One of the constant drumbeats of modern American feminism is that “rape culture” exists and that it is perpetuated by “violent masculinity.” Newspapers like the Guardian, for example, will even write about “gangs of men” who rape women on the streets of London (even thought they never bother to explore if those “gangs of men” share a common denominator with the “gangs of men” who rape women in Germany). What is rarely, if ever, seen in these debates is condemnation of female celebrities whose body of work screams to girls everywhere, “You too can objectify yourself for the sexual gratification of men!”
Fergie’s new ‘M.I.L.F. $’ music video is a perfect example of a clarion call for objectification that masquerades as “female empowerment.”
Fergie has finally dropped her much-anticipated “M.I.L.F. $” video.
Released Friday, the star-studded visual features celebrity “MILFs” Kim Kardashian, Chrissy Teigen, and Ciara as they act as neighbors in “Milfville” while the “milfman” drives around delivering milk. They hang out at a diner with stripper poles, a spa, and a classroom. They also pour milk on themselves and take selfies. “Got MILF?” they ask. …
“Changing the acronym to Moms I’d Like To Follow is about empowering women who do it all,” says Fergie in a statement. “They have a career, a family, and still find the time to take care of themselves and feel sexy. With a wink of course :).”
Yes, little girls will want to “follow” Kim “sex tape” Kardashian, Fergie, and other celebrities because nothing can be more “empowering” than squeezing into skin-tight outfits and slowly pouring milk over your backside.
Here are some lyrics:
“Heard you’re in the mood for a little milkshake. Welcome to the dairy-dutchess love factory. I can whip it up, fix you up, straight away. Coming in the front door, leaving out the back door, rip it, flip it, hey!
We’ve been working at your service to give it to you. Didn’t mean to make you nervous, you mother-f***a.”
If the collective influence these women have over young developing minds wasn’t so profound, then their “art” would be somewhat amusing, albeit in the way people historically gawked at street performers with chimpanzees in the late 1800s.
If one were to agree with the premise that rape culture exists, then what would be most responsible?
Option 1: Testosterone levels in adult males.
Option 2: A constant bombardment of videos featuring scantily-clad celebrities humping the air to tribal beats and bathing in milk tubs, all while singing different variations of, “heard you’re in the mood for a little milkshake. Welcome to the dairy-dutchess love factory. I can whip it up, fix you up, straight away. Coming in the front door, leaving out the back door, rip it, flip it, hey”?
American feminists have zero moral authority because they consistently ignore the real enemies of empowerment to attack good men who disagree with them on public policy issues. It is the Kim Kardashians and Fergies of the world who do real damage to feminists’ stated cause, and until that is earnestly addressed they will not be taken seriously.
In 1992 there was a kid with a chip on his shoulder from Illinois who listened to “Core” by the Stone Temple Pilots for the first time. The attitude and the energy and the raw power exuded from singer Scott Weiland blew the teenager away. There was something truly special about Mr. Weiland, a gift from God wielded with grace and authority that began a life-long love of his work. That kid was me, which is why the news of his death on Friday cast an heavy pall over my mind; it could only be removed by sharing the sincere sorrow.
Scott Weiland, the charismatic rock vocalist who first gained fame with 1990s rock band Stone Temple Pilots, has died, according to his wife.
The Grammy-winning singer, 48, who struggled with addiction, earned post-Pilots success with the platinum-selling supergroup Velvet Revolver. His cause of death was not immediately available.
His wife, Jamie Weiland, a photographer, confirmed his death to The Times in a brief conversation.
“I can’t deal with this right now,” she said, sobbing. “It’s true.”
Scott Weiland rose to stardom in the 90s, but he wasn’t “of” the 90s. At his best he rivaled David Bowie in terms of his ability to seamlessly experiment with musical styles. He was in a rock band, but he fit in right along Sinatra during the holidays with “Have Yourself a Merry Little Christmas.” He could do punk, but he often soared with ballads — and no matter what genre he was swimming in from song to song, you always felt as though he was trying to give you a glimpse into the depths of his soul.
Life is a lot of things, but part of it involves the slow realization (put beautifully by The Flaming Lips) that everyone you know will one day die. That actually isn’t as pessimistic as it seems — especially if you believe in God — but it can be painful when someone who has touched your life in profound ways passes over to the other side.
I never met Scott Weiland. I never broke bread with him or had a chance to help him wrestle his demons into submission — but he still affected my life in ways most people cannot fathom.
