metal stuff

It's stuff, about metal


Social Justice Warrior

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!).


Digital Journalistic Poser Holocaust

No, I’m not one of those guys who just calls everyone a poser. Yes, I think posers exist and can be a bit of a problem. Depends on the nature of the offense. More importantly, I think proper use of the term poser is an important mechanism within the subcultural space of heavy metal. Here’s why.


So what/who is a poser? A version of the term exists in most big subcultures (at least the American ones) – and it’s generally used to refer to a person (or group) that adopts the look, language, and attitudes of a subculture without actually internalizing the values of the culture. In other words, it’s a person trying to be something they’re not to gain some sort of social status.

The practice of calling out posers is what’s known as a “defense against entryism” – it’s a way for the metal culture to police it’s own borders to prevent outside groups (like hipsters) from entering the culture and exercising undue influence to change social mechanisms and structure, and in so doing gain a large degree of socio-political power within that group. It has some negative consequences – but like “metal elitists” that everyone seems to be railing against, I think it has more to do with a misunderstanding of certain aspects and social mechanisms within metal culture.

As far as I know, the first real instance where people have infiltrated metal culture and are actively trying to change it from the inside is the present. I’ve discussed various aspects of this phenomenon before, from Social Justice Warriors (SJW’s) in metal culture to the co-opting of Underground Metal Festivals by mainstream metal/culture.

With the current generation, (unlike prior generations) there is a movement of “scene tourists” who infiltrate and participate in various subcultures long enough to change them into something socially palatable to the general public – a good example of this would be the whole #gamergate/#metalgate fiasco. The two incidents happened right on top of each other, and the consequences of #gamergate are still being realized.

Case Study – Social Justice Warrior/Hipsters affecting Cultural Change
(Poser Type A)

To see what I’m talking about, let’s take a look at the “God of War” franchise. When it was released, it was quickly recognized as one of the greatest games of all time. It had violence, gore, the works. However, the most recent “God of War” installment shows the series protagonist, Kratos, is now living with his son. And instead of being the violent bloodbath that we all know and love, Kratos is now a father. The basic moral of the storyline is Kratos has to learn to deal with his aggression in a healthy way, and in so doing be a healthy role model for his son and make amends for past transgressions.

Seriously? Fucking seriously? SJW’s neutered one of the (arguably) greatest video game franchises of all time.

Nobody thought it could happen, but it did. One of these SJW’s who had been prominent during the whole #gamergate debacle was actually installed at a gaming convention and featured as a commentator/speaker. She didn’t even play video games, literally the only connection she had with video games was complaining about finding them offensive.

So what happened? A culture designed around an entertainment medium considered a transgressive art form (video games) had a large influx of people from a certain demographic group – Hipsters(from here on this will be referred to as the “hipster influx”). Now, not all hipsters are bad. And not all hipsters were trying to make video games politically correct. But everyone who was successfully part of the internal movement to self-censor video games was a hipster/SJW. The internal movement was the second part of the hipster influx.

Because in this instance, like every other instance of entryism, a social group that joins a larger group does so to gain social control of and power within the larger group. Gamers didn’t have a defense against entryism, and this was the result.

Case Study Discussion
(Poser Type A as They Relate to Metal Culture)

Like video game culture, Metal Culture is centered around transgressive art. Extreme Metal, in particular, crosses the line from “shocking” people (rock and roll territory) to “disturbing” people. Ironically, one of the (metal) bands most famous for starting the trend of visually and lyrically pushing the boundaries into truly disturbing territory was Carcass. This is ironic because the members of Carcass are all vegans/vegetarians, who were using metal as a springboard for their version of social justice ideals.

So, when SJW’s are railing against the disturbing aspects of extreme metal music – what they’re really doing is railing against the avenue paved by their predecessors to present a social justice issue through an acceptable avenue within metal culture. They understood the mechanics of the culture, and used them as an avenue of artistic expression with a valid socio-political message that was important to them. And they’re not alone, if I’m not mistaken Cattle Decapitation follows a similar vein.

What I’m trying to illustrate here is that there is a difference between participating in a culture (and using the various mechanics of it for personal expression) and infiltrating a culture (and trying to change the things you don’t like/understand about it).

Various entities have tried throughout history (unsuccessfully) to change video game culture from the outside in exactly the same way they tried to change metal culture. And the result was the same – both video games and albums with content deemed “offensive” to mainstream culture received warning labels. The intended purpose of these labels was to try and shame retailers from carrying said products – but the result was exactly the opposite. Those warning labels told consumers exactly what to buy – humans have an obsession with anything forbidden.

