Where Did The Arena Rock Bands Go?

Cheap Chalupas takes a breather from undermining the ethnic cohesion of his country of birth for a glorious experience of authentic face-stuffing to link to a Pitchfork story about the pittances that rock stars get paid today. In the comments, “lords of lies” responds with an interesting take on why there are so few bands today who have any staying power beyond one or two radio-ready songs.

the era of the long-lasting arena rock band with scores of top ten hits is over for four reasons:

1. the low-hanging fruit of novel guitar riffs has been picked clean. it’s just much harder now to compose more than one or two catchy tunes that don’t blatantly rip off songs from the past, autotune to the contrary notwithstanding. how many ways can the twelve-note scale be arranged? depressingly, there may be a limit. plus, the ready availability and replayability of forty year old rock songs means that current artists can’t plagiarize the past without getting called on it. this was perhaps not so much the case for past artists, who could safely crib from older songs that weren’t subject to so much radio or internet replaying.

2. the incentive structure has changed. a dude who pens one decent song can get on stage and score chicks for years, maybe even decades, based on that frantic bestowal of fame. internet play action and advanced marketing offer instant fame to the fly by night, one hit wonder musician. the pussy rewards for male artistry flow faster and stronger today than they did in the past, thanks partly to unshackled female hypergamy and partly to the betatization of the average american male. as a result, the self-perceived need to pump out multiple albums of high quality work has diminished.

3. easy living (c.f. porn, video games, endless plates of food stamps) has taken the edge off the urgency to create a compendium of works of spectacular art that can win over a large and dedicated audience of admirers and payers. men, in a word, are being medicated into comatose feminized stupor by dopaminergic distractions.

4. diversity is our lack of diversity. the advent of the diverse playground known as the internet has created so many ostensible musical niches appealing to everyone’s most personalized tastes that it has, paradoxically, made music *less* diverse, by funneling would-be artists into similar musical paths which maximize the odds their voices will be heard above the din. what point is experimentation and building an oeuvre for the long haul when your potential audience is so prefragmented and fickle? may also explain why music is getting louder today.

i’d add that there exists the possibility as well that people in the west are simply getting less creative in some genetic/physiological sense. perhaps it’s all those BPAs in our plastics and Pills in our water.

It’s a good question why the modern music industry produces so few “stadium rock” bands anymore. Prosperity likely has something to do with it. And the reasons given above are plausible, if not proven. You can make the case that someone like Justin Bieber (update: yesterday’s news) or Kesha is the 2012 equivalent of U2 or Led Zeppelin based on sales numbers and breadth of fame, but the comparison is rendered a mockery under any actual music-based standard. Platinum-selling country music stars and remixers rappers featuring X, Y and Z are about the closest present-day analogues to long-lasting power rock bands of the past.

This is not to say there is not good music being produced today. I like a lot of stuff that’s come out in recent years, mostly from fly by night, non-mainstream eclectic acts. But most of the stuff I like is by a multitude of bands that tend to disappear after one hit album (which usually contains no more than three righteous songs). Even looking at top 40 songs, the bands comprising that radio-ready list have little staying power. fun. has a couple of catchy tunes, but does anyone seriously think they’re going to pump out one stellar album after another, for years on end, like Zeppelin or The Beatles or even Nirvana did?

As for the main complaint that musicians don’t get paid enough from internet radio royalties, I have to agree with this:

cry me a river. hard to get worked up over the financial travails of quasi-rock stars. do people realize what motivates men to form bands and play on stage? they do it all for the nookie. the girls they get couldn’t give a rat’s ass how little they make from pandora plays. this is why there continues to be a steady stream of aspiring young men throwing caution and their bank accounts to the wind in hopes of becoming the next indie flavor of the month.

When the day comes that dudes stop picking up guitars and warbling beta ballads to score poosy is the day that I’ll entertain their griping about illegal downloading.





Comments


  1. 1: Buy Rush’s Grace Under Pressure
    2: Feel culturally purified and emotionally restored after 2-3 spins
    3: Cry for our current civilisation…but hey Rush still at least are ace

    Like


  2. on December 31, 2012 at 10:26 am Great Books For Men GreatBooksForMen GBFM (TM) GB4M (TM) GR8BOOKS4MEN (TM) lzozozozozlzo (TM)

    lzozozozzolzlzlozlz

    the main reason is that
    ALL MUSIC IS NOW GIVEN AWAY FREE!!!
    so as to make da bernaknkiferz and mark zuckerbergz richer
    as they eat the wealth of the artist and creator
    the new generation does not buy music
    the new generation was taught by the wall street elite
    that all music must be given
    from those with abilities to create music
    to those with needs to here it
    and the wall street elite
    would sell ads around it
    zlzolzolzolzolzlzlo sound fmaialzirz?

    the wall street lords of the internet profit atthe artists’ expensnszez

    Question: You argue the web isn’t living up to its initial promise. How has the internet transformed our lives for the worse?

    Jaron Lanier: The problem is not inherent in the Internet or the Web. Deterioration only began around the turn of the century with the rise of so-called “Web 2.0” designs. These designs valued the information content of the web over individuals. It became fashionable to aggregate the expressions of people into dehumanized data. There are so many things wrong with this that it takes a whole book to summarize them. Here’s just one problem: It screws the middle class. Only the aggregator (like Google, for instance) gets rich, while the actual producers of content get poor. This is why newspapers are dying. It might sound like it is only a problem for creative people, like musicians or writers, but eventually it will be a problem for everyone. When robots can repair roads someday, will people have jobs programming those robots, or will the human programmers be so aggregated that they essentially work for free, like today’s recording musicians? Web 2.0 is a formula to kill the middle class and undo centuries of social progress. –You-Are-Not-Gadget-Manifesto

    zlzolzozolz

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    • “Web 2.0 is a formula to kill the middle class and undo centuries of social progress.”

      No worries! All the white people will get SWPL jobs making artisan chocolates and raising heirloom tomatoes.

      Won’t they?

      Like


  3. Monster Magnet is still around and no one is cooler than them. Not even close, except for the Igman with the Stooges. Gimme Danger, little stranger…

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  4. on December 31, 2012 at 10:29 am betterthantheoriginalwally

    It’s like so many things these days though. In the 40’s and 50’s, rockers were born poor, grew up poor, so jamming for years to get it right and building up a decent collection of songs while being poor and hungry was nothing new. Same with athletes and writers back then. MOst of the greats have come from miserable beginnings.

    Today however, kids are more likely to be born into a safer and wealthier life that keeps getting easier. Why give up a pampered existence and spend years on your passion with low dough, no cable and sneering women? Especially when Bieber and Skrillex get paid millions for doing nothing special really and never really suffered for their “craft.”

    Like


  5. Not an arena band, but someone folk might enjoy. Happy New Year, all! Smooch smooch 🙂

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  6. Linkin Park was the last gasp… if only they had not taken that strange detour thru JZ….

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  7. Where Did The Arena Rock Bands Go?
    ———————————-

    They went into the trash can where they deserve to go.

    Good riddence to bad rubbish.

    A third consequence of Jewish domination of the American stage has been the appearance of the “Star’^ system, with its advertising appliances. The Theater is swamped in numerous “stars” that never really rose and certainly never shone, but which were hoisted high on the advertising walls of the Jewish theatrical syndicates in order to give the public the impression that these feeble lanternlights were in the highest heaven of dramatic achievement.

    The trick is a department store trick. It is sheer advertising strategy. Whereas in normal times a discriminating public made the “star” by their acclaim, nowadays the Jewish managers determine by their advertisements who the star shall be.

    Like


  8. I confess that my taste in music in unrefined.

    But I will bet this this guy scores an unimaginable amount of pussy:

    Like


  9. They’re all producing and DJing electronic music now

    Like


  10. Big-name electronic producers and fake laptop “DJs” like Steve Aoki, etc are the new arena rock.

    Like


  11. Rock in general is dying as a popular musical genre. Rock is basically seen as white music, but the popular musical styles of today (rap, hip-hop, and some pop) are all essentially black. Bieber may be white, but the style of his songs (and the overprocessed vocals) is contemporary black. If Who’s Next appeared today it wouldn’t be a classic because rock has lost the culture.

    Like


    • something interesting overseas,: try to search for the band:
      Angelus Apartida
      anyone else here know these guys besides me?

      Like


  12. It’s gone electronic. Big-name electronic producers, for example aviicii or skrillex and fake laptop “djs” like Steve The Faggot Aoki, that’s the new arena rock.

    Like


  13. Pretty much almost everything men do is because of pussy. Usually they do things in order to get pussy. Sometimes they do things because they’re not getting any pussy and need a distraction and (partial) salve for the fact that they’re not getting any pussy. Maybe they need a physical and mental break from getting pussy too. Men trying to get pussy may do this well or poorly, but they do do it. Being a musician is a safer way of getting pussy than let’s say joining a criminal gang, the police or the military as well as you have less hierachy over you which means that you aren’t someone’s proverbial kitchen bitch to the same degree. Men joining musical bands, criminal gangs, the police or the military are trying to show they have social dominance whether they realize it or not. All of them which I listed in the previous sentence as well as other men in other lines of work will try to use their line of work to get better quality pussy and more pussy.

