One In A Million being erased from history

[Tom-Ass]

23 minutes ago, J Dog said:

I doubt and hope it's not ever removed from Lies, it's a killer tune. I can understand though in this type of situation with a set where they get to pick and choose what's included that they left it out.

They might just stop printing LIES all together

[Sanomatovic]

I had a dream 2 nights ago that they were going to release OIAM but the lyrics were about puppies lol

[chester]

Good riddance. 

[TMAC20]

Bad ass song -Killer lyrics and bad ass Guitar by Slash =AXL telling the world what he thinks at that time in his life -I love this song -if it offends -grow a set -it was a true statement whether u agree with it or not  is your own take - I have always loved this song 

[Len Cnut]

There's no fuckin' PC brigade removing shit from albums, if it ain't there its cuz Axl will remove it cuz its certainly on the copies of Lies in the stores right now.  Personally i think its a fantastic song, yeah its pretty racist but thats OK too, if you're feeling some kinda way i think you should be fre to express it.  What I do think was kinda lame was Axl not standing by it, both back in the day and now, he tried to justify it in the lamest of ways 'well, rappers do it!' or 'john lennon has a song called Woman is the N!gger of the World' or 'I got no problem with immigrants and f@ggots...BUT..', fuck that man, if you're gonna do a song like that then say 'yeah, that was it, that was how i felt, thats the kinda person I was, thats where I was in life'.  I find it kinda funny that the fact that he might've been a racist is SUCH a big deal, yet any number of other like...immoral unethical things they did are like, celebrated   You could be a junkie, you could slap bitches left right and centre, you could be beating the fuckin' shit out of people on the street...just don't say n!gger or f@ggot, please!   Cuz, y'know, we gotta have standards here!

If you're gonna celebrate people like GnR or Iggy Pop or Johnny Thunders (not that GnR are in the latter twos league) for basically being street scum well expect some street scum behaviour in them, expect Lower East Side in the late 70s type morals.  Don't go on about 'oh Appetite, Appetite!  Its so sleazy and real and blah blah blah' and then wonder why its a certain kind of person who engages in a certain kind of behaviour that makes that kinda music.

Edited May 4, 2018 by Len Cnut

[cspalding22]

It's tough to see axl like this. Caving to the pc culture and crowd  that he seems to support and belong to. I've said it before and will say it again, been to dozens of gnr shows over the years, it's deplorables like myself who support you and overwhelming attend your shows. I don't see the likes of Clinton, Obama, and Kerry there. Now that us gen xers have grown up and our in our 40s, we tend to protest with our wallets. Remember that the next time you come to town and charge hundreds of dollars for a show with the same set list you had the previous year or charge close to 200 dollars for shadow of your love. Good luck pal.

 

[tsinindy]

37 minutes ago, cspalding22 said:

It's tough to see axl like this. Caving to the pc culture and crowd  that he seems to support and belong to. I've said it before and will say it again, been to dozens of gnr shows over the years, it's deplorables like myself who support you and overwhelming attend your shows. I don't see the likes of Clinton, Obama, and Kerry there. Now that us gen xers have grown up and our in our 40s, we tend to protest with our wallets. Remember that the next time you come to town and charge hundreds of dollars for a show with the same set list you had the previous year or charge close to 200 dollars for shadow of your love. Good luck pal.

 

Pretty sure you’re the one who needs the good luck lol

[bigpoop]

37 minutes ago, cspalding22 said:

It's tough to see axl like this. Caving to the pc culture and crowd  that he seems to support and belong to. I've said it before and will say it again, been to dozens of gnr shows over the years, it's deplorables like myself who support you and overwhelming attend your shows. I don't see the likes of Clinton, Obama, and Kerry there. Now that us gen xers have grown up and our in our 40s, we tend to protest with our wallets. Remember that the next time you come to town and charge hundreds of dollars for a show with the same set list you had the previous year or charge close to 200 dollars for shadow of your love. Good luck pal.

 

Okay but you're experience isn't necessarily the same as every long time fan. I've been a GnR fan since 1987 and I've hated this song since the first time I heard it. It sucks, it's always sucked , and they never should have recorded it in the first place. In my opinion.  Which I'm not saying is more valid than yours... I'm just saying it's not the case that it's only modern 'PC' people that don't like it and everyone back then loved it. I was there back then and I hated it.

[tsinindy]

The only issue I have with this whole thing is...was this the artists choice?  Or label?  If GnR is making this choice then they are the artist that’s their right.

if they caved to label pressure...then I’m gonna call them pussies.