Now, we’ve seen a group practicing “entryism” and then using the social influence of membership within a group/culture to change the cultural landscape with video games – and the same cultural demographic that infiltrated gamer culture has a strong hold in metal culture. I’ve spoken about this previously, in an attempt to call out a writer for Metal Injection (Shayne Mathis) for his hipster shit. This is a direct example of entryism in metal culture – and the concept of a poser exists in metal cultural space specifically to prevent whiny shits like him from gaining prominence and turning metal into another bland, formulaic, mainstream medium.

posertypeaVisual representation of “Poser Type A”

(Poser Type A)

Shayne Mathis and his ilk are what I refer to as “Type A posers”. They’re pretending to be something they’re not and trying to use accumulated sub-cultural capital for the purpose of affecting social change where it isn’t needed or wanted. They are undesirables within metal culture because of the nature of their desire to impose a cultural overlay of self-imposed censorship within the metal community, and labeling them as what they are (posers) serves the function of marginalizing them to where they belong – the fringe/outside  of the culture.

Case Study – Try-Hards
(Poser Type B)

This is a category I’m not entirely in agreement with, but in the interest of holism I’ll include it.

Example 1) Try-hard bands

Bands that adopt a position and posture themselves as something they’re not fall into the “try-hard” category with me. An example would be someone like Papa Roach.

Papa Roach present themselves as genuine, creative musicians within the mainstream genre known as Nu-Metal. Now, I understand the fact that it becomes increasingly difficult to write an original riff as time goes on – chances are someone else has written something close to it (if not that exact riff).

But when the riff of every single one of your hit singles is a direct ripoff of Iron Maiden, your authenticity comes into question.

(one example can be chalked up to coincidence, two of them is questionable but still possible, three strikes and you’re out)

And when every single one of your songs also follows a pop machine/record industry formula (A,B,A,B,C,B), you get another strike against you. Then, when you start apeing fashion trends like wearing makeup to appeal to the emo crowd it pushes me over the edge. Nevermind the fact that they decided to jump on the djent bandwagon. They’re just a bunch of trend-wore, try-hard posers.

Example 2) Try-hard fans

Yeek, this is one that gets overused a lot. In fact, I think the overuse of this mecanism is pretty much single-handedly responsible for the whole “posers v.s. elitists” thing that’s apparently a thing in metal nowadays.

Most commonly misused on people who a) have opposing taste in metal from the accuser or b) display a certain ignorance when it comes to the nuances of sub-genres – the typical response is to call the offender an elitist. In this case both parties are wrong, if you’re interested in reading why I suggest checking out my articles dealing with the difference between elitists and assholes  and why sub-genres are a good thing (but assholes ruin them for people).

It’s interesting to note here that a person using the term poser to knock another person’s taste in metal is, in fact, the poser in the equation 99.99% of the time. They’re taking a position to try and look like something they’re not, and that is the fucking definition.

The exception to this rule is best displayed by example; You’re speaking with someone who is making blatant misstatements such as “death metal is my life” or “I only listen to hardcore/brutal/death metal”. When asked to list examples, scene/emo bands (asking alexandria, blackveil brides, blood on the dance floor, etc) are generally listed off. In this case, correcting the record might hurt this person’s feelings – you’re blowing up their spot and calling them on bullshit, so of course they’re going to be a little put off by it. But, they were presenting themselves as something they weren’t.

This isn’t a case of elitism, calling out someone for being a poser when they’re genuinely being a poser is calling a spade a spade. I can’t believe I have to actually say this, it always just seemed like something that would be common knowledge. I’ve seen a lot of blogs/etc stating that posers don’t even exist.

A guy who I enjoy and even agree with quite a bit (coverkillnation) recently made a video that more or less stated (at about 5:00 into the video) that posers don’t even exist. I’ll admit, he makes some good points, and I understand why he’s saying it – because of the blatant overuse and misuse of the term. I happen to agree with the spirit of everything he’s saying, but disagree with how he presented some of his points. Posers certainly do exist, but 99.99% of the time it’s used incorrectly.

There’s no shame in having musical taste (diverse or otherwise), but lying about your musical taste in the hopes that people will like you more is frowned upon in pretty much every genre of music – it’s just an exaggerated frown in metal culture. And it earns you the label of poser.