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    • Rock lost its sex appeal. Wussy bands like REM killed it. 15 year old boys wanted to be sex gods like Robert Plant or Mick Jagger, not sexless wusses like Michael Stipe.

      Like


    • I didn’t join the military for pussy. Few men do.

      Women do join for pussy.

      Like


      • I bet a college degree is the only reason you joined, or for training for a job skill or was it because you wanted to kill, maim and mutilate people as well as destroy things? The only women who join for pussy are homosexual and otherwise the heterosexual women join to ride the cock carousel long, hard and many times. The men joined to get asscocked or do the asscocking to take a phrase from GBFM-Great Books For Men if they are homosexual. The heterosexual men joined to march in the pussy parade and ejaculate all the way in it, on it and beside pussy. Even if they didn’t, they soon become hedonistic sexual deviant converts by civilian standards. There are few exceptions to this. Men join to gain status with other men and other women to some degree. This leads to increased sexual access to some degree depending on the person of course. Men also join and soon discover that they like banging foreign pussy at least as much as domestic pussy. Please stop while you’re ahead. Troll.

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      • Spoken like a civilian.

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    • doclove
      Pretty much almost everything men do is because of pussy. Usually they do things in order to get pussy. Sometimes they do things because they’re not getting any pussy and need a distraction and (partial) salve for the fact that they’re not getting any pussy. Maybe they need a physical and mental break from getting pussy too.
      ——————————————————

      Maybe this is true for some guys, but it never was for me. and I suspect it wasn’t true for a lot of guys.

      For example, think back on the things you did from the ages of around 6 to 12; especially the things you got in trouble for doing.

      Did you do them to get pussy?

      One Christmas someone got 2 sets of boxing gloves. My best friend and I set up an MMA situation using the younger kids in the neighborhood (7 and 8 year olds who were not big enough to do any real damage to each other)

      My friend and I trained our fighters, we had 2 minute rounds, it was a blast.

      Then, word got out to the parents and we got in trouble for doing something we had no idea was wrong.

      It had nothing to do with getting pussy.

      Sure, it becomes a strong motivator later, but its not an initiator of male creative and constructive behavior.

      Correlation is NOT causation.

      I got in a lot of trouble as a child simply because I wanted to do things and make things that had nothing to do with getting pussy.

      Everything my friends and I tried to do got shut down by some adult.

      Treehouses, boats, tunnels, parachutes…

      Eventually we learned that the only way to have fun and learn stuff was to go some place and do things in secret.

      Like


      • I never said anything about boys who have little to no interest in sex. I only stated that about men. Caterpillars become butterflies and never revert back to being caterpillars just like boys become men and never revert back to being boys even though there is always the boy deep inside us, but we remain men the rest of out lives.

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      • You may be an adult male Homo sapiens, but you are not a man.

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      • You may be an adult female Homo sapiens, but you are not a woman and even less of a lady.

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      • Besides, you can’t masturbate effectively with boxing gloves on.

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    • But men are more beta now than they used to be. Guys got into AC/DC because as guys they liked AC/DC, and the women followed. There were tons of smokin’ hot babes at all the 80’s arena shows, but even the poppier groups like Def Leppard started out as groups for primarily for guys.

      Now, guys like what they like because it’s what chicks like. The men follow the women, and our music’s shit.

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      • Amen.

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      • doclove
        Pretty much almost everything men do is because of pussy. Usually they do things in order to get pussy. Sometimes they do things because they’re not getting any pussy and need a distraction and (partial) salve for the fact that they’re not getting any pussy. Maybe they need a physical and mental break from getting pussy too.
        ——————————————————

        Maybe this is true for some guys, but it never was for me. and I suspect it wasn’t true for a lot of guys.

        For example, think back on the things you did from the ages of around 6 to 12; especially the things you got in trouble for doing.

        Did you do them to get pussy?

        One Christmas someone got 2 sets of boxing gloves. My best friend and I set up an MMA situation using the younger kids in the neighborhood (7 and 8 year olds who were not big enough to do any real damage to each other)

        My friend and I trained our fighters, we had 2 minute rounds, it was a blast.

        Then, word got out to the parents and we got in trouble for doing something we had no idea was wrong.

        It had nothing to do with getting pussy.

        Sure, it becomes a strong motivator later, but its not an initiator of male creative and constructive behavior.

        Correlation is NOT causation.

        I got in a lot of trouble as a child simply because I wanted to do things and make things that had nothing to do with getting pussy.

        Everything my friends and I tried to do got shut down by some adult.

        Treehouses, boats, tunnels, parachutes…

        Eventually we learned that the only way to have fun and learn stuff was to go some place and do things in secret.

        Like


      • The Beatles. Discuss.

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      • It wasn’t just girls glued to the TV when they played on Ed Sullivan.

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      • Also, there have always been groups that appealed to chicks. The difference is that today almost all of them do, or at least those that go mainstream.

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      • Excellent point.

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  14. A friend of mine that runs a musical intrument shop told me that recently practically all his business comes from young girls buying accoustics, that tells alot.

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  15. on December 31, 2012 at 11:19 am Great Books For Men GreatBooksForMen GBFM (TM) GB4M (TM) GR8BOOKS4MEN (TM) lzozozozozlzo (TM)

    hey hearrtietes!!!

    da GBFM Formed a new band!!

    zlzozozlolzzloz AWEOSME!!!!!

    Like


  16. They just need some of those amps that go up to 11. One louder.

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  17. on December 31, 2012 at 11:33 am Spinster-banger

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    • The Modern Lovers did exactly two songs worth a shit- Pablo Picasso and Road Runner. Everything else was lame beyond words.

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      • How about “Dancing at the Lesbian Bar”? One of their funniest.

        As to the bigger question, the sound in an arena just sucked.

        Besides, the rise of country music fulfills the asperations of real white people now. Those suburban white boys listening to rap are just submitting to the death of their culture. Real white men wear cowboy boots. That’s another reason “Brokeback Mountain” was so deliberately subversive.

        I do miss the Grateful Dead though.

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      • Get outta here. Richman’s “That Summer Feeling” is an incredibly evocative elegy to youth and long-gone innocence. It’s a song from a better world.

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      • on December 31, 2012 at 5:30 pm Days of Broken Arrows

        I disagree. I don’t even like that early stuff. Too derivative of the Velvets. Richman was at his best when he got sentimental, like on the “Jonathan Sings!” album, which I consider his best.

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      • I believe that was when he was at his worst.

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  18. Northern Europe is still producing some very good, masculine acts, but they don’t get much play over here. A prime example is Amorphis, a Finnish hard rock / metal band, that has been around for 20+ years and is still one of the most popular bands in the Nordic countries. In 2005 they got a new frontman who has a deep, very masculine voice style that is uncharacteristic of hard rock / metal. Since then they have been churning out one quality album after another, each with original tunes that are ridiculously catchy. Many of their most loyal fans are chicks, owing a lot to their vocalist, who is probably the most charismatic frontman in the European genre right now. I dunno what it is they’re doing up there in Northern Europe that’s different from the U.S., but there are still very good bands with staying power there.

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  19. Arena rock bands are expensive to produce, arrange, and send out on tour. It’s much cheaper to get a rapper or a Bieber who depends more on aesthetic appeal than musical talent.

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  20. Dj/Producers have stolen the limelight. It’s just easier to have a one man band then to control 4-5 people in a rockband

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  21. Even the rockers are feminized now. I wrote on Pearl jam needign to add a sack and maybe, just maybe, more guys would’ve stuck around at concerts and other acts would’ve copied their ways. We replaced the angry, fighting and fucking spirit of Guns and Roses with self loathing and whining Gen X alternative bands like Pearl Jam and Smashing Pumpkins.

    http://28sherman.blogspot.com/2012/12/improving-pearl-jam-add-sack.html

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  22. I feel its our duty to reward and promote the few musicians out there who actually deliver the drunk, rowdy, “pull out your dick and fuck a stranger” rock and roll feeling. That being said: Bright Light Social Hour out of Austin Texas.

    If these guys don’t make it big, fuck the world

    Like


  23. Whuuuup Bam!!!

    Hippie Lib-tards Forced to “grow-Up”!

    http://news.yahoo.com/liberal-arts-colleges-forced-evolve-market-154449347.html

    Like


  24. Justin Bieber and One Direction-style artists are a safe bet for major labels because they are prefabricated marketing projects, not “bands” as most people think of the term.

    The more gas prices rise, the less likely it is for bands to really get out there and get successful from the ground up. I’m betting as time goes on we’re going to see fewer and fewer touring acts.

    It’s incredibly expensive to be in a band. I was in a pretty decent touring hardcore band for a couple of years and we were all broke as fuck. We sunk all of our money into buying a van, touring, recording, getting shirts printed, getting to the next city, etc. Label support was practically nonexistent. It got to the point of where it wasn’t worth it to live like a broke ass just to keep playing. We put out one full length and one EP before calling it quits. It’s getting too difficult to hold it together long enough to really “make it.”

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  25. It WAS all about sex and getting laid. Rock Starts were Alpha since the dawn. It was not until the 90s did that change.

