Warriors, Robb Flynn, and PC “gotcha” Culture

Phil Anselmo has taken a lot of shit in the past year over the alleged “white power” incident at Dimebash. Internet Social Justice Warriors jumped all over it, condemning him and riding the wave of publicity to further their own agenda and public appearance.

On one hand, I kind of get where people are coming from. Once someone throws the racist label at you, it has a tendency to stick (as Mr. Anselmo has discovered through the years). On the other hand, if metal culture is really a brotherhood – where the fuck is the benefit of the doubt? Where are all the people standing up for a brother getting unfairly slandered?

Thank god Eddie Trunk (and a few other internet media sources) have given Phil the chance to air his side of the story. You can watch the interview on Trunk’s radio show.

Every fucking word this man put out is something I’ve expressed at some point on this blog. Everything I said on my initial article about the “Dimebash Incident”, my sentiments on Virtue Signaling and Social Justice Warriors in Metal, Robb Flynn and his ulterior motives throwing Phil under the bus, fucking all of it.

It makes me wonder if he’s a fan of Metal Stuff. That would be the fucking coolest.

(Phil, if by some fucking long shot you’re reading this, you’re the fucking man!).

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Why are Hard Rock and Metal Artists Suddenly Drawn to Country Music?

 

At first glance, this might seem like an odd phenomenon. In their current states, country and metal are polar opposites. And research into the personality type/musical preference connection clearly shows that fans of heavy metal have far more in common with fans of classical music than fans of country. But, the more you look at it, the more it makes sense that there would be a mini “exodus” from metal music to country. And, arguably, it’s a good thing for both genres and their fans.

 

Background

First and foremost, it needs to be mentioned that country and metal music share a common ancestor in the blues. Early rock and roll acts and early country acts were almost interchangeable – for example, Johnny Cash and Elvis toured together. Elvis is commonly referred to as the godfather of rock and roll (of which heavy metal is a derivative) and Johnny Cash is widely recognized as a progenitor of Country music. In fact, country music at it’s inception was simply a rural version of rock music.

Now, the two genres have had decades to evolve into two separate entities with distinctive fanbases and cultures that (generally) don’t overlap. But there’s always been a common thread connecting the two – the Rolling Stones “Honky Tonk Woman” is a good example. “Southern Rock” bands have kept a fusion between the two genres (rock and country) alive through the decades, but it wasn’t really until the 90’s that country music and heavy metal met and mixed.

No article dealing with the cross-cultural zone between country and metal would be complete without mentioning two bands – Pantera and Hank Williams III. These two groups bridge the gap between the two genres quite nicely. To further the connection – Pantera’s last real album (even though the lead singer, Phil Anselmo, wasn’t part of it) was a collaboration between the band and David Allen Coe entitled “Rebel Meets Rebel“. Artists like Kid Rock and Aaron Lewis from Staind have kept the connection going.

The Present Situation

Within the past year or so, there’s been more of an “exodus” of metal and hard rock artists in some form or another to the country music medium. Now, it’s not always a full blown transition, and it’s actually been going on for a while (technically since the dawn of both rock and country). I think it’s more accurate to describe the country/hard rock/metal phenomenon in terms of a spectrum: Dabbling (One-Off Country Albums, Collaborations)->Fusion Styles->Full Transition Between Genres (Including solo albums/projects).

In the dabbling category we have  Devin Townsend’s side project (Casualties), Nergal from Behemoth’s country/folk album, Jimmy Bower’s (Down/Eyehategod) Country album, Jonathan Davis’ (Korn) collaboration with country artists Big and Rich, Bon Jovi’s Country album, Chuck Billy (Testament) doing his country tribute to Motorhead’s “Ace of Spades”, and considering I don’t know where Aerosmith stands at this moment I’m going to include Stephen Tyler’s country project as well. And Bret Michaels (Poison) country album.

As far as fusion styles – obviously guys like Pantera and Hank III go without saying. The mutual blues ancestor of metal and country music make them more compatible than you’d think at first listen. In fact, due to the Pantera connection we wouldn’t have groove metal without country.

And for full transitions you’ve got Kid Rock (This guy’s such a redneck, it wasn’t that much of a transition. I think he plays the CMT awards semi-regularly), Aaron Lewis (Staind),  David Vincent (fucking Morbid Angel), and Danny Worsnop (Asking Alexandria). So we’ve got Metalcore, Death Metal, Blackened Death, Doom, Nu-Metal, Hair Metal, Hard Rock, Groove, and Prog represented in country music just from the bands mentioned in this article. I’d say that’s enough of a spectrum state that this isn’t a genre specific phenomenon – the appeal seems to be pretty universal among metal artists.