The only other example of a try-hard poser I can think of is summed up much better by Infidel Amsterdam here:

Case Study Discussion
(Poser Type B/Try-Hards)

Like I mentioned earlier, this is an instance where the term/cultural mechanism of poser gets overused and abused. And the coverkillnation video I referenced earlier touches on a lot of those misuses of the term as well as I could, I highly recommend checking out his channel.

I feel like I gave two solid examples where the “try-hard” category of poser is not only applicable, it’s correct (and serves it’s intended function as a cultural mechanism). Labeling a band like Papa Roach (that probably should have been sued for copyright infringement and obviously changes social trends more quickly than they do clothing) as a poser band isn’t something I would apologize for – in fact I would love to hear an argument to the contrary. Mostly because I can’t think of one.

And calling people who pretend they listen to bands or genres (to try and gain positive social attention and credibility within a culture) posers might hurt their delicate feelings, but it isn’t wrong. Likewise, in the case of Infidel Amsterdam’s video, a person who adopts the look and language of a metalhead but drops the whole thing later on and writes it off as a phase is totally a poser – and has earned that label.

(Poser Type B)

The situations/people that fall under this category of poser are ones that I would use with relative caution. Like I mentioned before, the tendency towards misuse or abuse of the term is very high. And a lot of assholes like to use it as an excuse to make another person feel inferior because that person doesn’t share exact musical preferences. At the same time, this term does serve a specific (if misunderstood/misused) purpose to the greater culture.

However, the name “try-hard” is a bit misleading. Because there’s nothing wrong with trying to learn more and participate in any culture or activity you’re interested in. Quite the opposite, I think most people would agree that’s a pretty good quality to have. And the ones who disagree are just assholes.

Case Study
(Poser Type C)

The last type of poser is probably the most recognizable, accurate, and most difficult to defend.

A few months ago I was at a store in the local mall and I saw a guy wearing a Megadeth shirt. I complimented him on it, and asked if he had listened to Dystopia yet. He looked confused, so I told him it was the most recent Megadeth album. He informed me that he didn’t listen to Megadeth, he just liked the way the shirt looked.

What the actual fuck.

I tried not to be rude, I just said “Oh, sorry” and walked away.

Case Study Discussion
(Poser Type C)

Seriously though, did I miss something? I mean, there are always going to be people in every subculture that try to be something that they’re not to fit in. I feel more sorry for them than anything – but I think it’s still safe to call a spade a spade in this instance. It’s false advertisement, and I really can’t think of a place in society where that’s considered a good thing.

However, I do have a big problem with people who just want to look like a metalhead because it makes them look edgy or cool. I can’t believe that’s even a thing. That’s why I went to the trouble of going back and finding every instance of it I could and documenting the phenomenon. I’m not saying my knowledge of the topic is 100% perfect, and I might have missed a few things – but it does display a pattern in popular society where people are picking up pieces of the metal “uniform” and adopting them as an edgy fashion trend.

This is probably the most important purpose of the term “poser”. Nobody wants the label – and in learning that you don’t wear a shirt of a band you don’t listen to, you learn an important rule that applies to every genre of music. You only wear a shirt from a band you listen to.

When you’re wearing a band shirt, you’re non-verbally advertising your musical tastes. The purpose of wearing a band shirt (beyond showing support for a band) is so that any fan of the band who sees you wearing it has the opportunity to compliment it or strike up a conversation. If you’re a metalhead, you might have noticed you don’t get a lot of chances to talk with people about music in everyday life. Talking about metal on the internet is one thing, but hearing someone yell SLAYER randomly in public when they see your shirt is a horse of an entirely different color.

(Poser Type C)

I really can’t think of an argument within metal culture or outside of it where you would call someone who does this anything besides a poser.

So what does all of this mean? If you’re not a metalhead, nothing. Within the metal cultural sphere, I think it means that it’s important to recognize and be able to differentiate between assholes and people who are performing a role in the community that’s served it pretty well for at least 30 years.

The term poser and the social implication of it serves a role critical to the maintenance and function of the culture in at least three different areas – it maintains a continuity of culture (with type a posers), it serves as a reality check for members and a ready way to recognize cultural outsiders who are more concerned with exploiting social trends for financial gain (type b), and most importantly it conveys the values and norms/practices of the culture (type c).

Metal Injection Goes Full Hipster; Metalsucks is less wrong

I am writing in response the the article written by Shayne Mathis on behalf of Metal Injection, in which he makes some statements/assertions that I have some fundamental disagreements with.