    Seriously. Look back at the 50’s all the music was about getting laid. Frank Sinatra sang about affairs and men with no game, he just did it with elegance. In the 60’s it was all about getting laid, and same as the 70’s. Look at the Rolling Stones, everything they sang was about trying to get women, or having women. Tom Jones sang about getting women and getting laid. Led Zeppelin women. The disco-funk scene was all about getting shagged-up. Then the 80’s came and it was about getting laid and slutty women to the full extent. Men didn’t give a bakers fuck so much they wore more make-up then the women they were sleeping with, and had women dancing on nice cars and doing good drugs. And all was good.

    Then the 90’s came with the grunge movement, and all of a sudden it was cool and popular to sing about complaining. I grew up in the 90’s and I like the music that came from it, but looking at it now it’s just a bunch of complaining pussies. And spawning that, came the 00’s myspace-emo movement where the rock star was the guy crying and complaining about the girl that he loves so much he would die for on a beach in california while listening to her heart beats sync with the waves of the pacific.

    It used to be about girls and getting laid, it was good.

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    • Ah ha ha ha ha… Complaining and Pussy-footing. That last paragraph got me. Borrowing!

      Like


    • ” Led Zeppelin women.”

      You mean the Lemon Song wasn’t about lemons and Trampled Under Foot wasn’t about a car?

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    • Agree about SInatra. Led Zeppelin was about drooling on yourself while seated with vast numbers of other white-minded enthusiasts.

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    • I really like Nirvana but Kurt Cobain was a whiny little bitch.

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    • Even Buddy Holly had some badass lyrics, i.e. That’ll Be the Day and Not Fade Away.

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    • on December 31, 2012 at 6:14 pm Days of Broken Arrows

      This is a really good analysis of what happened. I’ve seen people like Gene Simmons dance around it elsewhere, but you hit it on the head.

      What you’re saying, basically, is white guys became politically correct and too “smart” (gag) to want to sing about screwing, except “ironically.” That left most of them as sexless betas to comment on things from the sideline, while the highly sexual rappers took center stage.

      It’s probably not a coincidence this happened just as political correctness was taking over college campuses (“speech codes” in newspapers) and just as the sexual harassment industry was making inroads into the workplace. This blog has also spoken about how men are “shamed” for their sexual desires now and women aren’t, the reverse of what was true in this country since the beginning.

      Music = sex. Even Beethoven. White guys were neutered in our society, therefore they stopped making music people felt compelled to buy. Enter Common, Jay-Z, and a host of highly sexualized women. End of the “rock band.”

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    • Grunge saved us from the hair band. The hair band was the first manifestation of music being made for chicks and men following. I didn’t like grunge too much, partly because of the whining quality you brought up, but I thank God for it. I couldn’t have taken much more of that glam crap.

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  26. Tastes are too atomized and only the most generic pop schlock gets universal play. Also, rock music (“rock” as an all-encompassing term here) now has multiple generations of listeners. During the 60s and 70s, it was essentially the same generation of people listening (with a slightly older but smaller 50s contingent). So The Beatles could become the voice of a generation because it was a single generation.

    But each generation wants its own, so things got progressively fragmented. But it took some time. Disco was the first major breakout of blackness into the white audience. In the later 70s when Punk was making headway, most of the dudes I went to high school with slagged off punk as garbage and continued to listen to Zeppelin and Tull and Pink Floyd and all that. But a few years later everyone was into some kind of New Wave or other and The Police ruled the world. Then you had the next generation wanting its own thing, and they took up with Nirvana and grunge. Then metal splintered into a thousand fragments. Then hip-hop comes along and fragments the white audience yet again. And on and on it went, each new genre entrant further splintering tastes within generations and further separating generations from one another.

    At this point, its virtually impossible for a single transcendent act to rule the scene the way the Beatles or Stones could in their heydays. To say nothing of the new ways we have to listen to music and the decline of radio play as a factor. It’s so fragmented now that there are huge monster hit makers like Beyonce and Katy Perry, who I know about from the internet, but I can honestly say I can’t identify a single one of their songs (though I’m sure I’ve “heard” them drifting in from somewhere). And I have no interest in doing so because I know the sort of thing it is, and I know I hate it.

    Also, let’s not miss out that fragmentation in taste is a white phenomenon. I would guess that blacks have much more alignment in their musical preferences with far less variety (i.e. whites listen to black music, blacks don’t listen to white music. How many black Mountain Goats fans out there?). God knows what Hispanics listen to.

    Finally, if you want a band that actually HAS figured out multiple new riffs and who rocks harder than anybody, check out Gogol Bordello. Though the best band in America right now is Wussy.

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  27. Niggerization killed arena rock, heavy metal, and all solid rock that was the mainstay of the white man. Sure, all those clowns and asshats in the media raved about Aerosmith & Run DMC getting together for that glorious fusion of rock and rap with Walk This Way. What BS. That was the beginning of the end. Then the NY Jew Beastie Boys with Licensed to Ill watered the seed that had been planted by Steven & Joe. As the 90’s rolled in we had the emergence of the white suburban Wigger culture that has now completely blossomed into a society of pathetic white kids preferring that ghetto drivel over hard hitting back beats and wicked guitar riffs. In fact, it appears white boys gave up learning the guitar right about the time that that little douche Eminem showed up on the seen. Bunch of faggots with your pasty white skin and bright colored Dre Beats on your ears. You’re pathetic.
    Up the irons!

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    • TLM
      Niggerization killed arena rock, heavy metal, and all solid rock that was the mainstay of the white man.
      ———————————————–

      No, its called, YOU SUCK FAGGOT!

      Once it became more important to “look like” a musician than to actually be able to play, it was all over.

      Sorry white man, but you gotta carry your own cross on this one.

      Rock&Roll was never meant to be a lifestyle because its never been anything more than an ATTITUDE.

      Like


      • Sure, Jayz is a great musician and we’re all a bunch of talentless clods.

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      • Basically. Jay-z is a genius, business and musical.

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      • When it comes to music, rappers understand a fundamental concept.

        God as Logos.

        God thought himself into existence through the use of words.

        This is why the question of “who created the Creator?” is irrelevant

        Rappers do the same thing.

        Befor the word, there was nothing.

        Creatio ex nihilio

        “By faith we understand that the worlds were framed by the word of God, so that the things which are seen were not made of things which are visible.” Scholars take this to mean that the universe came into existence by divine command and was not assembled from preexisting matter or energy.”

        King A is probably the only white person on this blog that understands this; but he keeps his mouth shut about it so all the racists can hold onto their white bullshit.

        You’re welcome

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      • LLOZOZOZOZLZLZLLZOZOZOZOL

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      • thwackattack, its hard not to like you 🙂

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      • None of that nonsense has anything to do with music.

        The only things that rappers understand about music is how to turn a drum machine on and sample some tracks.

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      • King A is probably the only white person on this blog that understands this…

        Where do I go to pick up my “Honorary Negro for a Day” certificate?

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      • Basically, no he’s not remotely talented musically.

        The reason you think that is because you don’t know anything about music yourself.

        Business maybe, monkey business.

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      • I saw an interview with Ice-T a few years ago. He said his favorite bands growing up were Led Zeppelin and Pink Floyd.

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      • Culturally, blacks (and poor southern whites) have emphasized, and often excelled at the SPOKEN word, but put much less emphasis on the written word.

        One reflection of this is on preaching styles. Black preachers are often more moving and inspirational verbally than their white counterparts, for the ability to speak is what makes you a quality reverend. Wealthier white reverends, on the other hand, gained fame and acclaim for being quality theologians.

        There are exceptions, of course, but this has been the general crux of things. This pattern derives from the immigration patterns from England to the various regions of the US.

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      • In terms of music, rappers are the last gasp of human supremacy. Computers programs are taking over all forms of music except the spoken word (rap hip hop)

        Jazz has carried this flag for a long time but Im no longer sure it can hold out against increasingly complex musical algorithems.

        I predict in the future the only way to find another human will be for a person to speak in poetic code because it will be the only thing computers can’t accurately copy.

        Computers can beat the best chess grandmasters.

        But they can’t even come close to producing a simple rap song.

        Comedy and humor are another human trait computers cannot master.

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    • lol really? Where do you think rock came from? It started with a bunch of white dudes playing blues. Why do you think parents hated their children listening to Elvis? It wasn’t because he was “dangerous” but because he was playing “nigger music”. Hell, the term “rock n roll” was black slang for sex.

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      • Finally! Someone traced the code to its source. I went from genuinely amused to slightly concerned that – in what is generally a highly informed commentary; no one was pointing to the fact that ‘Rock & Roll’ was originally the realm of the black man.

        As usual blacks grew bored of it and moved on…whites invested in it and evolved it to something different altogether.

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  28. Oh come on. The real cultural heritage of the white man isn’t in literature, it’s in music*. I’ll take Anton Bruckner over these idiots any day.

    *and in science

    Like


  29. I think most of the people here would enjoy Von Thronstahl and Triarii. 😉

    Dressed in black uniforms…

    (Politics aside, the bands are very good.)

    Like


  30. Cock rock is for women and dudes with no taste.

    Modern pop music is for women and dudes with no taste.

    Gee, so much has changed.

    Like


  31. on December 31, 2012 at 12:39 pm Ancient Thinker

    Interesting, considering that rock originated in black music. Numbnuts.