As the reason it was removed is unknowm I’m gonna settle with it being their choice and right.  

[-W.A.R-]

Axl has regretted the song for quite some time, so its not surprising it has been excluded from B-Sides N' EP's.

He hasn't removed it from Lies and don't see this as a sign that he is going to.

[Kwick1]

I love OIAM. I always have. It represents so much of the time. Was it PC even then? No, but I always took it to be so much like Axl's story of taking the bus from IN to LA in 1985. I'm certain his eyes were owned when he got to LA and no doubt LA shaped and changed him and he's no longer that small town white boy. I also understand why he no longer wants to be associated with the song today and that's fine but it's part of GnR history and will always be a favorite of mine.  

Edited May 4, 2018 by Kwick1

[mr. address]

I think Axl's right to leave it off, and I respect it. He's not caving to anything other than his own well-documented remorse. 

People act like NITL GN'R is so PC when they haven't changed any of their lyrics or imagery.  Remember when Beastie Boys publicly regretted the song "Girls"? Slash was wearing that McDonald's "I'm loving it" tee when I saw them in 2016, and the band still looks like (and plays!) like a walking VD disaster area.

BUT WAIT!!! THEY ARE NOT ACTIVELY PROMOTING NATIVISM, RACISM, AND HOMOPHOBIA?!?!?! OMFG GEORGE SOROS IS THEIR MANAGER AND OBAMA IS DJ'ING SLASH'S HOMO WEDDING!!! 

[YourMother'sDruthers]

I'm just glad Jesse the ace Ventura isn't alive to see this...

[Axl_morris]

Considering America has been removing it's confederate statues for racial reasons I completely understand why they have ommited it from the release.

Now turn around bitch, I've got a use for you...!!!

[Ace Nova]

I like the song musically.  The lyrics are a little too in your face for a lot of people..... especially now in 2018, in the age of the social justice warrior and #Metoo movements, there's no way in hell they could include that song in a box set without some serious backlash.  And at this point, they aren't going to risk anything that could jeopardize the reunion. 

[Blackstar]

That was Axl's best effort to explain himself  - and, even though the interview is from 1992 and probably he has reviewed it and thought much more about it since then, it may also partly explain why the song won't be included in releases like this but won't be removed from the original release

http://www.a-4-d.com/t565-1992-05-dd-interview-with-axl

AXL: People have taken two parts that they wre offended by and combined them into one sentence and said that's what I said. l find that amazing. What l said, and the first thing said, is, "Police and hooray for tolerance!s, that's right, get outta my way." That's what I said.

INTERVIEW: You said what?

AXL: l said, "Police and hooray for tolerance!s, that's right, get outa my way." I'd had four or five black guys trying to rob me who were all junkies. And a couple of other guys trying to sell me gold chains. l had just gotten off the bus and people were grabbing my backpack. It was a very scary, heavy situation for me. l just got off the bus, into boom "You're in Hell, son."

INTERVIEW: just one thing --

AXL: And, a black man --

INTERVIEW: Can you just straighten something out for me a sec?

AXL: Walt, wait, one second. A black man is the one who got me out of that situation, and l call him an angel. l always have. The police were shoving me out of the way.

INTERVIEW: Is this line a lyric, though, or is it something you said on the stage?

AXL: No, that's a lyric. It's a lyric in a song called "One In a Million." It was originally written as comedy. It was written watching Sam Kinison during one of his first specials. I was sitting around with friends, drunk, with no money. One of my friends had just gotten robbed for seventy-eight cents on Christmas by two black men.

[...]

AXL: O.K. So anyway, homophobia? The song is very generic. it's very vague, it's very simple, it was meant to be that way, it was written that way. It was like, O.K., I'm writing this song as l want to -- l want this song to be like "Midnight Cowboy." That guy was very naive and involved in everything. The cowboy. My friend who got robbed, he was like Dustin Hoffman's character. l wanted the song to be written from that point of view. l wrote it to deal with my anger and my fear and my vulnerability in that situation, that l still felt uncomfortable with, that happened to me. That was the "police and hooray for tolerance!s" line. But now we move on to another line that says, "immigrants and hooray for tolerance!s, they make no sense to me/ they come to our country and spread some fucking disease." O.K., l wrote that, being a songwriter, and being an abstract songwriter and using my artistic license. The "immigrants" line, the part that says they come to our country -- wait, I just said my own verse wrong. I said what someone else said it was, that I'm really upset about. Sorry. It says, "Immigrants and hooray for tolerance!s, they make no sense to me/ they come to our country and think they'll do as they please / like start some mini-Iran, or spread some fucking disease / and they talk so many goddamned ways / it's all Greek to me." O.K.? I can understand not understanding what the hell I meant in that, because I jumbled two thought patterns together.