Now, in the course of civil discussion and argument, context is an invaluable tool. It is the critical lens through which we frame said discussion. Without it, discussion devolves into self-aggrandizing statements of bias.

So, framing the discussion beforehand is essential to the integrity of both the discussion and it’s participants. Shayne Mathis wrote an opinion piece denying that metal has a problem with an insurgency of “scene tourists” and “social justice warriors” on the premise that SJW’s don’t exist. This seems, then, like a good place to start the framing/discussion.

Before defining what a SJW is, it might be helpful to take a step back and look at the bigger picture. When did SJW’s come into the common collective consciousness of humanity, and from what greater demographic did they spring?

The first real incarnation of the term in it’s current incarnation arose from the gamergate controversy. In a nutshell, #gamergate occurred when some cultural tourists took a passing interest in participation in an established sub-culture (gamers). When they found parts of the culture offensive, they brought these aspects into the public sphere in an attempt to curb them. This is, arguably, the first step in appropriating a subculture into the mainstream (by imposing mainstream values onto it).

Shortly afterwards, there was a short lived spin-off phenomenon referred to as #metalgate. Interestingly, it pretty much all started from a single article and became a thing on the internet for a few days. Well played Mr. Mathis. Using the exact same tactics and social stances as the participants in #gamergate, you applied SJW values to a metal context.

Now, what sets SJW’s apart from other cultural attacks on metal? In a nutshell, the demographic population they inhabit. SJW’s, as a cultural sub group, would not exist without hipsters. Before the hipster phenomenon, SJW’s did not exist. The two terms, while not interchangeable, are not mutually exclusive. Not all hipsters are SJW’s, but all SJW’s are hipsters. Hipsters, in turn, are a product of popular millennial culture. Not all millennials are hipsters, but all hipsters are millennials.

Therefore, for the purpose of this argument, SJW refers to a sub-segment of the millennial populations popular cultural manifestation – hipsters.

This is where things get interesting. Metal culture and Hipster culture exist completely independent of one another. Metal culture formed and existed for decades without hipsters, and hipster culture formed and exists without metalheads. So it’s safe to say we’re talking about two separate cultural spheres. Now, these separate cultural spheres invariably share a demographic population. Because of this, there will be an inevitable meeting of these cultures in what is referred to as a cultural contact zone. In this instance, it looks like this;

Contact Zone

The area of overlap that you inhabit (judging by your opinions, and the title of your podcast) is within this cultural contact zone. Which is awesome, diversity in metal fucking rules. But you have a tendency to frame your arguments like you’re speaking on behalf of a culture that does not share all of your opinions or values. Mostly because the topics you bring up, and the values you espouse in doing so, are generally considered to be in the hipster sphere (not the metalhead sphere).

In the interest of fairness, I would like to take a chance to point out there there are both positive and negative consequences to the intermingling of culture within said contact zone. On the positive side, the amount of intellectual discussion and discourse within the metal community has raised considerably. This is a huge plus for the participants and the culture in general, as it helps solidify and re-enforce the culture, it’s norms, and parameters. On the negative side we have posturing, self-aggrandizing preachy articles from “within” the metal community. This is a relatively new phenomenon, and anybody who has participated in the culture for long enough can recognize this. And it’s not confusing correlation with causation – I’ve already outlined how easy it is to find ties between hipster culture and the SJW-style argument both inside and outside of metal.

Any question that this is anything other than a hipster phenomenon can be quickly reconciled by examining historical socio-cultural interactions between metal and mainstream culture. First, I’d like to put the hipster insurgency into the greater context of cultural insurgencies in metal.


Here, for the purpose of discussion, are a few pre-hipster examples. To do any of these examples true justice would warrant writing another article, so we’re going to do the cliff-notes version.

Every single one of these groups represents a cultural contact zone within metal culture. This is because all of these outside groups share at least part of a core demographic of the population of metal culture (just like hipsters). Now, when there was a Christian insurgency into the metal demographic, it was never viewed as anything other than that. The NSBM contact zone is certainly an area that warrants discussion, but is a relatively low area of concern because of the insular nature of the belief system of that culture combined with their relatively unpopular belief system. Vegans and animal rights groups, and individuals subscribing to those cultures, have successfully used metal as a springboard/outlet for their political views. A good example of this would be the band Cattle Decapitation. At the same time, you have a demographic that agrees with Dave Mustaine, and that guy is obviously fucking nuts (but I would guess you already know that). I, personally, take him less seriously than the whole skinhead/nazi/national socialist populations while finding him equally repugnant.