If nothing else, this post is a thank you that perhaps Scott can read from the “Great Beyond.”
Thank you for blessing me with your music. Thank you for the memories you helped me create with my sister in our youth and my friends as an adult. And thank you for helping everyone else out there whose problems were temporarily kept at bay by your talent.
We achieve greatness when we grab hold of the potential God has granted within us and manifest it in the physical world. We see the beauty of all souls when we witness those rare individuals who can give us a high-definition musical photograph of their own.
Scott Weiland exited this earth way too soon, but his life’s work left indelible marks in the minds of millions.
Instead of being selfish and cursing God for allowing Scott to leave us early, we should take comfort — the singer’s questions, “What does God look like? And angels’ wings?” have been answered.
It is always interesting to see celebrities whose financial and professional dreams came true in America, who then turn around and bash the country that gave them so much. Today’s example comes in the form of pop singer Ariana Grande, who decided to go into a doughnut shop with her goofy-looking backup dancer boyfriend, lick the food, and then tell him how much she hates the country and its citizens.
TMZ obtained the video and reported on the doughnut-licking, but conveniently left out the “I hate America” part. Telling. Since the click-bait obsessed website decided to leave out the bigger story to protect the singer, I’ll pull from The Hollywood Reporter instead.
Grande was accompanied by three friends, and the footage shows her kissing one of the two men, who also appeared to lick one of the donuts. Grande laughed out loud after he seemingly licked a donut and walked away.
When the shop employee returned with a new tray of donuts, Grande asked, “What the f**k is that?”
“I hate Americans,” she continued. “I hate America.”
As with all celebrities when they get caught saying really mean things about the country that helped make them stars, it was only a matter of time before the “I’m sorry I got caught” apology was released.
Billboard reported the singer’s statement Wednesday:
“I am EXTREMELY proud to be an American and I’ve always made it clear that I love my country. What I said in a private moment with my friend, who was buying the donuts, was taken out of context and I am sorry for not using more discretion with my choice of words. As an advocate for healthy eating, food is very important to me and I sometimes get upset by how freely we as Americans eat and consume things without giving any thought to the consequences that it has on our health and society as a whole. The fact that the United States has the highest child obesity rate in the world frustrates me.
We need to do more to educate ourselves and our children about the dangers of overeating and the poison that we put into our bodies. We need to demand more from our food industry. […] That being said let me once again apologize if I have offended anyone with my poor choice of words.
Ms. Grande has yet to explain how licking doughnuts that she has no intention of buying falls in line with her “healthy eating” advocacy, or how her decision to lick those doughnuts was taken “out of context.”
When a woman says “I hate Americans. I hate America,” there really isn’t much to take out of context. It seems as though the “context” that was missing was that the singer meant to say “I hate obese Americans. I hate obese America.”
Notice how she “hates” America, but that hate is fueled by the freedom to choose what, where, and how often we eat particular foods. Ironically, she says it while she is inside a doughnut shop. Maybe next week she can go into a Waffle House and wish that the United States lost World War II.
If I, Douglas Ernst, want to eat a doughnut the size of my head, I should be able to do that without having to worry that the political manifestation of Ariana Grande in Washington, D.C. is writing legislation to limit the size of American pastries.
A woman who simply cares about healthy eating does not say “I hate America” when she sees a doughnut. Ms. Grande’s outburst was an indicator that many more hostile thoughts about her country lurk just beneath the surface. The next time Ms. Grande uses her social media soapbox to preach about public policy issues, remember the time she said she “hates” America. Then, do more homework on the issue somewhere else.
“Feminist” Beyoncé has a new single out, 7/11, which means that her legions of fans have already flocked to it. Nothing screams “female empowerment” like rolling dice off a woman’s butt and mugging for the camera in your underwear, but this post isn’t about that. It’s about listening to the decline of Western Civilization in action. All you have to do is listen to about 30 seconds of “7/11” and, say, Bach’s rendition of “Jesu, meine Freude” to actually hear what the death spiral of a civilization sounds like.
Compare the two works. First, Beyoncé:
Contemplate the lyrics:
Legs movin’ side to side, smack it in the air
Legs movin’ side to side, smack you in the air
Shoulders sideways, smack it, smack it in the air
Smack it, smack it in the air
Legs movin’ side to side, smack it, smack it in the air
Smack it, smack it in the air
Contemplate the lyrics:
Jesu, meine Freude (Jesus, my joy)
Unter deinem Schirmen (Beneath your protection)
Trotz dem alten Drachen (I defy the old dragon)
Weg mit allen Schätzen (Away with all treasures)
Gute Nacht, o Wesen (Good night, existence)
Weicht, ihr Trauergeister (Go away, mournful spirits)
How can anyone close their eyes, listen to both pieces of music, think about Beyoncé’s popularity, and not objectively conclude that it is one small bit of evidence that we are collectively spinning down a cultural drain?
This is not me bashing all contemporary music. There is plenty of good music out there. This is me saying that if you consider Beyoncé’s record sales, her $115 million payday for 2014, and the millions of fans who are ecstatic over “smack it, smack it in the air,” then it is hard not to conclude that strange days lie ahead.
This is not me saying that the only music worth listening to is classical. This is me asking you to listen to where we once were and listen to where we are now. This is me asking if you can listen to both creative efforts and honestly deny that Beyoncé’s degrades and debases the soul into an embarrassing spectacle while Bach’s stirs it to strive for greatness.
We sit around and wonder why women like Kim Kardashian are famous for exposing themselves while we listen to songs like Beyonce’s 7/11. We incredulously wonder how it is that a woman can easily tape herself getting cat calls while walking through the streets of New York, while we collectively cheer Beyoncé’s objectification of herself and others — to the tune of millions of YouTube downloads.
What does it feel like to cheat on someone you love? If you’re a fan of Scott Weiland, it’s probably a lot like listening to Linkin Park’s Chester Bennington take the lead for the Stone Temple Pilots. When I first heard the new single ‘Out of Time’ I felt a little dirty; STP has and always will be Scott Weiland’s band to me — but Bennington is so darn good that I’ve crossed over to the dark side. I would plunk down serious change to see them live. In the end I hope Weiland returns, at which time so will I. Ewoks will sing and it will be awkward.
For years, Scott Weiland has struggled with drug problems, and it’s affected the band. I’m not sure who is to blame (I’m sure there’s plenty to go around) but STP haven’t felt inspired in years. ‘Out of Time’ sounds like a tank rolling through the desert that’s being driven by growling lions. As a friend of mine said, “They sound hungry.” Indeed.
In a statement, Bennington expressed his admiration for the band, which is in part how this collaboration came about. “I’ve loved STP since I was 13 years old and they’ve had a huge influence on me,” explained Bennington. “When the opportunity came up to do something creative with them, I jumped at the chance. The guys in Linkin Park have been incredibly supportive of me undertaking this project while I’ve continued to work on new music with LP.”
A friend of mine said that Bennington, these days, “does a better Weiland than Weiland.” I also found a similar comment in the Rolling Stone message boards. It’s a sentiment I agree with and, on some level, the lyrics to ‘Out of Time’ seem to be created as a wake up call for the singer:
Longing is the animal inside you when you bleed
Suffering is critical in finding what you need
Deliverance is evidence there’s more than what you say
Pain is there the moment that you wake up from your dreams
Oh, I know you can’t hide
Oh, when you look inside yourself
You’ve got to cross that line
Yeah, you’re running out of time
Loneliness is beautiful, it leads you home again
Happiness is overrated, joy is infinite
Liberate the hate you feel before it’s permanent
Smile when it hurts, it works like mother’s medicine
Oh, I know you can’t hide
Oh, when you look inside yourself
you’ve got to cross that line
Yeah, you’re running out of time
You’ve got to learn your lesson to see what you’ve been missing
You’ve got to cross that line
Yeah, you’ve got to look inside
Yeah, it’s time that you decide
Yeah, you’ve got to cross that line
Yeah, you’re running out of time
Beautiful! When we look inward and attempt to honestly examine what’s there we can not lie. That is why so many people spend so much time trying to keep themselves busy. They will do anything they can to keep themselves from having to perform the tough task that is introspection.
Video games. Shopping. Drinking. Eating. Exercise. Sex. Drugs. Work. All of these things and many more are used in excess to prevent individuals from sitting in the silence of solitude to figure out who they really are and where they want to go. And all of us — not just Scott Weiland — are “running out of time.”
“Happiness” in terms of that which the material word brings about is fleeting. It does not last. And when it runs out, most people look to fill it up with the same sugary goods over and over again. An honest self-evaluation is always painful, but it is “critical in finding what you need,” as Bennington’s lyrics point out.