INTERVIEW: Among other things, that was interpreted as though you're saying stuff about AIDS.

AXL: It goes back and forth, it twists... Well, I am saying stuff about AIDS. The line about "hooray for tolerance!s" was written after I heard a story from a sheriff about a man they had just arrested after just releasing from jail, and he had AIDS, and he was back out on Santa Monica Boulevard hooking. We were like, "Oh, my God." And this just happened to get stuck in the song, since we had a radical line like "police and hooray for tolerance!s" -- we might as well go all the way now, we'll write something else just as obnoxious, because we were just writing off-color humor at the time. We were dealing with a situation that was really heavy, ugly, and scary, and so we were making light of it. l was being encouraged to write as l was writing.

INTERVIEW: Are you saying to me that you wrote what was going on in your mind?

AXL: And what was going on in the room I was in. And what was going on with a lot of people that I knew. There was a lot of confusion about a lot of issues, a lot of confusion about racism. We were being told this is "We Are the World." It wasn't fucking "We Are the World." It was "We Are the World" for a chosen few who did a nice little song or something, but down in the streets, it was war. That was being just glossed right over. People have said that I've devastated the consciousness of "We Are the World" and rah-rah-rah -- It's like, "No, your 'We Are the World' consciousness was a nice try, but all it did was gloss over the shit that's going on.'" And somehow, by some freak act of God, l exposed it all. You know? And people had to deal with the issues.

[...]

INTERVIEW: I think that self-exposure is a very important thing; it's how you find out who you are. Although the context is completely different, a lot of this conversation is reminding me of Robert Mapplethorpe and all the issues of self- censorship that came up with his work. People can like it, they can hate it, and, unfortunately, it can even fuel more awful prejudice, but the way we learn about human consciousness is when people show their truth like he did.

AXL: That's the issue that I dealt with on "One In a Million" all the time. it's very strange because l know -- I didn't realize it then -- but, I know there's people in, say, Louisiana, where giving them that song is like giving them a gun and telling them, "It's O.K., go shoot those you're prejudiced against." It's a rough one. I mean, Freddie Mercury and Elton John are, like, two of the biggest Influences in my whole life. And probably always will be. If someone asked me if I could have anything in the world, what would l want? If l could own anything, like owning a piece of art, l think it would be Elton John's publishing, on his first seven albums. I don't want the money. Being able to own those songs Is like owning a painting of someone you admire.

INTERVIEW: Axl, you live in L.A., right?

AXL: Yes. Wait, can l talk about another line In the song?

INTERVIEW: Sure.

AXL: The other line, the "immigrants" line. I've only performed the song "One In a Million" twice. l don't perform it, because l think it's too dangerous and l don't trust people with the song. I don't trust the audience with the song. I don't want to do "One in a Million" on stage and know that there's a lot of people out there in the crowd who are prejudiced and it's gonna help fuel their fire. It's enough to handle the fact that it's on a record and people use it for their own anthems for their own prejudiced-ness. I question myself every day. Should l pull it? Should I leave it? Do l leave it for the sake of artistic integrity? Do I pull it, do I censor myself? But wait, I'm against censorship. It's a really hard issue to constantly deal with. The only way to deal with it is to communicate about it. l don't like the damage that that song does, l don't like the prejudiced-ness, l don't like the way the song fuels people's prejudiced-ness, and that's a problem for me. l made an apology on the cover of the record. Looking at it now, it's not the best apology, but it was the best apology l could make back then. l knew people were going to be offended, and it says my apology is to those who take offense. Or to who may be offended, whatever it says. I was trying to explain the reasons why I was expressing myself in this way and apologizing if it did offend people. The apology is on the cover of every record. it's not a sticker; it's part of the cover. It's stuck in there with all kinds of other things on the cover -- it's done like a National Enquirer thing. l wrote it myself and put it on there, it was my Idea, and it's like it's been refused to be acknowledged. "One in a Million" has been used continually against Guns N' Roses and against myself, no matter what l had to say about it.

INTERVIEW: Why, do you think?

