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captain America betrays the government because it is getting to controlling in peoples lives

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Captain America: The Winter Soldier - Wikipedia

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Captain America: The Winter Soldier is a 2014 American superhero film based on the Marvel Comics character Captain America, produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It is the sequel to 2011's Captain America: The First Avenger and the ninth film in the Marvel Cinematic Universe (MCU).

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comics have always had political socialist role models

captain America literally punched a foreran leader in is first appearance.

Jack Kirby himself faced a lot of hard ship growing up as a Jewish man in the forty's which very much reflected in his work

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Captain America Punching Nazis: Why Comics Were ALWAYS Political

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the mutants in marvel are hated because they are a threat to the power and the X-Men intentionally fight that power. these characters provide roll models to anyone feeling put down by authority.

Mutants present a challenge to the governments monopoly on violence

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Why Are the X-MEN Hated?? (ft. Philosophy Tube) || Comic Misconceptions || NerdSync

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Many Rockers adopted Satanic imagery in the 70's just to piss of off conservative christens

" … (Rock n Roll) saw itself as pushing up against conventions. When you see yourself on the margins and pushing up against convention, it’s only natural that you would turn to these forms that were heterodox.”

Rocks philosophy as always been about expressing your self in the face of adversity

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In the beginning, there was Elvis Presley shimmying as he sang the new rock 'n' roll for 1956 white America. The young things in the audience were entranced, but the elders were troubled by the signature way Mr. Presley shook his hips as he danced. Concerned by sex and animated by racism, they accused the music's sensuality and black rhythms of being too...exciting. It would surely lure the young into temptation. Some called it the Devil's music.

But, Cambridge author Peter Bebergal recounts, one time Elvis "was asked: Where did you learn to dance like that? He answered: I learned it within my [Pentecostal] church. This is how we worshipped."
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Bebergal-the writer of the book "Season of the Witch: How the Occult Saved Rock and Roll," which was published in 2014, and "Strange Frequencies: The Extraordinary Story of the Technological Quest for the Supernatural," which is due out this October-argues that the history of rock 'n' roll that we've been handed down is incomplete.

In a talk entitled "Dionysus Stardust: Theater, Masks, and the Spectacle of Rock and Roll" that he gave to the Harvard Theosophical Society at the Cambridge university's Center for the Study of World Religions on Monday afternoon, he said that usual accounts leave out rock's roots in pagan faiths and the occult, in spirituality outside the white Western religious mainline of Christianity and Judaism. And this underground spiritual influence, he says, is an overlooked part of what why the music so grabs people's souls.

The sensual dancing, the costumes and mask-like makeup, the ecstatic and ritualistic performances of rock 'n' roll (in his talk he focused primarily on white male rockers) are part of a tradition that Bebergal says traces back to secret societies of the Western occult as well as African faiths forced underground by the violence of American slavery. He points to African American ring shouts based in Christian music and faith while at the same time being "drawn from African pre-Christian spiritual practices."

He sees connections to the rituals of Free Masonry, the visionary art and poetry of William Butler Yeats, the Jewish mysticisim of the Kabbalah, tarot, "ceremonial magic," and late 19th century spiritualism.

"There was a huge movement that felt rationalism was coming to strip us of a kind of spirituality," Bebergal says of the late 19th century. "Rock 'n' roll is really just a symptom of these elements. ... It saw itself as pushing up against conventions. When you see yourself on the margins and pushing up against convention, it's only natural that you would turn to these forms that were heterodox."

Ultimately, Bebergal believes, rock 'n' roll's "energy is Dionysian and it's much more Dionysian than it is demonic or devilish."

The Greek god of fertility (sex) and wine and theater is a model for rock's challenge of authority, its embrace of dance and sex and gender bending, it pursuit of ecstatic experience.

"The worship of Dionysus originally happened in performance. It happened in theater," Bebergal says, in reenactments of the deity's biography. "That happened through the mask. ... This is how the god is made manifest. The mask isn't a costume so much as the way the god enters the world."

In rock 'n' roll, Bebergal finds examples of these spiritual influences and trappings in Elvis and the spectacles of Pink Floyd's 1960s trance-inducing performances with dancers and flickering films. "It was an expression of the psychedelic experience, to heighten the psychedelic experience," Bebergal says. "It was to charge the audience with this ecstatic sensibility."

Anther example is Arthur Brown, who sang "I am the god of hellfire" in the 1960s with his painted face with skull-like makeup and wearing a crown that was actually ablaze with fire. "In some ways, he saw himself as a shaman," Bebergal says. "He wanted there to be this transformative experience."

"We start to see the way our consciousness works inside these kinds of experiences," Bebergal says. If we see a stage magic show, "we allow ourselves to be fooled. We want to be tricked. ... We want to inhabit a place where we're not quite sure what's going on."

From Brown, Bebergal looks to Alice Cooper and Led Zeppelin. He sees Zeppelin singer Robert Plant in the 1970s as pinnacle of this sort of ecstatic rock 'n' roll performance, a Dionysian figure who teased usual gender binaries. It helped that Plant telegraphed his interest in the English occultist Aleister Crowley as well as rumors that the band was cursed.

Bebergal points to the Egypian inspired costumes and Afrofuturist jazz of Sun Ra. He highlights how David Bowie also adopted personas-Ziggy Stardust, Aladdin Sane, Thin White Duke-"inhabiting these deific entities. ... They are these kind of cracked deities."

Bowie "also had a little bit of nuzzling a little too closely to the fascistic idea of how performance can manipulate and act as an element of control," Bebergal says. "There are a few interviews where he's talking very nicely about the Nazis" as genius manipulators. "He later would say that it was poor judgment to not acknowledge the historical truth."