    Like


    • If you fail to see the difference between the truly talented black musicians of days gone by like Miles Davis and some wannabe punk nigger talking into a mic to a prerecorded music track with zero talent, then you must enjoy the shit that passes for music today.

      Like


    • Well, Celtic folk had a huge part in the genesis of rock.

      So, “we beez inventin’ it an’ sheeyit !” ? Not really.

      Like


    • Yeah… if it wasn’t for the three-chord inanities of Robert Johnson and Co., we’d never have had Pet Sounds, Revolver, Who’s Next, Quadrophenia, Dark Side of the Moon, Days Of Future Past, Thick As A Brick, The Lamb Lies Down On Broadway, Houses of the Holy, Born To Run, etc., etc., etc., etc.

      LLOOZOOZOZOZOZLZLZLZLZLZOZOZOZOZLZLZL

      Like


      • Floyd and Led Zep both had huge blues influence and would disagree with you about Robert Johnson. Yes, European chords and song structures were essential, but black jazz and blues rhythms are essential to rock.

        I notice you didn’t mention the Stones, AC/DC, or any southern rock.

        Like


      • “Yes, European chords and song structures were essential, but black jazz and blues rhythms are essential to rock.”

        True, but that doesn’t mean, as so many black jazz and blues artists imply, that blacks invented rock.

        Like


      • I guess the etc., etc., etc. didn’t stretch, eh?

        AC/DC is a lot of thumpin’ fun, but I don’t hear any blackness amongst all that white energy… and it’s not really “good” music, is it?

        The best work of the Stones from Beggar’s Banquet and Let It Bleed don’t make one think of negroes… their early weak-wannabe stuff, barring the singles, and their later effete soul crap, well… okay, there’s your “black influence”.

        Southern rock? Meh.

        Like


      • Greg,

        not giving black people credit for rock and roll is like not giving Germans credit for the space program.

        Luckily, thanks to the web, anybody interested can find recorded interviews where all your white R&R heros openly admit they STARTED OFF copying black musicians.

        What did white musicians contribute to rock and roll?

        Smashing your instrument at the end of the show.

        Like


      • All modern popular music goes back to Blues, which is basically pentatonic call-and-response Negro songs performed on European instruments.
        White people added melodies, lyrics that go beyond ‘I woke up dis mawnin’ and the notion that a guitar does indeed have frets above the fifth.

        Like


      • “What did white musicians contribute to rock and roll?”

        Answer: the rock and roll. Rock may be derivative of blues, but it is not blues. Blacks contributed very little to the progression of rock *as rock*. Blacks preferred to whine whites were stealing from them rather than play rock themselves and contribute something to it, or take rock in another direction like metal did.

        Like


      • When whites were developing rock and roll (and future generations of white rockers were in their incubation periods), blacks were doing Motown (admirable) and heading into the inanity of disco in the ’70s, followed by the first true wave of whiggerdom.

        Like I said, New Wave was a white revolt against disco.

        Like


      • Ah yes, Blondie’s revolt in their prime were tunes like “Heart Of Glass” and “Call Me”, both of which got heavy disco play and are classics now.

        Like


      • Congratulations… you found a few exceptions. I guess you want to add a few neener-neeners about synth dance pop as well, e.g. Erasure, Human League, Heaven 17, Bananarama, etc.

        Meh.

        Like


      • And on that subject, you can mention Blondie’s “rap”… Rapture was listed by some as the first “rap” song to hit #1… LLOOZOZOZOZOZLZLZLZLZOZOZOZOZLZLZLZL

        Like


      • There was a brief period in the late ’80s and early ’90s when you had artists like Living Colour (black) and Lenny Kravitz (mulatto) putting out music that was as rock-driven as it came. Yet at a time when hip-hop was beginning to assert itself, I guess they never stood a chance.

        Like


      • Living Color and Kravitz had the problem that as rock artists they’d never be accepted by blacks. Whitney Houston was reported to have been deeply troubled by the phenomenon.

        MTV mostly dropping rock video in favor of rap and hip-hop (before they dropped music video entirely) certainly didn’t help them.

        Like


      • Yeah, yeah… everybody pays their lip service to hearing the three chords and catchy rhythmic beat… Brian and Carl Wilson could do Sweet Little Sixteen and variations thereof… Chuck Berry doesn’t come up with In My Room, Caroline No, or God Only Knows in a million years.

        Performance-wise, even take something direct, like Sonny Boy Williamson’s Eyesight To The Blind and then listen to how The Who made it white and right… nearly a completely different song, though it’s the same chords and the same words.

        THAT’S the difference between “influence” and true composition and/or performance, white-man style.

        Tennessee Ernie Ford sang Shot Gun Boogie in 1948. Guess a coupla crackers from the hills should take a bow for The Immigrant Song, eh?

        Like


      • not giving black people credit for rock and roll is like not giving Germans credit for the space program.

        And giving black people credit for the sounds of the aforementioned albums (which were but a very small group of examples, the list could go on and on) is like giving the guy who invented the slingshot credit for the moon landing.

        Like


      • Greg, what the hell is this?

        Ive never seen this movie, I found out about it from VNN.

        What would I learn if I watched the whole thing?

        Like


      • That’s a cute little movie about a working class group of kids in Ireland that wants to bring “soul” to Dublin. “We Irish are the blacks of Europe”, says the entrepreneur that wants to get things going.

        It’s very funny, good performances by all, and there’s a nice array of sixties Motown numbers done by these kids. The movie is recommended.

        But it has nothing to do with rock n’ roll… it’s merely some white blue-color kids showing they can do Motown at a respectable level.

        Like


      • Actually wasn’t Jimy Hendricks the first to do that at Woodstock?

        Like


  32. I’ve said before on this blog that I think everything on the radio is beta now, even the rap is just marketing. I don’t even bother anymore. I bought a used iPod and put course lectures on it. Funny enough, one of the things I study is music, knowing your modal from your bop is good for gaming SWPL girls in martini bars. It helps with my Spanish too.

    You let radio execs program what you listen to for an hour or more a day, you let them program what you think. And you start to play by their rules, not a good thing.

    Like


  33. I think this is actually just a common pattern for all art. There is some sort of advancement is a medium, whether its music, movies, or anything else, which is followed by an explosion of creativity. This is then followed by a deluge of formulaic crap. Then you generally get some sort of evening out. For example, a hugely disproportionate number of “greatest of all time” movies came out when the industry was very young. And with each major advancement the pattern follows. With movies you can see that with the advent of sound, color, and cgi. So with music, its just following the pattern, because there really hasn’t been anything fundamentally new created in decades.

    Like


    • Booch Paradise
      I think this is actually just a common pattern for all art. There is some sort of advancement is a medium, whether its music, movies, or anything else, which is followed by an explosion of creativity. This is then followed by a deluge of formulaic crap.
      —————————————————-
      Yes, this is what happens when the jews take over an art form or craft. They are masters of selling derivatives and enslaving musicians through legal trickery and sharp business practices…. Every new musical form is an attempt by artists to shake off this jewish yoke.

      Arena rock, super groups, world music… are all jewish inventions to more easily extract wealth from the goyim.

      Like


  34. As far as I’m concerned other than a few 90s bands….good music ended in 1989.

    Like


    • Listen for the transition from 80s to 90s music? What is the key distinguishing feature?

      It’s the feminization of the male voice.

      The glam boys at least sounded like men. The pussy rock of the 90s — beginning probably with Billy Corgan’s falsetto in the Smashing Pumpkins — was the opposite of glam. “Grunge,” beards, manliness, singing about the most faggy possible things. Eighties rockers looked like trannies, but delivered powerful voices yelling about hard living.

      The 90s gayness devolved into the turn of the millennium little-boy sound of Weezer and Blink 182. Like the culture at large, manliness was purged, finding outlets on the fringe in dark metal, the apogee achieved in the pure distillation of anarchic rage in my favorite band of all time: Anal Cunt.

      http://www.darklyrics.com/lyrics/analcunt/itjustgetworse.html#27

      Don’t bother listening to them. You’ve heard one “song” you’ve heard them all. But the lyrics are diverse and very socially relevant.

      Matt

      Like


      • Never in a thousand years would I have guessed King A was into Anal Cunt.

        Seth Putnam was really the originator of the 4chan mentality and humour.

        Like


      • You PC fucking faggot
        Why don’t you throw it away
        I’ll never recycle
        There’s nothing you can say

        Recycling is gay

        My trash can is filled
        With plastic, cans, and glass
        If you tell me to recycle
        I’m going to kick your ass

        Recycling is gay

        Like


      • Spend an afternoon with these poet laureates. You will be rewarded. Here, for example, is their paean to the “Men Going Their Own Way” movement.

        Deadbeat Dads Are Cool

        Why waste your money on that fucking brat?
        You didn’t even want to have it anyways
        She was too stupid to get an abortion
        So she should be stuck paying the bills

        [Chorus:] Deadbeat dads are fucking cool [x4]

        Don’t give that stupid cunt a cent
        Don’t pay that fucking brat’s rent
        Don’t pay money for it to eat
        If you’re cool, you’ll be a deadbeat

        [Chorus]

        Like


      • Listen for the transition from 80s to 90s music? What is the key distinguishing feature?