AXL: In order to deal with "One in a Million" properly, you had to accept the fact that certain things really exist. But for whatever reasons -- I don't know, whatever negative forces there are -- it was just decided to take one point of view and continually shove that dawn people's throats. It helped make money. It helped make a lot of people money. Because people could just get in there and needle and fuel up peopIe's anger and make money: "Wait, we've gotm( nothing to write about. Let's write about 'One in a Million,' let's talk about that now. Go!" We've got some attention because we've got controversy and we've got an ugly scandal, rah-rah-rah. But l think that "One In a Million" has done some good, too. People have thought about what racism means In their own life by being pissed off at Axl Rose, and made decisions and even acted on those decisions, and many were positive. There's a lot of negative ones too, but some were positive. It forced people to speak when they heard it.

INTERVIEW: It also --

AXL: They had to take a side on how they felt about these issues. That's a strange amount of power for a song to have.

INTERVIEW: It also empowers people to say, "That's not good enough. We don't want to hear lyrics like that."

AXL: It gives them theIr choice.

INTERVIEW: Would you say that the reaction to the lyrics helped you change?

AXL: Yes, to be able to rise above it, and deal with it, and not be crushed by certain negativity.

INTERVIEW: And be open about it.

AXL: Yes, it definitely helped me to be able to change. I went out and got all kinds of video tapes and read books on racism. Books by Martin Luther King, and Malcolm X. Reading them and studying, then after that l put on the tape and l realized, "Wow, I'm still proud of this song." That's strange. What does that mean? But l couldn't communicate as well as do now about it, so my frustration was just turned to anger. Then my anger would be used against me and my frustration would be used against me: "Look, he's throwing a tantrum."

INTERVIEW: You've got a big tour this summer, right?

AXL: Yes, a nIce, big, fun tour. What l didn't get back to was the line In "One in a Million" that wrote about immigrants. I wasn't really living anywhere and I'd been hassled a few times in convenience stores and gas stations, and told by the way l looked that I couldn't even go Into stores. At one store I'd been chased out with a butcher knife just because the guy went crazy. It was just my frustration with dealing with all that in L.A. I wasn't condemning people from other countries. People like to say that that's what my thoughts were. No. Just because the lines were real, simple, and angry, they're reading a lot more Into it than was really there. The last verse has always been Ignored.

INTERVIEW: What is it?

AXL: It has a line that says, "Radicals and racists, don't point your finger at me." Then it says, "I'm a small-town white boy." People have taken that like that's waving a flag that I'm pro-white or something. To say "small-town white boy" at the time that l put that In that song was something you didn't say. You didn't say that when you were trying to play the rock clubs, you'd just gotten to Hollywood, and people are going, "You look like you just got off the boat. Are you some fucking hick from Indiana, or what?" Or whatever. I was saying, "Look, yeah, I'm this naive, confused, small-town white boy, and l have a lot of problems, so racists, don't point your finger at me and go off and say I'm one of you, or whatever. And radicals, don't you be going off on me and saying I'm on your side or against your side or whatever."

 

Edited May 6, 2018 by Blackstar
added quotes

[troccoli]

The fan club even included a Lies lyrics sheet back in the day that was uncensored:

[History2010]

I like the song music-wise but the lyrics are embarassing and racist and I have no problem with it being removed from the set. 

[Ace Nova]

12 minutes ago, Blackstar said:

That was Axl's best (comparatively) effort to explain himself :

http://www.a-4-d.com/t565-1992-05-dd-interview-with-axl

[...]

AXL: O.K. So anyway, homophobia? The song is very generic. it's very vague, it's very simple, it was meant to be that way, it was written that way. It was like, O.K., I'm writing this song as l want to -- l want this song to be like "Midnight Cowboy." That guy was very naive and involved in everything. The cowboy. My friend who got robbed, he was like Dustin Hoffman's character. l wanted the song to be written from that point of view. l wrote it to deal with my anger and my fear and my vulnerability in that situation, that l still felt uncomfortable with, that happened to me. That was the "police and hooray for tolerance!s" line. But now we move on to another line that says, "immigrants and hooray for tolerance!s, they make no sense to me/ they come to our country and spread some fucking disease." O.K., l wrote that, being a songwriter, and being an abstract songwriter and using my artistic license. The "immigrants" line, the part that says they come to our country -- wait, I just said my own verse wrong. I said what someone else said it was, that I'm really upset about. Sorry. It says, "Immigrants and hooray for tolerance!s, they make no sense to me/ they come to our country and think they'll do as they please / like start some mini-Iran, or spread some fucking disease / and they talk so many goddamned ways / it's all Greek to me." O.K.? I can understand not understanding what the hell I meant in that, because I jumbled two thought patterns together.

