Having declared war on gamers, comic book fans and metalheads, SJWs have now turned their guns on the world of indie rock. In the past couple of months, indie news site Pitchfork has been running increasingly venomous articles castigating indie rock and other alternative music scenes for being too white or male.

For example, last week Pitchfork ran an article titled “EDM Has a Problem with Women, and It’s Getting Worse,” which lambasted Skrillex as “fucking creepy” for Tweeting pictures of a scantily-clad woman, among other complaints.

Now, some of the magazine’s targets are fighting back. Belle & Sebastian frontman Stuart Murdoch recently told Pitchfork to “fuck off” in response to an article by Indian Race Troll Sarah Sahim attacking his film God Help the Girl for its “unbearable whiteness“:

As a lover of Belle and Sebastian, I was disappointed, though certainly not surprised. Belle and Sebastian’s work is steeped in Whiteness; God Help the Girl merely underscores this. The film itself is an egregious mess that romanticizes a woman’s struggles with an eating disorder for the sake of Murdoch’s self-promotion. The optimistic, happy-go-lucky and painstakingly adorable aesthetic evidenced in every character he created is founded in Whiteness. Whiteness is beauty; Whiteness is what gives the character the ability to dream of fostering a career in music; Whiteness is what enables the audience to empathize with Eve’s character. A recurring filler in the film was a fictitious radio show where two men try to decipher what “real” indie is and every band mentioned is white, enforcing the film’s aspirational Whiteness. While Belle and Sebastian aren’t the only examples of perpetuating Whiteness through indie rock, this movie serves as a microcosmic view of what is wrought by racial exclusivity that is omnipresent in indie rock.

In his response, Murdoch made the eminently reasonable point that a band from Glasgow would be white because of demographics alone. He also pointed out that contrary to Sahim’s assertions of a racist conspiracy in indie rock, he’s “just a guy in a band” with no special powers or influence. Sahim’s own Twitter account is private, meaning the likelihood of a response from her is slim.

The irony of Pitchfork’s jihad against white men is that the indie scene is already pretty amenable to social justice nonsense. As an indie kid myself, I know that the average hipster is a caviar communist who thinks testosterone poisoning is a thing and stresses out over pronoun usage. Following any indie musician on Twitter will guarantee a constant stream of Tumblrina bilge clogging up your feed, whether it’s St. Vincent bloviating about “gender fluidity” or the National stumping for President Obama.

The transformation of Pitchfork into a left-wing, anti-male propaganda vehicle illustrates why it’s imperative for men to defend their spaces against SJW subversion. Merely being neutral or apolitical is not enough, because cultural Marxists use neutrality as a weapon to infiltrate and take over institutions. It’s precisely because most people are apolitical that cultural Marxism has seeped into every aspect of American life.

O’Sullivan’s First Law And You


O’Sullivan’s First Law, coined by British conservative writer John O’Sullivan, states that all organizations that are not explicitly right-wing will eventually become left-wing. This is because leftists rarely if ever publically identify as leftists, but work behind the scenes to sway moderates to their side. It’s akin to the old proverb about boiling a frog: if you toss a frog in lukewarm water then slowly crank up the heat, the frog will get cooked before it realizes it should jump out.

O’Sullivan’s First Law also exists in part because leftists are more intolerant of dissenting views than conservatives. Most conservative outlets have a wide diversity of opinion: for example, Christina Hoff Sommers, well-known for debunking feminist myths and supporting GamerGate, is a registered Democrat who works for the conservative American Enterprise Institute.

In contrast, leftists will gladly defenestrate anyone they deem to be insufficiently leftist, such as how Paula Deen was publically ruined for having used the n-word once, despite being a registered Democrat and Obama supporter.


O’Sullivan’s law explains why the ostensibly unbiased mainstream media functions as a mouthpiece for the left. As an example, take the recent smear piece GQ did on A Voice for Men (in which Return of Kings was name-checked). Because GQ was not established as an explicitly conservative magazine, it is now dominated by feminists such as Lindy West and Jeff Sharlet, the Marxist professor who authored the piece. The mere act of declaring an organization right-wing deters Marxist entryism in and of itself.

Also, as Pitchfork’s anti-male, anti-white campaign shows, SJWs always focus their attacks on moderates or people who are not as left-wing as they are. For example, when I was interviewed by Australian radio host Jonathan Safran for his program Sunday Night Safran last year, co-host Ronny Chiang mentioned how he was constantly berated by SJWs for incorrect pronoun usage in his stand-up shows. Meanwhile, those same agitators ignore conservative figures such as Ann Coulter.

As Murray Rothbard wrote in his 1970 essay “The Great Women’s Liberation Issue: Setting it Straight,” the left has been playing this game for decades:

In the meanwhile, the male “oppressors” are acting, in the manner of Liberals everywhere, like scared, or guilt-ridden, rabbits. When the one hundred viragos of Women’s Lib bullied their way into the head offices of the Ladies’ Home Journal, did the harried editor-in-chief, John Mack Carter, throw these aggressors out on their collective ear, as he should have done? Did he, at the very least, abandon his office for the day and go home? No, instead he sat patiently for eleven hours while these harridans heaped abuse upon him and his magazine and his gender, and then meekly agreed to donate to them a special section of the Journal, along with $10,000 ransom. In this way, spineless male Liberalism meekly feeds the appetite of the aggressors and paves the way for the next set of outrageous “demands.” Rat magazine, an underground tabloid, caved in even more spectacularly, and simply allowed itself to be taken over permanently by a “women’s liberation collective.”

When you make statements such as “there’s no difference between the left and the right,” you’re opening yourself up to Marxist subversion. MRAs and MGTOWs who whine about “TradCons” are missing the point entirely. While many sectors of the right may be critical of the manosphere and the “red pill,” they don’t attack them in the vitriolic, defamatory fashion that the left does. Indeed, right-wing outlets such as Breitbart are starting to warm up to the manosphere.

The greatest trick the Devil ever pulled was convincing the world he didn’t exist, and leftists prey on the willful ignorance of the apolitical in order to advance their agenda. By failing to recognize them as your enemy, you are making yourself vulnerable to their predations.

This Machine Kills Marxists


The only truly effective way to protect an organization, institution or culture from SJW entryism is to declare it to be right-wing. Only by recognizing that your enemy is the left—because they’ve defined you as their enemy—can you maintain the integrity of your culture.

For example, GamerGate’s failure to define its enemy—cultural Marxism—will ultimately hurt it in the long run. While GamerGate supporters assert that it’s just a “consumer revolt,” the reality is that it is a de facto right-wing reaction to left-wing infiltration of the video game industry.

While many GamerGate supporters are themselves liberal, they’re not as left-wing as the Anita Sarkeesians and Zoe Quinns of the world, which makes them right-wing in the SJWs’ eyes.

Many of Return of Kings’ detractors are upset by our traditionalist community beliefs, and our sister site Reaxxion (of which I am the editor) has gotten a lot of heat for only hiring men as writers. But it’s these lines in the sand that ensure both ROK’s and Reaxxion’s integrity. By defining our sites as repositories of masculine, conservative thought, we deter SJW entryism and make it clear what we’re about.

As the cliche goes, if you don’t stand for something, you’ll fall for anything. Cultural Marxism is a virus that is fueled by the apathy of those who don’t fight against it. There may not be a winning move in this culture war, but not playing the game at all will guarantee that you lose.

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