Doc welcomes, Dale “Rage” Resteghini, to the show, music video director and the writer and director of the forthcoming, controversial television show, CRACKA. They talk about Dale’s early brushes with the law which led him to spend time in prison, how he cleaned up his life by getting into acting, writing and directing his first film, Colorz of Rage, how he fell into directing metal and hardcore videos by meeting Jamey Jasta on the Tattoo The Earth Tour, his transition into becoming one of the biggest music video directors in hip hop, what inspired him to create CRACKA, his connection to black culture, and the two debate the backlash from the CRACKA trailer and the current state of race relations in America.
This episode features the songs “Witch City” by Carnivora and “Colossus” by Avatar.
Doc welcomes Lamb of God bassist, John Campbell, to the show and they go deep on the recent protest movement and civil unrest in response to the killing of George Floyd, and talk about Lamb of God’s decision to release an album during the pandemic, how they’ve dealt with splitting with longtime drummer, Chris Adler, how new drummer, Art Cruz, has energized the band, his perspective on the evolution of LoG’s sound, how the band’s politics and relationship with its fans intersect, and what makes Lamb of God special.
This episode features the songs “Mary Go Round” by Memory of a Melody and “New Colossal Hate” by Lamb of God.
Doc welcomes YouTube star, Derrick Blackman, to the show and they go deep talking about everything from how Derrick got into being a YouTuber, his background as a musician and getting into metal, the “Anti-SJW” vs “Woke” culture war on YouTube, the complexities of modern politics, and go into race and racism in the modern atmosphere of social media.
This episode features the song “I’m Not Prepared” by I, Conqueror.
Doc welcomes Emmure guitarist, Joshua Travis, to the show and they talk about his time with The Tony Danza Tapdance Extravaganza, how he developed his sound, the genesis of “the yuck”, his early guitar influences, his time with Glass Cloud, how he joined Emmure, how his musical personality has fit into Emmure’s creative process, and the complexities of racial identity and culture have shaped Josh’s artistic interests.
This episode features the song “Living Dead” by We’re All Wrong and “Flag of the Beast” by Emmure.
Doc welcomes guest, Nelson Blake II, ex-guitarist of NYC-based metalcore band Locked In A Vacancy and professional comic book artist. They talk about Locked In A Vacancy’s recent reunion, the old New York hardcore scene, dissect the complexities of modern black culture and the difficulty going against societally forced identity roles, the psychology behind the toxic aspects of Twitter, get into some NY Knicks and basketball talk, how his career as a visual artist progressed and eventually being hired by Marvel to illustrate Luke Cage and Spiderman, and pick apart the fallacy of God given talent and intricacies of creative work.
This episode features the song “Office Politics” by Locked In A Vacancy from their album Exit The Futility Ward.
In this very special 50th episode of The Ex Man podcast, Doc welcomes legendary guitarist, Tosin Abasi, as a guest to discuss Afro-Futurism, the conflict in the metal world between commercialism and credibility, how he became such a prolific guitar player, coming up in the Baltimore hardcore/metalcore scene, how the band Reflux with Ash Avildsen came together, the genesis of Animals As Leaders through meeting Misha Mansoor, cultivating the Djent sound, political identities, the unexpected success Animals As Leaders and he have experienced, the Generation Axe tour, and his launch of Abasi Guitars and his signature Fishman guitar pickups.
This episode features the song “All Came To Light” by Cerebellion from the album Regeneration, and “Ectogenesis” by Animals As Leaders from the album The Madness of Many.
Doc speaks with Judas Priestess vocalist and solo artist Militia Vox about how the topic of race has been unavoidable as it relates to her music career, her upbringing in a very unique and progressive section of Maryland, her rebellious years in performing arts school, getting involved in the industrial music scene and joining her first band in Boston and New York, her years as a touring background singer for big pop stars like Taylor Dayne and Cyndi Lauper, how she decided to start her own solo band, joining Judas Priestess, and have a deep discussion about the #MeToo movement and her negative experiences with sexual harrasment in the music industry.
This episode features the song “Blood on our Hands” by Corpse Paint from their EP Nothing Here In The Dark and “Vow” by Militia Vox from the EP Isosceles.
Doc speaks with Machine Head frontman, Robb Flynn, about his crazy, early years in the Bay Area experimenting with drugs, starting thrash band Forbidden, cutting his teeth on the road with Vio-lence, how the changing 90s metal scene inspired him to start Machine Head, how they secured a record deal with Roadrunner Records, the huge impact and success of Burn My Eyes, how the band defied categorization through the years as their sound evolved, and discuss race relations and outrage culture.
This episode features the song “No Return” by Void Vator from the album Dehumanized, and the song “Beyond The Pale” by Machine Head from the album Catharsis.
Martin Luther King Jr. was a social justice warrior.
Yes. That headline is meant to trigger you. Yes, it sucks to live in a world where we can’t even use the word “trigger” in a genuine way because of how our language has been hijacked and politicized.
Here is the definition of the ward “warrior” according to Miriam Webster Dictionary:
: a person engaged or experienced in warfare; broadly: a person engaged in some struggle or conflict
If we could miraculously erase all of the ugly American history, loaded language, and bitter culture wars from our minds, wouldn’t we all want our social systems to have tenets that hold some regard for justice or fairness? Not to expect that life will always be fair or that we are all guaranteed equal outcomes despite our efforts or qualifications. Justice should be an ideal we strive for, even if we never 100% master the pursuit.
(Let me add the caveat that I also understand that “justice” itself is somewhat of a subjective concept.)
By the time I even viewed the damning video of Philip H. Anselmo, the legendary vocalist of Pantera, Down, and Superjoint Ritual, performing a forceful “sieg heil” Nazi salute followed directly by adamantly shouting “white power” to the crowd at the end of a star-studded Dimebash fundraiser concert at Lucky Strike in Hollywood, CA, the internet had already exploded with outrage, responses, defenses, theories, and excuses.
In just the few days after the event, it appeared that Phil Anselmo outrage fatigue had already set in. People were already sick of talking about it, hearing how offended people were, or even acknowledging that the heavy music world might have a race problem. Despite this fatigue and the fickleness of the social media news cycle, more than a few people reached out to me asking if I would write some type of response considering my track record of dissecting heavy metal culture and openness to discussing race and politics. I consider it my responsibility to weigh in, so here it is: