It turns out metal doesn’t require distorted guitars or electricity. And given where they are playing, the lyrics could hardly be more appropriate.
The invaluable Nate explains how Generation X has killed The Beatles for good.
GenZ has never heard the Beatles and likely never will… because GenX hates them and never played them for their kids in GenZ.
He’s absolutely right. Neither Spacebunny nor I ever played any of their songs for our kids. Prince, yes. AC|DC, yes. David Sylvian, absolutely. Handel, Bach, Beethoven, Mozart, The Eagles, The Beach Boys, and even Duran Duran, yes. But no Beatles, no Rolling Stones, and they are far more familiar with The Hu than The Who.
In the amusingly damning words of one GenZ metal guitar player, “The Beatles will be around about as long as Justin Bieber.”
A Boomer booms about how rock and roll is dying with his generation and nothing will ever be that good or important again:
Jazz died off as a mass genre for two reasons. First, as Mark Gauvreau Judge wrote in his fun 2000 book, If It Ain’t Got That Swing, postwar economics and the rise of bebop as a counterforce in jazz greatly killed off the big bands of the 1930s and ‘40s, but the complexities of bop led many teenagers in the 1950s to seek out rock and roll as a simpler music style to dance along with. Capitol Records putting the full force of their PR team behind The Beatles when they arrived in America in early 1964 cemented rock and roll as the dominant musical genre for teenage whites, as Nat “King” Cole, who helped make Capitol a dominant force in America in the 1950s, discovered to his horror when he called their flagship Los Angeles office that year and the receptionist answered “Capitol Records – home of The Beatles!”
However, by the beginning of the 21st century, rock’s dominance was already on the wane when first Napster and then Apple’s iTunes radically altered how consumers access music. MTV, which gave rock a new lease on life after music industry fears in the early ‘80s that video games would replace their product as teens’ primary consumer spending good, was itself a spent force by the mid-to-late 1990s.
Hence, the nostalgia that many rock fans feel, with little or no new product that’s equal to the material produced during rock and roll’s heyday.
There is some truth concerning the way in which the atomization of culture is preventing the monocultural dominance by whatever the mainstream media corporations decided to push on teenagers. But the idea that there is little or no new music that is equal to that produced during what Boomers consider to be rock’s heyday is patently absurd.
Today little Japanese girls wearing maid outfits not only rock harder, they play their instruments much better, than all the rockers of the 1960s and the vast majority of those of the 1970s. And there isn’t a single guitarist of that generation who could ever shred as well as the average YouTube guitarist today.
Boomers like the author simply don’t understand that the fact music isn’t being played on the radio or on the evening television variety shows on ABC, CBS, and NBC doesn’t mean that it doesn’t exist.
While Babymetal has tried a number of different approaches for replacing the irreplaceable, none of them has come even close to working. I refer, of course, to the absence of Yui; they always had a guitarist to spare, so as much as “the smiley guy” is sorely missed – and who did not notice Ohmura playing his late friend’s red guitar instead of Pink-chan at Glastonbury – they have always had more than adequate options on hand.
However, in light of the third iteration of Ladybaby, there are two solid possible replacements. The more obvious one is Fuka, who actually bears some resemblance to Yui and has a similar low-key stage presence. But a more intriguing possibility is Rie, who has become the leader of Ladybaby as it has made a transition similar to the one that Babymetal went through when it ditched the Babybones dancers in favor of the brilliant musicians of the Kami Band.
Speaking of the Kami Band, if that guitar riff from Haten Ni Ramei was any more Onedari Daisuken, they’d have had to put the guitarist in a sheet and paint his face white. Although it is a pity that with the addition of the live band, Ladybaby didn’t retain much of the kawai dance.
Anyhow, as this live version of Nippon Manju shows, Rie has the energy and charisma to keep up with Su, and although her voice isn’t as strong, it has a nice and identifiable sound to it. And it would be interesting to see Babymetal pair someone up with Su rather than Moa.
Actually, there is a third option that might actually be the best one. What is Rei doing these days? Okay… was really not expecting that.
And yes, The Great Chinggis Khaan its every bit as awe-inspiring as you would expect.
I don’t think it’s a coincidence that the Mongols are rising in an age when the world is overrun by evil and is practically begging to be scoured with fire and sword.
Cherished the wisdom of thinkers
Declared deliverance and the Gereg
The bearer of the eternal Tengri
The king of the blue world
The Great Chinggis Khaan
I don’t know about you, but I’ll take the fury of the Mongols over the world-healers of Babel every single time.
My pet iguana heard this, it’s now a crocodile with a mohawk and war paint.
Even the most social justice-minded SJW will eventually be caught out by the ever-mutating Narrative as society converges further:
Fifty years after it reached the Top Ten, Blue Mink’s smash hit Melting Pot has been banned from the airwaves. The broadcasting watchdog Ofcom has ruled that the 1969 Number Three song is ‘racist’ and too ‘offensive’ for modern audiences.
Which is pretty hilarious, given that it was intended to celebrate racial integration, and featured the fabulous black American singer Madeline Bell alongside Roger Cook, who co-wrote it with his regular songwriting partner Roger Greenaway.
Along with the Equals, Georgie Fame’s Blue Flames and Hot Chocolate, Blue Mink were one of Britain’s pioneering multi-racial pop groups.
The modern diversity police, however, object to references to ‘curly Latin kinkies’, ‘yellow Chinkies’ and ‘Red Indian boy’.
This is why one is better off standing against equality, tolerance, inclusivity, and diversity in the first place. Sooner or later, it’s going to come for you anyhow.
I can’t even begin to describe how much I love this song by Ministry. And while this cover by Burn the Priest is slightly less insane than the original and lacks its inspired lunacy, the brutal relentlessness of the heavy guitar makes it well worth it. After first hearing the original at First Avenue one night, Paul and I went back to his place and wrote Krank Phreak.
It’s visible everywhere now, from politics to popular culture. This video inspired the hilarious Trump Peshwa Warrior parody, but for me, it is much more interesting for the fierce national pride it exhibits as well as the fact that it has 97 MILLION views on YouTube. I’m not at all into Bollywood or Indian music, and the idea of swordsmen wearing skirts and dancing tends to strike this student of the Western way of war as being a little absurd, but nevertheless, you’d have to be almost entirely full of soy to fail to find it invigorating. This is exactly the sort of proud nationalistic spirit that the globalists seek to eradicate from every nation.