        It’s the feminization of the male voice. [etc]

        King A wins the thread so far, clearly possessing a keen understanding of 80s and 90s pop music.

        Several other points are in order:

        @taterearl:

        As far as I’m concerned other than a few 90s bands….good music ended in 1989.

        Agreed in theory. 80s metal was just so damn good that it’s been amazing to me that nothing paralleling it has been made since. As far as I am concerned, the last really good (non-obscure Scandinavian) pop album was released in 1991 – and that leads to the next point: let’s remember that strictly speaking, “80s” music ended in the early 90s. Not only was 1991 a hard rock banner year, but Wayne’s World (the movie) came out in 1992.

        Something else: lest folks continue to misunderstand, let’s clarify right here: glam bands wore faggy makeup as a way of connoting alpha status. It was their way of saying, “I am SO DAMN ALPHA that I can dress like this and PEOPLE WILL LOVE IT- so fuck you.”

        Last point: if you didn’t like 80s metal you are a huge fag. Even Homestarrunner acknowledged this.

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  35. “fun. has a couple of catchy tunes, but does anyone seriously think they’re going to pump out one stellar album after another, for years on end, like Zeppelin or The Beatles or even Nirvana did?”

    Two things: a good number of Beatles albums, particularly the ones released prior to Rubber Soul, are full of mediocre filler songs. (Note: I’m not saying the Beatles are shit, only that a decent amount of their catalog isn’t particularly good.) To me, The Beatles string of stellar albums goes from Rubber Soul to Let It Be, and even then they still had a shitty album (Yellow Submarine) and a mediocre album (the white album). Thus, their string of stellar albums consists of six albums across six years.

    Second, of all the current hit artists, fun. probably has the best shot of pumping out a string of good albums. Their first album, Aim and Ignite is better than Some Nights, and both albums succeed in large part because of Nate Ruess’s songwriting abilities, which have been generally excellent since his days in The Format. Andrew Dost and Jack Antonoff are both really good at playing the piano and guitar, respectively, and though their compositions aren’t particularly complex, they are pretty solid. Thus, I think that fun. could crank out two or three more stellar albums before disbanding, retiring or declining. As such, this would give fun. four to five stellar albums, which is comparable to some of the legendary artists.

    But I suppose we’ll have to wait and see.

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  36. I’m surprised you didn’t point out the amount of market share stolen by hip hop and r&b stations, which more and more white people listen to every year.

    Like


  37. The premise is wrong. It isn’t a question of where “arena rock” went, it’s a question of why society ever became so obsessed with such a few musicians (!!) in the first place.

    In other words, the “arena rock” era was unusual. Now we are getting back to normal, and have stopped obsessing over small groups of musicians.

    As for why arena rock happened, it happened because of BROADcasting. There were only a few channels in every city. Now that we have the Internet, the musical market has returned to something closer to what existed before radio and TV.

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  38. One of my favorite bands did produce a great music video on how to game sluts. My favorite part was the carousal.

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  39. The changes are technological.

    Digital recording has improved leaps and bounds in quality over the past two decades, and I’m not overstating things when I say it is orders of magnitude cheaper than analog recording.

    There are going to be fewer big acts because the actual production of music has become decentralized. Start playing enough live shows to get a decent following in your local scene, get a Kickstarter page up to raise $5,000, promise everyone who gives you $10 a digital download of your next album and you can put out something decent. Probably won’t have enough scratch to get it mastered by a really good engineer and you’ll need to produce the release yourself, but still something that sounds palatable to the general public. That wasn’t possible fifteen years ago.

    Add that to the distribution of digital media over the internet and the only unique thing one of the old major labels can offer is celebrity to a select few.

    The public needs the old gate keepers less and less, because large physical distribution networks and powerful broadcast antennas are no longer required to reach an audience.

    As far as rock goes, it used to take three to five guys to get a big sound. Now you need a laptop. Collaboration, interplay and the resulting physicality of the music suffers, but there is the undeniable appeal of not needing to find competent band mates and schedule practices. Not sure how the future of rock shakes out.

    Might wind up in its own cultural ghetto like jazz. Given the premium placed on its live form, might be the closest parallel to rock. My guess is it probably takes a weird detour abroad as countries who love American culture hold on a bit too nostalgically (Volbeat would be a good example, at times ripping quite competently and at others drifting into cringeworthy schlock, often within the same song).

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  40. They are still around and selling out wherever the play…mostly the prog rock types, Queensryche, Rush, Styx, Kansas, and especially Iron Maiden- all the bands from the 70’s and 80’s…anything else is just a fad or lousy musicians.

    Like


  41. Where did the arena rock bands go?

    While we’re at it, where did white afros, New Wave, trucker hats, pornstaches, and Members Only jackets go?

    Oh, that’s right. Portland, Austin, and Williamsburg.

    Irony on irony on irony. The death rattle of a culture.

    Like


  42. on December 31, 2012 at 2:02 pm Anti Philistine

    I bet none of you have ever heard of Keith Jarrett let alone heard him. He is the greatest musician of all time. Look him up on youtube. Right now.

    Like


  43. Go to any music open mic…like the Iota Club in Arlington, VA…and you will hear some very talented musicians, along with a lot of whiny dorks who think we need to know about their heartfelt cause. It’s free…so you need to put up with it.

    Like


  44. Sign of the times: as women’s hypergamy takes center stage in our culture, the romcom dies.

    http://www.vulture.com/2012/12/can-the-romantic-comedy-be-saved.html?MID=TWITTER_NYMAG

    “There are many execs who believe that audiences are rejecting these light romances because they are increasingly unrelatable given how dating and courtship have morphed in the 2010s”

    Yes, the concepts involved in a romcom would not be understood by today’s females who think that gulping car bombs and getting drunk fucked by whatever slob they feel is alpha at the time, happens to be the height of romance.

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  45. Rock is dead at the moment. It’s putting out awful music. This always goes through cycles. Meanwhile indie rock is blowing up, I’m seeing shows almost every week in LA. Lots of talent out there and they fill the shows with girls, selling out in seconds.

    If you think this type of music can’t fill stadiums, etc, ask the black keys, mumford, etc. or go to Coachella and watch AEG laugh its way to the bank on it every year.

    Just big guns and roses type shows are dead. Maybe this is for the best.

    Like


  46. For pure ballsiness, nothing beats Bix Beiderbecke and the Wolverines in such raucous jams as “Mississippi Mud” and “I’m Coming, Virginia”. He wrote the script for the tragic white pop star which has yet to be surpassed.

    Face it, if you can’t partner dance to it, it’s insufferable crap. That is the reason for “arena band” decline, to which “Disco” was a necessary and under-appreciated response. Most of your grimacing guitarists and their co-worker’s petulant posturing could be cured by a smack upside the head with a sockfull of manure.

    Like


    • Face it, if you can’t partner dance to it, it’s insufferable crap.
      —————————
      As a classically trained musician I’ll tell you the opposite is true.

      Not necessarily that it’s crap but most people have tin ears and no knowledge of music so they can only hear the beat. That’s why most music today is geared toward dancing.

      That is entertainment, not art. Music as an art is all but dead.

      Most people don’t realize that most “songs” are just very cliched chord progressions with two melodies (verse and chorus).

      Usually the chord progression is ripped off some older song and nobody can tell and the melodies are pathetically simple and unoriginal.

      That’s crap for you.

      Like


    • And New Wave was the much-needed antidote to the beginning-of-the-end negrification of white music culture that manifested itself as “disco”,.

      Like


      • You could dance to “disco” back in the day and you still can. New Wave is about surfacting in hot tubs.

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      • As I said, negrification.

        Like


      • New Wave never really made much of a heavy impact in the US and especially on the charts, and for the most part it was mainly confined to the musical acts on “Saturday Night Live”. The Cars broke out big in ’78 with their debut album and Gary Numan had that monster hit with “Cars” in ’80, but the pop chart consisted mainly of easy listening Air Supply-esque pop, rock, funk and lingering vestiges of late ’70s disco. It then morphed into Brit synth pop with Duran Duran, Culture Club, Eurythmics, etc. Contrary to the wishes of mostly White music snobs, disco never died; it evolved into what we now know as Hi-NRG, freestyle, house, electro-funk, etc. And you can still dance to it and feel good.

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      • Fair points, but you neglect the fact the Tom Petty, Elvis Costello, Joe Jackson, the Police, and even your mentioned Eurythmics and Culture Club (along with dozens of other artists/groups that became somewhat mainstream) were at first considered part of New Wave.

        Like


  47. Prosperity? What the …? Other HBD commenters, such as Sailer and Half Sigma, have noted for years that the defining mark of our time is the disappearance of good-paying jobs for white males. If, as someone recently said in connection with describing California, that we now live in an Edith Wharton-style economy of princes and chumps, doesn’t that explain the death of arena bands? Arena rock was the expression of a widespread middle class, and implied optimism about the future. But multiculturalism means nothing less than, “let’s starve the white guys.”

    Like


    • WHAM’s (white heterosexual able-bodied males) feel guilty and have ceded cultural ground. You’ll hear hip hop all the time in rock or country bars, but just try playing Toby Keith in a downtown club.

      Like


    • Arena rock was the expression of a widespread middle class, and implied optimism about the future.