I hope that when Scott Weiland is done trashing his apartment that he acknowledges what a masterstroke this was on the part of the DeLeo brothers and says, “Touché.” My fear is that instead of responding positively, he will once again choose the dangerous path, as he’s done since the 1990’s.
Regardless, I tip my hat to STP. ‘Out of Time’ is hands-down evidence that there’s still plenty of juice left in its engine. I’m looking forward to further collaborations between STP and Chester Bennington.
Chris Cornell is a talented guy. He also seems like a smart guy. But he’s unapologetic when it comes to his support of President Obama. He’s performed at Obama fundraisers and even the recent inaugural ball. Apparently, President Obama inspires “hope” in him, which is fine … but I do have one question: Was that before or after he knew that the Obama administration took George W. Bush’s drone policy and pumped it full of steroids? (i.e., Targeting American citizens for “imminent” threats that are “sorta-kinda-well maybe we don’t know” is now codified into law.)
I ask this because Soundgarden’s new single, ‘Crooked Steps,’ is absolutely amazing, and it seems to spring forth from the kind of angry inspiration that made the Bush years musically bearable. (e.g., Pearl Jam’s ‘World Wide Suicide’ and Incubus’ ‘Megalomaniac’). Only a man with some serious passion stirring in his soul could have penned such a song.
‘Crooked Steps’ is the song you listen to when you steer your rocket ship onto a collision course with the sun just to be the only man to experience getting swallowed by a star. ‘Crooked Steps’ is the song you listen to when you break the land-speed record at the Bonneville Salt Flats — with the top down and no helmet or goggles. ‘Crooked Steps’ is the song you listen to when someone spikes your drink with methamphetamines, you’re jumped by twenty guys in a dark alley on the way home, and then you’re the only one to walk out into the light in one piece.
Sadly, ‘Crooked Steps’ is also the perfect soundtrack to an Obama drone strike on American civilians — at home or abroad.
If you’re a fan of great rock, you’ve got a gem with this song, the second single off Soundgarden’s new album, ‘King Animal.’ Cornell, Kim Thayil, Ben Shepherd and drummer Matt Cameron are in rare form. And while Cornell’s vocals always steal the show, it’s hard to deny that Matt Cameron’s drumming rolls over you like a tank going 500 mph. (What the heck is Pearl Jam going to do if he’s tied up with Soundgarden? He’s been PJ’s unofficial-offical drummer for ages, now.)
Check out the video for ‘Crooked Steps’ when you get a chance, but be aware that it was directed by Foo Fighters’ Dave Grohl — another avid fan of President Obama who hasn’t said a word about American civilians being droned. Dave is a creative genius, but instead of crafting a video that captured the essence of the song, he went with the goofy humor Foo Fighters videos are known for. On many levels it works, but I suggest listening to the song the first time through without looking at the screen, and then giving the video a watch afterward.
Later, when you have time, you can tweet Chris and ask him what he thinks of President Obama’s foreign policy.
Fans of David Bowie haven’t heard much from the man in years. That changed as of January 8, 2013.
Music idol David Bowie broke years of silence and speculation today to release his first new single in a decade – with an album to follow.
The star, who shot to fame in the late ’60s with “Space Oddity”, surprised fans by suddenly releasing a new recording, “Where Are We Now?”, on his 66th birthday. …
A follow-up album called The Next Day is set to be released in March.
Whereas fans of Guns and Roses heard Chinese Democracy and thought, “This is decent, but definitely not worth a decade of hype,” Bowie’s single has something incredibly special to it. This listener, who does not claim to be a music aficionado, hears a sad stripped-down piece with poignant lyrics. There’s a sense of longing and emotion that only a true artist can capture. ‘Where are we now?’ is a song that many young people won’t get — until they’re 66.
Where are we now? Where are we now?
The moment you know … you know … you know.
As long as there’s sun. As long as there’s sun.
As long as there’s rain. As long as there’s rain.
As long as there’s me. As long as there’s you.
Anyone who has ever been sick — truly sick — can appreciate this song. Anyone who gets a tear in their eye when they think about what it would be like to lose that husband or wife they’ve built their life around, can appreciate this song. Anyone who gets a lump in their throat when they think about how special every moment of every day is, can appreciate this song. At a minimum, Bowie earns respect for baring his soul to the audience; one would be hard pressed to listen to ‘Where are we now?’ and argue that the artist is holding back.
We all must come to grips with our own mortality. We will die, and if we’re lucky we’ll have loved ones by our side when we say that last goodbye. But even those who live a tremendous life will have regrets. We know that all that matters are the essentials to make life worth living, but there will always be a part of us that wishes for just a little more time to make it right where it went wrong … to visit an old friend … or to reminisce for just a moment longer.
‘Where are we now?’ is a winner because it seems to capture a universal truth: At some point in time, despite the will of the mind and the soul, the body will betray us. It will get old, break down and prevent us from doing the things we love to do and the things we put off because we always thought “there’s always tomorrow.” Well, there isn’t always tomorrow, and realizing that is bittersweet.
‘The Next Day’ will hopefully be packed with tracks that are just as honest and heartfelt as its single, which will make the album a winner … if just for one day.
Like clockwork, pop star Ke$ha is out with a new single, and (surprise!), it’s another anthem celebrating youth orgies and debauchery and the desires of the flesh. Sure, feminists once fought for a whole laundry list of basic civil rights, but today they can sit back and relax because Ke$ha is on the case, making sure your little girl’s highest aspiration is to strip naked for random dudes in a drunken stupor.
‘Die Young’ has already been viewed millions of times on YouTube, and like most of the star’s songs, it is slick. The lyrics aren’t William Blake, but we’ll get to that later:
Young hunks, taking shots
Stripping down to dirty socks
Music up, gettin’ hot
Kiss me, give me all you’ve got
It’s pretty obvious that you’ve got a crush (you know)
That magic in your pants, it’s making me blush (for sure)
Looking for some trouble tonight
Take my hand I’ll show you the wild side
Like it’s the last night of our lives
We’ll keep dancing till we die
I hear your heart beat to the beat of the drums
Oh what a shame that you came here with someone
So while you’re here in my arms,
Let’s make the most of the night like we’re gonna die young
Personally, the story worth telling about Ke$has isn’t about the artist at all; there have always been people who make big bucks peddling sex. The real story is that we have an entire culture that idolizes people like her, and then they wind up like “Jenelle” from MTV’s “Teen Moms.”
If you don’t know Janelle, she’s the winner who got knocked up as a teenager, can’t stop smoking pot and ultimately has to decide whether or not to go to jail or extend her probation as a consequence of her reckless behavior. Janelle wants to go to jail and put her past behind her, but one thing prevents her from doing so: a Ke$ha concert that would take place during her sentence.
Teen Mom Jenelle: No, no, you don’t understand. This is my idol. She’s like my idol, and I’m never going to be able to see her if … Can’t you call [the judge]? Isn’t there some way …
Lawyer: I am not mentioning the concert.
Teen Mom Jenelle: I really can’t miss that concert. I really can’t.That’s why I got all these feathers in my hair — because of the concert. I bought clothes for the concert. I set up hotel rooms for the concert. … Like, like, no one understands how important this concert is to me. It’s not just a concert. It’s Kesha, like. It’s the person. … It’s Kesha, like, my idol — the girl that I watch videos on YouTube 30 times a day. I’m obsessed with this girl.
Political junkies familiar with Sandra Fluke take note: Our culture is creating millions of Janelles every year. They are selfish. They are ignorant. They live in the moment and when the repercussions of their actions boomerang back on them they act like it’s society’s job to make things right. If the Janelles of the world don’t even respect their own bodies and personal property, it’s a good bet that when they go to the voting booth they’re going to vote for the worldview that pats them on the head (or the baby belly when the father isn’t around) and says, “It’s not your fault. It’s that rich guy’s fault. It’s that old white guy’s fault. It’s that businessman’s fault.”
Every time I hear a conservative say that social issues don’t matter, I cringe. They do. Immensely. That doesn’t mean that they need to be talked about in the language of an Evangelical preacher, but a society without a moral compass is a society that will embrace socialism in a heartbeat.
But I digress. The point is, the cultural war in the United States (and Western Civilization at large) has been battled for ages . Take William Blake’s Marriage of Heaven and Hell, for instance:
As I was walking among the fires
of Hell, delighted with the enjoyments
of Genius, which to Angels look like
torment and insanity, I collected some
of their proverbs, thinking that as the
sayings used in a nation mark its
character, so the proverbs of Hell show
the nature of infernal wisdom better
than any description of buildings or
The road of excess leads to the
palace of wisdom.
Prudence is a rich ugly old maid
courted by Incapacity.
The sensual person finally finds himself completely a slave of his appetites: laziness, gluttony, or voluptuousness, a trilogy often fusing in the same individual to annihilate his real personality and suppress his spiritual, fecund, and creative virility.