In this context, you can see that some groups were more successful than others in integrating some of their beliefs/practices/customs into broader metal culture. Without the punk contact zone, for example, we would not have crossover or thrash. In turn, we wouldn’t have extreme metal, or this conversation.

Now in terms of metal culture’s responses to criticism, and other outside forces – I would turn your attention to the PMRC and the satanic panic, which used heavy metal as their chief bogey-man. You also had the trial of Judas Priest. In all of these cases, members of heavy metal culture pretty much banded together and affirmed that nothing they were accused of was even remotely close to true. This is still a common core of the culture nowadays – if you read Randy Blythe’s book he talks about how the occasional metalhead would pop up throughout his ordeal and make it a little more bearable.

One thing we don’t see, however, is criticism of the values and practices of metalheads from within the culture. This reinforces the assertion that SJW style criticism is a phenomenon unique to the millennial generation, specifically the hipster sub-derivative phenomenon named for their actions and style of discourse.

History has shown that people who participate in but are averse to the values of metal culture generally wane or drop off entirely from participation in, or identification with, it (in anything other than the past tense). These people are generally referred to as “tourists”, as well as more colorful and commonly used terms.

And one of the reasons metalhead culture generally stresses learning it’s history in context is to prevent self-aggrandizing statements of ignorance of historical context and the bigger picture.

Now that we’ve got that out of the way – I would like to go point by point on your discussion with the college professor in regards to his article and subsequent responses.

  • Social Justice Warriors do, in fact, exist. Not as some nameless, faceless “other”, but as a manifestation of current mainstream popular youth culture. As such, they do not exist as a singular, organized, and readily identifiable group because they are a sub-sub-cultural manifestation that draws identifiable traits from the pool of the parent sub-culture. It’s a small cultural movement, not an organized (and by definition) bureaucratic group with clear boundaries. Any attempt to label them as anything other than this is self-delusional at best.
  • Boycotts/Protests/Etc are certainly protected by the constitution. But there are limits, as there are with every single right guaranteed to American citizens. The actions of that protest at the Taake show were the political equivalent of yelling “fire” in a crowded theater. Neither the protest nor the example of yelling fire are constitutionally protected as they infringe on the rights of fellow citizens. Your rights end where your nose begins.
  • The crux of the guy’s argument was that people like you are invading the metal scene. You knew it, he knew it, and we all know you were picking a fight and asking leading questions. The fact that you would do that to a fellow journalist and metalhead who’s obviously been around the block more than you have really bothers me. Not that I believe in the myth of a brotherhood of metal, but it’s safe to say that a guy who’s been fucking teargassed at a GWAR show might know more about SJW’s (and the politically correct insurgency in heavy metal) than a person who types a lot. How you made it to both Metal Injection and Invisible Oranges I’ll never know, but they should be ashamed of themselves for not proof-reading your articles at very least – and at the most allowing you to represent their respective establishments. Your lack of historical context is staggering, and to boot you’re a bigger turncoat than Robb Flynn.
  • I’m sorry you’ve received death threats – but maybe this is one of the consequences of free speech you’re talking about? I’m not saying it’s ok (quite the opposite), but it is a logical consequence of your words and actions. Metalheads aren’t a fun group to pick a fight with. And you have to own up to and accept the responsibility of your own actions and words before you tell other people to do so.

At this point, Shayne, I’m done speaking with you because you weren’t honest with your intentions, and from your last email, its quite clear you are seeking “gotcha questions.” I have no problems speaking with the media about issues I raise but you have to come with a bit more honesty.

Don’t contact me again.


This is nothing more than an old dog of the metal scene not rising to the ruse of a young pup who wanted to pick a fight and prove he’s smarter than a college professor. How you could even pretend to be satisfied that anything you did or said in this exchange (other than honoring his request to terminate it) is beyond me. It’s littered with logical fallacies (like the straw-man SJW argument) and self important pretense masked as genuine concern for a scene you more than likely will not be a part of within the next 10 years.

Also, Metalsucks did a better job with the subject than you did, but I still disagree with the premise.

I am more than open to a continuing discussion and having an open dialogue with you on the subject, and will be waiting to hear your response.

Corey McElligott

Blog at

Up ↑