Bebergal says, "There's a lot of tension in the occult-esoteric communities because the alt-right has recently started to own a lot of esoteric symbols."

After Bowie, Bebergal points to the costumes of Kiss, to the spectacles of Ozzy Osbourne, to Madonna's faux Egyptian rite during the 2012 National Football League Super Bowl halftime show, to the ominous droning music of the Seattle doom metal band Sunn O))), which formed in 1998, and performed with hooded robes and smoke machines.

Bebergal says, "You go into a trance state when you're in one of their shows. And then to feed that state with smoke and cloaks, there is a transformation that takes place. And it is a very ancient way of doing religious business."

"Particular kinds of performative and audio things can transform us," Bebergal says. "What's real is what happens during the performance and being able to take in these gestures acts as a super-charged arrow" to our unconscious, to the "occult imagination."
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Rock Historian Explores How The Occult And Underground Spirituality Energized The 'Devil's Music'

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In the beginning, there was Elvis Presley shimmying as he sang the new rock 'n' roll for 1956 white America. The young things in the audience were entranced, but the elders were troubled by the signature way Mr. Presley shook his hips as he danced.

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Lemmy, motorheads lead singer and symbol of rock n roll, thoughts on politics
"Have fun, don't hurt each other, and screw politician. believe in rock n roll it will never let you down."

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heavy metal fans where more likely to have a distaste for authority and conventional society

Many metal fans claimed to have low self esteem and said heavy metal helps with there negative feelings

"The catharsis afforded by heavy metal may, in turn, help boost self-worth and promote positive self-evaluations among those with otherwise low self-esteem."

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We've written about a few interesting sociological studies, like studies that show metal makes you happy, loud music makes you want to be intoxicated, and emo haircuts aka the cry-sheild will give you lazy eye, but this one takes the cake. Are you ready to basically read all about yourself? Or get really butthurt?

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A study done by psychologist Viren Swami of the University of Westminster in London, England, found that metal fans have a pretty open attitude toward new experiences, more negative attitudes toward authority, generally low self-esteem, the need to be unique and a much lower religious attitude than fans of other music. According to Blabbermouth:

219 women and 195 men ranging in age from 18 to 57 years participated in the study, which examined associations between individual differences and preferences for a specific subgenre of music, namely, contemporary heavy metal.

[Swami] presented the 414 individuals from Britain with clips of 10 tracks of contemporary heavy metal and asked them to rate each for liking (from "extreme dislike" to "extreme like"). Participants also completed measures of the Big Five personality traits, attitudes toward authority, self-esteem, need for uniqueness, and religiosity.

The research reads:

"Our results confirm previous reports that openness is associated with a preference for rock and heavy metal, including nonmainstream subgenres. In explanation, it has been suggested that individuals who score highly on openness show a preference for the intensity, variety, complexity, and unconventionality of heavy metal. [It has also been suggested] that individuals who are open-minded and who seek novel experiences may become disinterested in mainstream or conventional musical forms as they grow older. This, in turn, may lead them to seek out musical genres that are unconventional by the standards of mainstream cultures, such as contemporary heavy metal.

"Our results also showed that individuals with more negative attitudes toward institutional authority were more likely to show a preference for the heavy metal tracks. In general, this is consistent with [the] description of heavy metal fans as inhabiting a subculture of alienation, which translates into an opposition to authority and mainstream society... It is possible, for example, that heavy metal may conjure referent images that are inherently antiauthority or that signal a revolt against mainstream culture. In this sense, individuals who hold more negative attitudes toward authority may show a preference for heavy metal precisely because it expresses their dissatisfaction with authority.

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"Respondents who showed a stronger preference for the metal tracks in the present study were also more likely to have lower self-esteem and higher need for uniqueness. In the first instance, it is possible that individuals with relatively low self-esteem are drawn to heavy metal because the style of music allows for a purge of negative feelings. The catharsis afforded by heavy metal may, in turn, help boost self-worth and promote positive self-evaluations among those with otherwise low self-esteem."

Are you the typical metal fan, according to the study? Check out our previous reports on psychological studies of metalheads.

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New Study Says Metalheads Don't Like Religion And Love Being Unique

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We've written about a few interesting sociological studies, like studies that show metal makes you happy, loud music makes you want to be intoxicated, and emo haircuts aka the cry-sheild will give you lazy eye, but this one takes the cake. Are you ready to basically read all about yourself?

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themes of rebelling against the systems that put you down and living your own life

Book was kinda boring but still convened the themes well.

it was only produced by the band not written by them

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Thin story. No character development. Very basic story of "revenge is bad, mkay." And the visual storytelling was hard to follow as well. Also, i expect a bit of lyrical cheekiness based on the album, but attempts at that fell flat as well. Overall, a disappointing tribute to a fantastic album.

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Judas Priest: Screaming for Vengeance: Screaming for Ve...

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Thin story. No character development. Very basic story of "revenge is bad, mkay." And the visual storytelling was hard to follow as well. Also, i expect a bit of lyrical cheekiness based on the album, but attempts at that fell flat as well. Overall, a disappointing tribute to a fantastic album.

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Super hero comics can help give kids confidence to stand up for them selves

if it works for kids I see no reason it can't work for anyone

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Never fear, parents: Superheroes help kids soar | CNN

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Super hero worship among children can boost self-confidence and make a child feel powerful, says a social psychologist.

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Comics promote self confidences through relatable characters that struggle.

They provide a place of you to express your self with other like minded people while still being different (nobody likes all the same comics for all the same reasons)