SHORT FEATURE: Rage Against the Machine Rages Back 
            by Tom Morello
                (First appeared in BAM magazine, 11/29/96)
                
                Johnny Angel's Scream in the November 15th issue of BAM 
                characterized Rage Against theMachine's Tom Morello and his 
                bandmates as simplistic sloganeers. "[Rage and others] 
                havenothing much to say, or are inarticulate except in their 
                ability to borrow the aspects of the past theyfind romantically 
                appealling, no matter how out of context they are," Angel wrote. 
                Mr. Morello took exception; here's his rebuttal:Johnny Angel is 
                one of those sad little garden-variety "rock journalist" hacks 
                who, frustrated as amusician, continues to scribble bitter, 
                self-important diatribes against bands like Rage Against 
                theMachine who have managed to reach and communicate to a large 
                audience. Tragically, Angel (aveteran of several crappy LA 
                bands) continues to miss the point now as he did four years ago 
                whenhe dismissed Rage as "the darlings of the Melrose 
                metal-testosterone rock set." And while it's boldof him to 
                actually submit such a confused article on substance and 
                symbolism in rock (BAM, Nov.15th), he is still as wrong as 
                ever.Of course evoking the symbols of revolutionaries like Che 
                Guevera, Angela Davis, and EmilianoZapata means little in and of 
                itself, but when you link them to the modern day struggles of 
                MumiaAbu-Jamal, Leonard Peltier, the Zapatistas, and battles 
                against police brutality (as we do in ourlyrics, videos, liner 
                notes, interviews and info booths at our shows), it demonstrates 
                that youngpeople today can be part of an ongoing resistance to 
                oppression. Are you claiming, Johnny, thatimperialism, racism, 
                sexism and economic exploitation are problems of the past? We 
                have alliedourselves with people like Che and Angela because 
                their struggles directly relate to the struggles oftoday. There 
                is a permanent culture of resistance in this country--and in 
                this hemisphere--and wewill unapologetically continue to 
                highlight it, promote it, and be a part of it.Angel is either 
                insultingly elitist (as he so often was when he used to stink up 
                the pages of the LAWeekly) or just butt-ignorant when he 
                suggests from the lofty perch of his Stairmaster that no 
                one'sconsciousness is raised by these efforts. In addition to 
                raising almost $200,000 for variousworthwhile causes over the 
                last couple of years, we've provided outreach for many activist 
                groups,and the response from our audience has been amazing, even 
                downright "substantive." And while ourtactics might not be 
                stylish enough for jaded scenesters like Angel, the kids get 
                it.But don't take my word for it, call the Leonard Peltier 
                Defense Committee at (913) 842-5774, theMumia Abu-Jamal Defense 
                Committee at (215) 476-8812, the Committee to Support 
                theRevolution in Mexico at (915) 532-8382, Refuse and Resist at 
                (213) 962-8084, or Parents forRock and Rap at (847) 362-1434 to 
                check--or better, to join.Rock and rap music is important 
                because it can communicate, provoke and inspire (Public Enemyand 
                the Clash sure did for me) as well as provide an antidote for 
                the bullshit, lies and apathy that areshoved down our throats in 
                the classroom, on TV, and in the stilted prose of Johnny 
                Angel'ssorry-ass columns.(c) 1996 Tom Morello 
                
                Tillbaka