      This is a great point. The reason 80s rock was alpha is that not only was it about girls, drugs and partying generally, but it was done with an optimistic attitude towards these things.

      Like


  48. The symphonies of Anton Bruckner are the anthems of the white race.

    Like


    • I’ll throw in Sonata in B minor by Franz Liszt and any of the Rachmaninoff concertos.

      The problem is that in order to appreciate good music, you have to have musical training just like the kind needed to read great literature.

      Most people are stuck at the kindergarten level of musical ability, that is why even rock is too much for them now.

      The songs today are the equivalent to musical nursery rhymes.

      Like


      • Sitting on your ass and listening attentively are great ways to meet chicks.

        Right up there with holding hands at “art museums”.

        Like


      • It doesn’t have to be either/or, chum.

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      • The purpose of listening to music is not meeting chicks.

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      • Beethoven symphonies, too, any of them. White people pretty much shaped music as we know it (see also: contributions to music of Schutz, bach, beethoven, mozart, chopin, rach, liszt, etc etc all the way to Schoenberg and that artistic blight John Cage. As you mentioned, most people just don’t know their (musical) history enough to recognize what derivative sounds like, and haven’t been exposed to the really innovative stuff.

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      • retrophoebia
        Beethoven symphonies, too, any of them.
        ——————————————-

        Beethoven was a nigger; at the very least he was dark and of questionable racial hygine (what the white people of the day said)

        In addition, compared to Mozart and Brahms, his music is more angry which is like nigger music

        Like


      • Geez, again with the Afrocentrist bullshit? Nobody takes that claim seriously, and the Jamaican Joel Rogers who first proposed it also provided many guffaws by claiming negro genes in Goethe, Haydn, Moses, Lincoln, Jefferson, Robert Browning, et. al.

        Like


      • on January 1, 2013 at 12:32 am Entitled DOS user

        You need experience, not necessarily training. Your faculty of perception needs to be a developed one, and probably the best way to improve musical perception is to listen to a lot of classical music as a small child. You can still improve a lot if you begin later but I believe it will be progressively harder the older you start. I speak as someone who started to pay attention to music as a sixteen year old and used to think music was a waste of time. At around nineteen I began to routinely expose myself to the boredom of listening to music I didn’t understand at all, and literally witnessed the dramatic evolution of my perceptual capacity over the years, which I predicted would occur (high school psychology + some original thought). Improvement in simply being able to actually hear (more fully) what you are listening to as well as being able to follow what you are listening to (i.e. to form the correct patterns of it) are what I mean by improvement in perception. Learning to form the correct patterns sometimes requires consulting the sheet music, but such cases are the exceptions that prove the rule that you don’t really have to know anything to appreciate classical music in general. (You may call what I put myself through “training”, but as with learning languages, small children learn naturally through spontaneous experience while adults must exert themselves.)

        The analogy to “great literature” is well intentioned but not very enlightening. Children can learn to love Mozart before they learn to read. Having to understand esoteric not to say pretentious allusions in a literary work in order to fully appreciate it will always be an elitist requirement, unrelated to the requirement to possess a certain basic level of perceptual ability. Most adults have personal experiences through which to relate to the characters and so on in a story, but few have much musical experience beyond having been conditioned to expect unvarying volume levels and an audible beat. I was raised in an environment equivalent to perceptual isolation as far as music goes, and I doubt I’m raising too many eye brows if I claim that people who don’t appreciate the classic composers typically come from a similar, or not much better, background in that respect.

        It’s not that people aren’t taking enough university courses on harmony and the sonata form, it’s that people are living in what amounts to sensory deprivation during their critical years of development, and in most cases the damage is lasting. That is reflected in the kind of “music” they end up creating and supporting, and the often extra-musical motivations driving their purchasing behaviour and so on.

        P.S. Good thing I copied this before sacrificing it on the altar of WordPress Spam Filter, which I have read often flat out deletes the comment instead of sending it to the spam folder. WordPress knows about the issue of comments being deleted without notification but is doing nothing about it. I wouldn’t be surprised if it were a feature and not a bug. The system determines spam in strange ways, affected by what bloggers have flagged as spam, so that even when bloggers idiotically flag comments they don’t like as spam, certain details are used to determine spam in every other blog as well. It’s really a crappy system beyond words and I’d advise every blogger to boycott WordPress. Fortunately, I have a dynamic IP address so if the WordPress crazies flag my current one as spammy, they won’t be harming me much.

        Like


  49. Some sell Grunge short. Wach some early 90s live performances on Youtube. It was in some ways the high point of white popular culture.

    Like


  50. Great moment in The Band’s Last Waltz — at the beginning of the vid — when Robbie Robertson tells the story about Ronnie Hawkins giving the group a job. “What does it mean, what will we do.” “Well son, you won’t get paid much, but you’ll get more pussy than Frank Sinatra.”

    Like


  51. I did a piece a while back on the death of rock. In my view, the biggest reason is the decline of critical mass of young White people. The Mexivasion has created plenty of people interested in narco-corridas, and so on, but they’re not really into rock and roll.

    To get started, rock bands need a critical mass to play for: a young White audience seeking distinctive youth music, and supporting the critical first stage of development, the small clubs, local gigs, that allow a small group to grow to a big one. Outside manufactured boy bands and pop tarts no one starts huge.

    Like


    • Whiskey, where do you live in the US? Go to Brooklyn and you’ll find plenty of these small clubs playing indie rock local bands every night, many variations. Same in Austin, TX. It’s all over the place, but they don’t make a big hit because the style sucks, and the tunes suck. Ultimately the only way a pop song can become famous is if the melody is catchy. At least Bieber and co. have catchy, if unoriginal and lame, tunes. Rock music mostly just sounds tedious and confused. Elvis and Bobby Vinton made good catchy tunes.

      Like


      • Yeah, but they are playing to trust fund SWPL hipsters. That doesn’t have an audience outside of these bubbles.

        Like


      • I live in SoCal. For example, the Cuckoo’s Nest in Costa Mesa, the Golden Bear in HB, Bogarts in LB, a whole other live venues for groups like, well No Doubt (not my band but they came out of OC) and the Blasters and Wall of Voodoo and so on, beyond just gigs at UCI and Fullerton and so on.

        What really makes a band is the ability to play live, a lot, in front of various people and experiment on what works for people in moving them and what doesn’t. Its true that touring is very, very hard, but even before that you need a local scene. There’s nothing like that in SoCal anymore, or Minneapolis (home of Husker Du and the Replacements) or really anything beyond hipster trust funders out of the superzips. What is really shocking is how robust the music scene was in SoCal and how abruptly it ended, like a light switch, in the early 1990s.

        Like


    • At least the Latinos have a dance beat. And have you seen some of the hotties on “Caliente”?

      Like


  52. With the collapse of the white man, rock&roll is going right back to where it came from:

    broke ass niggers.

    Like


    • lol @ “collapse of white man,” you niqqas are taking this stuff too seriously; your broke ass can feed itself only because the white man hasn’t collapsed. When he does, you’ll know it, niqqa; at the very least, you’re going to start getting rickets from vit. D deficiency living in cold weather.

      Like


      • typhon
        at the very least, you’re going to start getting rickets from vit. D deficiency living in cold weather.
        ————————————-

        Sorry bro, but Im carrying a few white genes for just such a scenario.

        You can’t beat a nigger with Hybrid vigor.

        Now about that ozone hole…?

        Like


  53. Consider that when Getz/Gilberto came out in 1965 it was a huge hit in the US. Can you imagine the same happening today? Bossa Nova is about as refined as pop music can get, but that has no place today, it’s as strange to modern ears as Mozart is. Let’s forget about classical music, pop music by itself has degenerated badly very quickly. Same for movies.

    Old rock music pretty much sucks too though. Elvis was good.

    Like


  54. on December 31, 2012 at 4:11 pm Lucky White Male

    CH – you’ve got a point that men are losing their edge due to dopaminergic distractions like porn.

    GETTING PUSSY, or sublimating sexual desire, is the real reason why so many great works of art, let alone great rock, was made. It really has nothing to do with the music, per se. In other cases, the sex drive is sublimated into

    Interesting that Sigmund Freud is on record, historically documented as saying, “We are bringing the plague to America.” What was the plague? The idea of “Sexual Release”. Freud was trying to sabotage the masses, in order for elites to better control them.

    http://www.theoccidentalobserver.net/authors/Darkmoon-Sex-Plague.html

    A man who has too much sexual release is eventually a drained man. He loses the ability or motivation to produce anything constructive.

    If you do not masturbate or don’t have a sexual outlet, guess where that sexual energy is going: into creating something that is actually constructive, and creative.

    On Michaelangelo, for example, there is good evidence he was a homosexual if not bisexual. You do not create stunning, stupendous masterpieces carved out of marble, or the heavenly Sistine Chapel if you are a placid man inside.
    No, that is the outcome of strong undercurrents of sexual tension inside, sublimated into greatness.

    Gene Simmons of KISS said the ONLY reason why he wanted to become a rock and roll star had nothing to do with the music. It was to get pussy.