What Metal Culture Can Learn From Country

In terms of the metal community, a look at the current state of country is a sobering reminder that the music industry (all bureaucracy, in fact) can be a very toxic thing . So, as much as people like to go around bashing elitists – that particular core demographic of the metal community is a big part of the reason metal isn’t a shell of it’s former self. The pop machine has literally eviscerated the entire genre of country music, and left nothing but a hollowed out meat-puppet of a shell that they make perform for fans in a mocking, pandering sort of way. Don’t believe me? Check out this video.

This is what the pop machine does – it analyzes a core fan base to find things they like. It then arranges them into a palatable, pre-digested formula with literally zero integrity. Anybody who’s been alive through the 90’s should remember that country music was a pretty big thing back in the day. And in a matter of a few decades, it’s been reduced to a cultural and artistic void. Boots, cold beer, lemonade, lying in pick-up trucks, some sort of romantic rendezvous, and the month of July – hey, throw that in a 4-chord song format with a steel guitar playing in the background and you’ve got a #1 Country hit! Pandering at it’s best, there’s next to zero substance left in the genre. Probably part of the reason metal artists are occasionally dabbling – they’re filling the creative void.

Also, poser bashing is designed to prevent this sort of thing from happening in/to the metal community. Granted sometimes people take it a little too far, but sometimes you have to take the good with the bad. And in this case, a defense against entryism is much better than the alternative.

 

What Country Fans Can Learn From Metal Culture

Country music, as a culture, has zero defense against entryism. In layman’s terms, this means that there is no cultural “check” or way to stop an outside group from entering into Country music culture and changing it from within.

At first glance, this might not seem like a problem. It didn’t when Country-pop experienced a revival in the 90’s. But, here’s the problem. If any group can gain entry into an artistic culture – that includes a group put together by a record company. And their focus is on dollar signs, not art.

Unfortunately, because record companies already have a lot of money, they can afford to hire people to do studies into what the fanbase likes and doesn’t like (and then plug the results into the pop-machine formula). At this point, it’s not a matter of if or when it happens (because it already has), it’s a matter of what to do about it. I think that country music as a whole can benefit from a little “heavy metal sensibility”.

First and foremost, the artists getting into country are considered staples of their respective metal genres. These are top-notch artists with creative energy to spare. So, you’ve got a bunch of artists entering the scene and playing real music in the creative void left by the pop industry .

Second, I would hope they bring a little of that “elitist” attitude that has helped heavy metal stay out of the clutches of the pop industry for almost 6 decades. Combined with the DIY ethos of metal and punk, it just might be the breath of fresh air that country music needs.

Third, I hope a few metal artists reintroduce a bit more of that rebel attitude country music deserves.

Conclusion

I think it’s good for metal artists to branch out a little bit. Considering how saturated the market is with metal bands right now, it’s certainly not hurting heavy metal at all. And it could make country music tolerable again. Overall, I’d call it a win/win situation.

Metal Community Pretends to be Surprised When Phil Anselmo Does Something Racist

Seriously though, Phil Anselmo (probably) isn’t racist. All things considered, it wouldn’t surprise me to find out that he has a rather dark sense of humor.

But you’re talking about a guy who fronted a band that’s featured the Southern flag pretty prominently in almost every aspect of their image. Two things about this entire incident caught me off guard.

First, that anyone who has any idea who Pantera and Phil Anselmo are could even pretend to be surprised at anything he does. Anything.

Secondly, how much of a turncoat Machine Head’s Robb Flynn is. Seriously though, I understand wanting to distance yourself – an accusation of racism in Metal is one that tends to stick. But Jesus fucking Christ Flynn, have a little integrity and give your friend the benefit of the doubt.

The entire media frenzy about this is literally people finding any excuse to shit on Phil Anselmo because they still blame him for Dimebag’s death. And while there is some merit to that argument, the fact of the matter is that Phil didn’t leave the band because he wanted Dime to die. He left because of artistic differences. It happens all the time. And if Dime hadn’t died, I’m pretty sure there would be zero argument that Phil had a lot more artistic vision than the Abbott brothers.

I mean seriously, you can’t even pretend that Damageplan holds a fucking candle to Down. Dime and Vinny are still cool as fuck, but if you’re being honest and have a family tree that actually branches – there’s only one correct answer here.

Oh and I love machine head, but Robb Flynn give it a fucking break already. You’re beating a dead horse.

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