INTERVIEW: Among other things, that was interpreted as though you're saying stuff about AIDS.

AXL: It goes back and forth, it twists... Well, I am saying stuff about AIDS. The line about "hooray for tolerance!s" was written after I heard a story from a sheriff about a man they had just arrested after just releasing from jail, and he had AIDS, and he was back out on Santa Monica Boulevard hooking. We were like, "Oh, my God." And this just happened to get stuck in the song, since we had a radical line like "police and hooray for tolerance!s" -- we might as well go all the way now, we'll write something else just as obnoxious, because we were just writing off-color humor at the time. We were dealing with a situation that was really heavy, ugly, and scary, and so we were making light of it. l was being encouraged to write as l was writing.

INTERVIEW: Are you saying to me that you wrote what was going on in your mind?

AXL: And what was going on in the room I was in. And what was going on with a lot of people that I knew. There was a lot of confusion about a lot of issues, a lot of confusion about racism. We were being told this is "We Are the World." It wasn't fucking "We Are the World." It was "We Are the World" for a chosen few who did a nice little song or something, but down in the streets, it was war. That was being just glossed right over. People have said that I've devastated the consciousness of "We Are the World" and rah-rah-rah -- It's like, "No, your 'We Are the World' consciousness was a nice try, but all it did was gloss over the shit that's going on.'" And somehow, by some freak act of God, l exposed it all. You know? And people had to deal with the issues.

[...]

INTERVIEW: I think that self-exposure is a very important thing; it's how you find out who you are. Although the context is completely different, a lot of this conversation is reminding me of Robert Mapplethorpe and all the issues of self- censorship that came up with his work. People can like it, they can hate it, and, unfortunately, it can even fuel more awful prejudice, but the way we learn about human consciousness is when people show their truth like he did.

AXL: That's the issue that I dealt with on "One In a Million" all the time. it's very strange because l know -- I didn't realize it then -- but, I know there's people in, say, Louisiana, where giving them that song is like giving them a gun and telling them, "It's O.K., go shoot those you're prejudiced against." It's a rough one. I mean, Freddie Mercury and Elton John are, like, two of the biggest Influences in my whole life. And probably always will be. If someone asked me if I could have anything in the world, what would l want? If l could own anything, like owning a piece of art, l think it would be Elton John's publishing, on his first seven albums. I don't want the money. Being able to own those songs Is like owning a painting of someone you admire.

INTERVIEW: Axl, you live in L.A., right?

AXL: Yes. Wait, can l talk about another line In the song?

INTERVIEW: Sure.

AXL: The other line, the "immigrants" line. I've only performed the song "One In a Million" twice. l don't perform it, because l think it's too dangerous and l don't trust people with the song. I don't trust the audience with the song. I don't want to do "One in a Million" on stage and know that there's a lot of people out there in the crowd who are prejudiced and it's gonna help fuel their fire. It's enough to handle the fact that it's on a record and people use it for their own anthems for their own prejudiced-ness. I question myself every day. Should l pull it? Should I leave it? Do l leave it for the sake of artistic integrity? Do I pull it, do I censor myself? But wait, I'm against censorship. It's a really hard issue to constantly deal with. The only way to deal with it is to communicate about it. l don't like the damage that that song does, l don't like the prejudiced-ness, l don't like the way the song fuels people's prejudiced-ness, and that's a problem for me. l made an apology on the cover of the record. Looking at it now, it's not the best apology, but it was the best apology l could make back then. l knew people were going to be offended, and it says my apology is to those who take offense. Or to who may be offended, whatever it says. I was trying to explain the reasons why I was expressing myself in this way and apologizing if it did offend people. The apology is on the cover of every record. it's not a sticker; it's part of the cover. It's stuck in there with all kinds of other things on the cover -- it's done like a National Enquirer thing. l wrote it myself and put it on there, it was my Idea, and it's like it's been refused to be acknowledged. "One in a Million" has been used continually against Guns N' Roses and against myself, no matter what l had to say about it.

INTERVIEW: Why, do you think?

AXL: In order to deal with "One in a Million" properly, you had to accept the fact that certain things really exist. But for whatever reasons -- I don't know, whatever negative forces there are -- it was just decided to take one point of view and continually shove that dawn people's throats. It helped make money. It helped make a lot of people money. Because people could just get in there and needle and fuel up peopIe's anger and make money: "Wait, we've gotm( nothing to write about. Let's write about 'One in a Million,' let's talk about that now. Go!" We've got some attention because we've got controversy and we've got an ugly scandal, rah-rah-rah. But l think that "One In a Million" has done some good, too. People have thought about what racism means In their own life by being pissed off at Axl Rose, and made decisions and even acted on those decisions, and many were positive. There's a lot of negative ones too, but some were positive. It forced people to speak when they heard it.

INTERVIEW: It also --

AXL: They had to take a side on how they felt about these issues. That's a strange amount of power for a song to have.

INTERVIEW: It also empowers people to say, "That's not good enough. We don't want to hear lyrics like that."

AXL: It gives them theIr choice.

INTERVIEW: Would you say that the reaction to the lyrics helped you change?

AXL: Yes, to be able to rise above it, and deal with it, and not be crushed by certain negativity.

INTERVIEW: And be open about it.

AXL: Yes, it definitely helped me to be able to change. I went out and got all kinds of video tapes and read books on racism. Books by Martin Luther King, and Malcolm X. Reading them and studying, then after that l put on the tape and l realized, "Wow, I'm still proud of this song." That's strange. What does that mean? But l couldn't communicate as well as do now about it, so my frustration was just turned to anger. Then my anger would be used against me and my frustration would be used against me: "Look, he's throwing a tantrum."

INTERVIEW: You've got a big tour this summer, right?

AXL: Yes, a nIce, big, fun tour. What l didn't get back to was the line In "One in a Million" that wrote about immigrants. I wasn't really living anywhere and I'd been hassled a few times in convenience stores and gas stations, and told by the way l looked that I couldn't even go Into stores. At one store I'd been chased out with a butcher knife just because the guy went crazy. It was just my frustration with dealing with all that in L.A. I wasn't condemning people from other countries. People like to say that that's what my thoughts were. No. Just because the lines were real, simple, and angry, they're reading a lot more Into it than was really there. The last verse has always been Ignored.

INTERVIEW: What is it?

AXL: It has a line that says, "Radicals and racists, don't point your finger at me." Then it says, "I'm a small-town white boy." People have taken that like that's waving a flag that I'm pro-white or something. To say "small-town white boy" at the time that l put that In that song was something you didn't say. You didn't say that when you were trying to play the rock clubs, you'd just gotten to Hollywood, and people are going, "You look like you just got off the boat. Are you some fucking hick from Indiana, or what?" Or whatever. I was saying, "Look, yeah, I'm this naive, confused, small-town white boy, and l have a lot of problems, so racists, don't point your finger at me and go off and say I'm one of you, or whatever. And radicals, don't you be going off on me and saying I'm on your side or against your side or whatever."

 

This actually makes sense to me and I think he was being very honest in the interview.  But like I said earlier, no matter how he explains it, it wouldn't fly in today's society, unfortunately.  Today's society would rather be lied to and told "everything is ok" vs hearing someone's personal  perspective (no matter how offensive you may personally feel it is, it was the way he felt at the time). 

(Unless, of course, you're a hardcore rap artist....then you can say anything you want.) 

[donny]

everyone should download it mid december. would make a great christmas number 1

[Silent Jay]

'The Vault' should come with a pink pussy hat.

Edited May 5, 2018 by Silent Jay

[baje]

5 hours ago, chester said:

Good riddance. 

My thoughts exactly. 

[dontdamnmeuyi2015]

Oh please how about all the rap songs with the "n" word in it.

There's so much in that song I can relate to. not that I hate immigrants or black people, but the whole gold chain thing. I remember working in NYC and there would always be some black guy trying to sell you a gold chain or a watch. lol

It's a song and what Axl was singing was true and unfortunately it's still true today.

What ever happened to "freedom of speech". You don't have to like it nor listen to it, but erase something from history? Come on. Isn't that what this country is doing to the southern states by removing all the Confederate statues like the war never happened? History has to always be learned and be remembered no matter how it sucks.

[AncientEvil80]

Fantastic song. Not racist AT ALL, for the n'th time! 

If anything Cornchucker is way more offensive than anything on One in a Million. And a real shitty tune, on top of that.

Edited May 4, 2018 by AncientEvil80

[username]

7 hours ago, action said:

everyone has their taste, but to me it's too political of a song, which makes it a bit un-rock n roll I guess.

I find this to be a pretty strange statement. Rock and roll and politics have been strongly intertwined ever since the 60's. They've gone hand in hand throughout history. 

 

6 hours ago, mr-fukaji said:

...

Fukaji! Damn, haven't seen you here in ages!