Against all the forms of egotism summarized in those three capital sins, against that unrestrained love of self (or rather, against that blind hatred of self) which makes of the individual the center of the universe and sacrifices the whole world to his appetites and desires, against that monstrous caricature of real love which forgets itself in order to procure happiness for others, against the blasphemy of the self-centered flesh which sets itself up as the god and universal rule of creation, the Order of St. John of Jerusalem supposes the virtue of chastity which, strangling the interest which each person has in himself and the appeals of a nature which promises pleasure, but brings only disillusionment, affords us the real and noble joy of being our own masters and of making our own that Law we have received and heartily accepted, and finally, of accomplishing the noble and exalting sacrifices required to fulfill the Christian ideal.
One needs only to compare the intellectual plane that Blake and Ducaud-Bourget are operating on with that of Ke$ha and her fans to see just how far Western Civilization has fallen. If you had to choose, would you say the education system, our popular culture and our media fall on the side of the poet Blake or The Knights of Malta? The answer is quite obvious, and if we reap what we sow, it will be interesting to see the weeds in the garden a few generations from now.
Enjoy your millions, Ke$ha. I wish you the best, although I can’t help but ask (and apologies to the Apostle Mark for butchering 8:36): For what shall it profit a skank if she shall gain the whole world but lose her soul?
PS: Nice upside-down crosses in the video. I noticed nothing in ‘Die Young’ aims to upset Muslims. Telling.
Millions of people are familiar with the South Korean music video “Gangnam Style,” credited by the Guiness Book of World Records as the most liked in YouTube history. The song — which features the refrain “Hey, sexy lady!” — has inspired countless parodies. Now Saudi Arabia adds itself to the list.
There’s only one problem: The video has no ladies.
While it shouldn’t surprise anyone that a country that made news over mere reports (later debunked) that it was planning a separate city for working women would omit females from a music video, the optics of “Saudi Gangnam” speak volumes. Even our liberal moral relativist friends can learn a lesson on Shariah Islam by watching it.
Hollywood celebrities such as Obama spokeswoman Eva Longoria, who wants women voters to worry about Mitt Romney, probably never read former Somali-Dutch politician Ayaan Hirsi Ali’s book “Infidel” — and probably doesn’t know that the author needs security around the clock. But on some level watching “Saudi Gangnam” would tell her everything she needs to know about the real war on women.
Green Day will be releasing a trilogy of albums over the next few months. After the politically infused rock operas American Idiot and 21st Century Breakdown, fans were wondering what Mr. Armstrong and the boys would be up to next. Officially, Armstrong says that they’ll be “writing about girls”:
“We wanted to get into early AC/DC and Cheap Trick.” The singer-guitarist is also “writing about girls again.” He describes the songs on ¡Uno! as “feeling like your heart is on fire. On the second record, you start losing control.” By ¡Tré!, which arrives in January, “your heart will feel like a flamethrower.
In actuality, the “heart” he’s talking about is that of a Pakistani tribesman killed during a President Obama drone strike — one planned during his “Terror Tuesday” national security briefings. Music insiders originally said that Armstrong was referring to a jihadi terrorist locked up in Guatnanamo Bay, Cuba who was under the impression that President Obama was going to send him back to Afghanistan sometime before the 2012 election. Sadly, it never happened. Producer Rob Cavallo shot down the suggestion (no pun intended) in early August.
It was time for us to step away [from political material], because we didn’t want to come across as politicians. We’re in a band first and foremost, and we wanted to have a good time making music. So it was kind of a way of us getting back to basics.
Bassist Michael Pritchard says that while this might appear as code for “we only become politically vocal when a Republican is in office,” that it shouldn’t be taken that way. The band’s first single off ¡Uno!, ‘Oh Love’ can also be seen as a lament over just how many people President Obama has killed since taking office. Pritchard assures Green Day fans that the band would never practice selective moral outrage to capitalize on anti-American sentiment during the tenure of a wartime Republican president.
“Green Day is first and foremost about the music. Always the music,” said Pritchard. “If we suddenly become political activists again during President Romney’s time in office it’s just a coincidence. We swear.”
Regardless, there are rumblings among some die hard fans that Green Day are, indeed, Sunshine Patriots.
Update: Sources close to the band report that “Kill the DJ” was originally titled “Kill the Pakistani,” but Armstrong felt as though the critique of President Obama had to be more subtle.