    He says he couldn’t care less about the music: he knows its a joke, but he gets laid (at least 2,000 women plus recently married to the Playboy Playmate Shannon Tweed)

    George Carlin said most men got into comedy or Hollywood NOT to get rich and famous per se… but to get pussy. Getting rich and getting famous leads to the pussy.

    Conclusion: It’s clear that “sex” is a huge thing in most men’s lives. You have to make “Sex” work FOR YOU as a man, and not against you: how to manage it, and control it.

    Otherwise, your cock owns you, rather than you owning your cock and staying in control.

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  55. I suppose this ought to be posted by now:

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  56. Sh*&%! did my comment get eaten??

    I think TicketMaster also has something to do with inflated arena rock ticket prices.
    In the early 80’s arena shows were well under $15. Within a decade the price had doubled and even tripled, right around the time 60’s/70’s bands were doing their reunion shows. (I thought it sucked at the time, but I guess making Yuppies pay $70 for an Eagles reunion kinda makes $ense.)

    The rise in arena ticket prices over the last 30 years far exceeds the rate of inflation. (Kinda like the rise of college tuition with diminishing returns, but that’s another subject…)

    Anyway, with technology and internet today, record companies are now the smallest obstacle to bands getting their music out. Corporate labels don’t mean shit anymore.

    So what’s the excuse for so much shitty music nowadays?

    Probably more than one reason, but people don’t have the attention span to take the years learning an instrument. Let alone, do their homework; i.e., like a band? Well what were *their* influences/peers? Dabble with different genres, not because you necessarily like them, but it gives you a better ear, and thus a better player. Etc.

    Actually, another theory is the unfortunate downside of democratization of technology that happens every couple of years. More people able to put out shit = more shit.
    (This also happened in the 80’s/90’s. CDs were novel for a while, but when everyone was eventually able to burn their own, the mailboxes of music rags and clubs became glutted with crappy, crappy bands’ CDs.)

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  57. Grizzly Bear played Radio City Music Hall, and most of them don’t even have health insurance. (do men think that Grizzly Bear is “beta”? haha)

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    • on December 31, 2012 at 5:32 pm Days of Broken Arrows

      The guy that fronts the band is gay, so the alpha-beta thing is irrelevant. He named the band after a boyfriend who was apparently very hairy.

      As for whether liking the band is beta…hm…I think most indie music from Brooklyn is beta bait for hipsters.

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      • Yeah, I meant to ask whether liking Grizzly Bear is beta. Do you like Grizzly Bear? Can musical preferences be alpha or beta? Or is it alpha not to care? I think I remember the author of this blog claiming that he’s into Arcade Fire. If anything, it seems like men who are into bands like Grizzly Bear and Arcade Fire (or their 2012 equivalents or whatever) get hotter girls….but I live in a very insular environment, so I have no clue whether that’s universally applicable. Who exactly is the average reader of this blog?

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      • I seriously don’t understand the Bear fetish gay men have. I don’t even think lesbian dykes-on-bykes comes even close.

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  58. as a musician i can relate.. i do all, from rock shows to djing… you dont know how difficult is to get band mates that are in it for the music not for the pussy? FOR THAT WE HAVE “GAME!”… well me .. not yet.
    any words about all those 12 year olds in youtube that are totally in love with classic rock or vintage new wave and just cannot stand the silly pop shit of today?

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  59. Starting in the mid-90’s, teenaged girls spent more money on entertainment than any other demographic. There were always groups like the Backstreet Boys and Spice Girls, but before the 90’s it was easier to avoid them.

    Prior to that, men had a bigger say on what became big (although there was never a monopoly). Although chicks eventually got into Led Zep, GNR, or AC/DC, it was guys who put them on the map. Men chose alpha rock, and the chicks tagged along.

    Furthermore, guys are more likely to recognize and appreciate actual talent on an instrument. Chicks don’t even notice if there are instruments or not as long as they like the beat.

    Now, the chicks have so much say in what’s popular that what guys like neve has a chance to be heard by the mainstream. Rihanna takes up so much airtime that a new Van Halen would never stand a chance.

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  60. Watch the pbs frontline “marketing cool.” It describes how mtv changed the game. Consider this idea: the breakdown of the family structure left more kids with disposable income due to parent guilt, latchkey kids, and expanding new markets for youngsters. MTV went straight after the kids asking them what they wanted. It is not surprising that most of the bubblegum tripe is aimed at 14 year old girls these days. There are, of course, some good acts. But the unimaginative junk that is selling now seems to be aimed at bratty little girls.

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  61. […] Cheap Chalupas takes a breather from undermining the ethnic cohesion of his country of birth for a glorious experience of authentic face-stuffing to link to a Pitchfork story about the pittances that rock stars get paid today. In the comments, “lords of lies” responds with an interesting take on why there are so few bands today who have any staying power beyond one or two radio-ready songs. the era of the long-lasting arena rock band with scores of top ten hits is over for four reasons: 1. the low-hanging fruit of novel guitar riffs has been picked clean. it’s just much harder now to compose more than one or two catchy tunes that don’t blatantly rip off songs from the past, autotune to the contrary notwithstanding. how many ways can the twelve-note scale be arranged? depressingly, there may be a limit. plus, the ready availability and replayability of forty year old rock songs means that current artists can’t plagiarize the past without getting called on it. this was perhaps not so much the case for past artists, who could safely crib from older songs that weren’t subject to so much radio or internet replaying. 2. the incentive structure has changed. a dude who Source: Chateau Heartiste   […]

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  62. Ahh yes, the days when music was not faggot:

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  63. I actually prefer my music to not be appealing to women.

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  64. Rock is dead because rock sucks, culturally speaking. “Meet the new boss, same as the old boss.” Do you think Townshend senses the irony? Rock used to be against “the system”……now rock IS the fucking system. Look at the 12-12-12 concert – a bunch of 60-70 somethings onstage kissing cop ass. Give me a fucking break.

    “Fuck you hippy, you ARE the system.”

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  65. Oh, I’m a good old Rebel
    Now that’s just what I am.
    For this Yankee nation
    I do not give a damn.
    I’m glad I fought agin her,
    I only wish we’d won.
    I ain’t asked any pardon
    For anything I’ve done.

    I hates the yankee nation
    And everything they do,
    I hates the declaration
    Of independence, too;
    I hates the glorious union-
    ’tis dripping with our blood-
    And I hates their striped banner,
    I fought it all I could.

    I rode with Robert E. Lee,
    For three years, thereabouts.
    Got wounded in four places
    And starved at Point Lookout.
    I caughts the rheumatism
    A-camping in the snow.
    But I killed a chance of Yankees
    And I’d like to kill some mo’.

    Three hundred thousand Yankees
    Lie stiff in Southern dust
    We got three hundred thousand
    Before they conquered us.
    They died of Southern fever
    And Southern steel and shot.
    I wish they were three millions
    Instead of what we got.

    I can’t take up my musket
    And fight ’em now no more,
    But I ain’t going to love ’em,
    Now that is certain sure;
    I don’t want no pardon
    For what I was and am,
    I won’t be reconstructed
    And I do not give a damn.

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  66. on January 1, 2013 at 12:30 am The Other Jim

    “Starting in the mid-90′s, teenaged girls spent more money on entertainment than any other demographic. There were always groups like the Backstreet Boys and Spice Girls, but before the 90′s it was easier to avoid them.”

    It’s not just music, it’s television, movies, and Western Culture in general.

    Now those teenaged girls have grown up and watch tv shows like Sex & The City, X-Factor, America’s Got Talent, Dancing with the Stars, Grey’s Anatomy, Ally McBeal, the bachleorette, and countless other crap. The only TV I can watch without vomiting due to the omnipresent display of female driven emoting is 40+ year old movies on TCM.

    The movies are pretty much the same with Rom-Coms, Vampire movies, and even action movies where the hero is now a ass-kicking chick-as farcical as that sounds. In the prequel to John Carpenter’s ‘The Thing’ they made the hero some chick instead of some cynical loner Kurt Russell was great at portraying.

    I look upon the culture of the West produced nowadays and there’s really little of it I relate to.

    Modern movies, literature, and books is all about the women now.

    On the bright side of all of this, in my search for culture that I can relate to I’ve really enjoyed rediscovering a huge wealth of art, literature, music, and movies of Western Civilization.

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  67. on January 1, 2013 at 12:54 am Matt Strictland

    There are a lot more choices than there used to be, no doubt this is a big deal.

    Instead of constant repetition of a few big hits. I can find all sorts of things Sophia Jannok or Tyr or all kinds of nice things. Of course for those hoping for a big return, this sucks.

    Also money is limited, unemployment high and a lot of people would rather spend the money elsewhere. At least in my neck of the woods, White people (the normal customers for Arena Rock) seem to be swarming video game retailers. I suspect hats cut in too.

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  68. on January 1, 2013 at 2:10 am Entitled DOS user

    The host should read this re the vanishing comments:

    http://growmap.com/akismet-deleting-comments/

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  69. Is Maroon 5 a arena band?

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  70. Hip-hop attitude and culture, an anti-white male society, and teenage girls ruined music.

    Thanks assholes.

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  71. men, in a word, are being medicated into comatose feminized stupor by dopaminergic distractions.
    ————————————–
    The economy makes it very hard for the average man to extract status out of working to signal to a woman that it is time to start a family.
    from
    http://ontology.buffalo.edu/smith/courses01/rrtw/Minogue.htm

    by the great Kenneth Minogue

    The key to modern Western civilization is its openness to talent wherever found. The feminist demand for collective quotas has overturned this basic feature of our civilization. The crucial point is that the character of a civilization is revealed by its understanding of achievement. European civilization responded to achievement wherever it could be found. To replace achievement by quota entitlements is to destroy one civilization from within and to replace it with another. We are no longer what we were. The problem is to explain how the West collapsed.
    ———————
    To me it seems especially ironic for Kay Hymowitz to not realize that different societies have had different methods of determining achievement and then demand that we man up. The goal of feminism was to make women status independent of men and at the same time colonize male spaces so that when there were dirty and unfeminine jobs there would be men around to do them.

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  72. Arena rock is neither particularly radio nor playlist friendly. Except for perhaps a very few brief moments, it was always an artifact of the eras dominant distribution format, the lp album. People would hear the one to few genuinely catchy hits on the radio, buy the album, and play it in its entirety. This meant even non-immediately-catchy tunes to gets lots of exposure, allowing bands to include more “advanced” material than immediately catchy hooks.

    Pre lp dominance, the industry was also very hit and producer driven, with each and every song having to stand on its own. And now, with iTunes tracks and spotify, you really, really need a tune that is catchy on first listen to get any action at all. Even monsters like Beyonce will be ignored if she releases anything other than insta-hook tracks. 15 minute wailing guitar solos a la pink Floyd just don’t get the number of listens required for people to start appreciating them anymore.

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  73. Mentioned this upthread, but the equivalent of arena rock today is jay-z and kanye west selling out arenas night after night, repeatedly, in the same city, and every city they visit. Rock might be played out, the way jazz and blues and pre-rock pop played themselves out and cooled to a low simmer. It’s certainly not going away, but it’s not where the creative momentum is these days.

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  74. Looks like a female finally to the red pill.

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  75. Damn, what a bunch of old farts.

    I have news for you, hip-hop was relevant 10 years ago (or whatever years passed since Eminem had his year of fame). Since then it’s been on the decline and recently it morphed into a gay electronic-hiphop mishmash attempt to stay relevant to the kids.

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    • The first hip-hop song to reach #1 on the BILLBOARD pop chart?? “Ice Ice Baby” by Vanilla Ice in 1990. Eugen–I think you mean 15 years ago. Five years later it was all about Christina Aguilera, Pink, Britney Spears, Avril Lavigne.

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  76. There are some good songs out there dispensing red pill knowledge.

    Here’s one.

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  77. A number of years ago I read an interview with Bruce Dickinson where he was asked about just this subject. His answer was that in general, bands of his generation and earlier had to put out a few albums and prove themselves before the record labels were willing to spend money on gigantic tours and long-term contracts. This forced them to become better songwriters.

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  78. The key element of rock and roll is REBELLION; its not chord structure, or even clothing,

    its attitude.

    Only this definition explains the connection between black music and teenagers that defined it in postwar United States. Both groups consisted of “minors” or marginal people; indeed the white mans burdens is to play dad to the nonwhite people just like the parents of a teenager. The unrestrained sexuality of black music, the grunting, the gyrations… was naturally attractive to white teenagers, their veins surging with hormones, their hind brains not long from the womb and still connected to the limbic rhythems that animate their inner negro child.

    All the white people in the audience are going to hell for listening to devil music. May God have mercy on their souls

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  79. on January 1, 2013 at 8:38 pm FuriousFerret

    What’s interesting about the music I like is that all the old classic stuff I gravitate towards bands that made up of men however with the more modern music I find that the innovative music is made up with women being in the picture. I wonder why that is? Because most of the new stuff that I hear being put out by guys these days is very soft and jangly. It’s like they are trying to imitate being feminine and failing at it whereas the women are excelling at it.

    For example old bands that I listen to:
    Led Zep
    Pink Floyd
    Velvet Underground
    Smashing Pumpkins
    Cream

    New music:

    The xx

    Little Dragon

    Plus my favorite artist of all time Miss PJ Harvey

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  80. I have some experience in the music/club industry. There are a couple of factors which have done in the band scene beyond the points made above. One is that recording companies poured large amounts of cash into music video production, making it difficult for smaller and less well financed groups to compete on this front. When you’re an up and coming group, it’s difficult to raise the cash for that million dollar calling card.

    Another is the expansion of the rave scene, and related techno venues. People would rather be immersed in a sea of machine-produced sound and light as opposed to listening/dancing to a live band. Live bands are often about feeding the egos of a small number of celebrities as opposed to the ego trip (as it used to be called) of diving into a self-created state of consciousness. This is more so with finely tuned club drugs which synchronize music and setting. Also, a DJ can “read” a crowd and the overall social scene, then engineer a flow of sound as opposed to a band retreading a set.

    There is also a social factor. The rave and many club scenes are open to people dancing by themselves or in groups. It’s not vital that one show up with a date to have a partner, nor go through the usual indignities of having to ask someone. A good time can be had by all, so to speak.

    Now, you can argue that this reflects (or encourages) “beta” behavior on the part of men, and that may be so. And you can also argue that this caused more attractive females to lose some of their power, since guys are not lining up for them, and that may also be so. In any event, it’s a phenomenon worth more study.

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  81. Easy answer from this side of the Atlantic: Rammstein.

    Devil-may-care attitude, catchy songs with choruses easily caught even by non-Germans. Song topics include darker side of sex and attraction, a sex object is a sex object and they certainly feel no shame about it. Wall of sound riffs and huge soldout venues. If you’ve ever studied German, you may find some beauty in the lyrics too.

    The band ain’t the most progressive in the world, but they have created their niche in the footsteps of Laibach and have a clear, own trademark sound. Till Lindemann, the frontman, is about as masculine as a Leopard 2 tank crushing through a burning house in the middle of a cold winter night. He also fucks girls half or less his age, when he is not set on fire on stage, telling everyone to bend down before him for his immediate, selfish asscocking pleasure.

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  82. Actually the arena rock thing was an anomaly in the history of entertainment. Before the advent of recording media, actors and musicians weren’t extremely well paid, as they were paid for performances only, and even until about the 1940s, the artists were only paid for the recording sessions, they didn’t receive royalties on the sales. Now that people are again able to obtain the artist’s work without paying a royalty, the artists are going to have to get used to earning a living the old-fashioned way: getting their butts out on the road and earning their money from gigs. Musicians and actors getting fantastically rich was a peculiarity of the 20th century that’ll likely never happen again.

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  83. Pretty much all consumerism is perpetrated by women, and music is purchased the most by teenage girls. That’s why the biggest acts out there are things like Katy Perry, Justin Bieber, One Direction, Kesha, etc. It’s all brainless music, and we know that females don’t really like to think unless they have to. These bands also have a sound that appeals to them, or have cute guys in the band. Do you think the Beatles would’ve been as popular as they were if they didn’t catch on with teenage girls? Guys care about musicianship and the craft, girls care about the image.

    No matter how much young girls/women claim to be tolerant of all kinds of music, the music they listen to is usually safe, although it gives off the image of being risquee or dangerous. This is why the most successful “Punk” bands are Green Day and Blink 182 – They sound “rough”, but they’re polished pop underneath it all. You’ll rarely ever see girls walking around in Misfits shirts or begging their parents to take them to the Bad Brains show, even though most people I know who were listening to these bands did so in middle school/high school when all the girls were drooling over Sum 41 and My Chemical Romance. Yes, Misfits and BB are harder-edged music, but they’re also highly aggressive and masculine, and therefore their fans are overwhelmingly male.

    I guarantee that if Bad Brains suddenly became big with females then they’d start selling more albums than they ever did, even in their heyday. In the case of the Misfits, the only people I know who listen to the post-Danzig stuff are girls. Most Misfits fans agree they did their best stuff with Danzig, but afterwards they got Michael Graves, who is a pretty guy who has a nice, clean voice and the music lost its balls. They still sing about the same horror movie topics and the music is still kind of aggressive, but it’s safe enough for chicks to get into.

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  84. You chaps are arguing in the wrong context. Forget the black/white musical divide if there truly is one – surely it’s more of a musical continuum rather than any meaningful gulf.

    The glaringly obvious fact is that the most important and innovative rock bands since the 60s have been British, not American – Beatles, Stones, The Who, Kinks, Led Zeppelin, Pink Floyd. The only American artist of equal stature to the best of these was Jimi Hendrix…a black guy (discovered and managed by Chas Chandler, a member of the Animals, another British band).

    Discuss. Toodle-ooh.

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  85. The Disco Biscuits disagree with you. Plus their shows attract some of the hottest babes around.

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  86. Check out Howlin Rain. Here is a trailer for their latest album, one of 2012’s best. http://m.youtube.com/watch?v=2eUlHaefyYc

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  87. Music has pretty much always sucked. Fucked up but true. See Rush, for example.

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  88. Saw The Black Keys at a sold out arena show 10 months ago.

    It was a better show than any G ‘n R or Bon Jovi could ever put on.

    The music that is gone, is gone because we grew up and realized it sucks ass.

    Oh, and it was pussy central. I got my digits and fingerbanged a girl while her BF was 10 feet away.

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