Custer

"Custer" by Slipknot is a multi-layered anthem of defiance, aggression, and resilience. On one level, as explained by frontman Corey Taylor, the song is a direct confrontation with the band's critics and the music industry. After the death of bassist Paul Gray and the departure of drummer Joey Jordison, many doubted Slipknot's ability to continue. The song channels the band's collective anger towards those who wanted to see them fail, acting as a declaration that they will not be broken and will continue to redefine their own history against all odds. It's about charging into their own "last stand" and absorbing all the negativity thrown at them without losing ground.

Metaphorically, the song uses the historical figure of General George Armstrong Custer and his infamous last stand as a symbol. However, the perspective is not one of glorifying Custer but rather exploring themes of irreverence, blind aggression, and facing overwhelming odds. The lyrics touch upon the idea that anything 'exceptional' is often crushed by the 'common' due to jealousy and ignorance. This can be interpreted as both the band's struggle against the mainstream and a broader commentary on societal pressures to conform.

The raw and repetitive chorus, "Cut, cut, cut me up and fuck, fuck, fuck me up," serves as a cathartic release of pent-up rage. It can be seen as a masochistic dare to their detractors, welcoming the abuse as a source of strength. Some interpretations delve into the historical context, suggesting it's a taunt, daring the enemy to do their worst, knowing that the aftermath will only fuel their own side's resolve—a parallel to how the band feeds off of hatred and criticism. Ultimately, "Custer" is a song about fighting back, embracing one's own uniqueness against a hostile world, and finding power in defiance, even when facing what seems like certain destruction.

The song erupts with a sense of urgency and chaos, as if interrupting a commercial broadcast to deliver a vital, aggressive statement for which listener discretion is advised. The narrator expresses a profound and explosive frustration, particularly triggered by the sight of a gun, which serves as a symbol of pettiness and wasted time. There's a palpable feeling of being fed up and a desire to transcend the current state of mediocrity.

A core theme emerges: the suppression of the exceptional by the ordinary. The narrator observes that anything unique or outstanding is inevitably torn down by the masses, driven by base emotions like jealousy and ignorance. This applies not just to individuals but to the planet itself, seen as an unremarkable collection of 'clay.' A sense of impending punishment or consequence looms, which the narrator seems to almost welcome.

This anticipation of a violent end is articulated in the raw, repeated chant, a demand to be cut up and fucked up. It’s a visceral, masochistic dare to the forces of opposition, a desire to meet the expected brutality head-on rather than shy away from it. It's a cry of both pain and empowerment, finding strength in the willingness to endure destruction.

The narrator identifies with a disease of 'irreverence,' a lack of respect for things taken seriously, acknowledging it as a defining, if second-hand, characteristic. This irreverence is linked to a state of submission, with the 'son of a bitch' on his knees, yet it also contains a stark warning: the 'last man standing gets no pity.' This suggests that survival at all costs, without a greater purpose, is a hollow victory.

A moment of profound clarity is found in an unexpected place—graffiti on a toilet wall. The phrase "You form a line to formalize the former lies" strikes the narrator as a powerful truth. It speaks to the organized, systematic way in which falsehoods are upheld and institutionalized. This realization prompts a rhetorical question to the listener, and perhaps to society at large: "Do you want to win the war?" It’s a challenge to recognize the deep-seated hypocrisy and fight against it, coupled with a declaration of the narrator's own unwavering commitment to this fight, regardless of the personal cost.

The song concludes by reiterating its central, confrontational plea. It's a final, defiant roar, embracing the inevitable conflict and the pain that comes with it, positioning the narrator as a willing martyr in a war against conformity and lies.

"Custer" was released on October 10, 2014, as the third single from Slipknot's fifth studio album, .5: The Gray Chapter. The album itself was a significant and emotionally charged project for the band, being the first one created after the death of founding bassist Paul Gray in 2010 and the departure of drummer Joey Jordison in 2013. The album's title, .5: The Gray Chapter, is a direct reference to Paul Gray. The creation of the album was a form of catharsis for the band, allowing them to channel their aggression and emotion into the music.

The song was written by Corey Taylor and Jim Root and produced by Greg Fidelman alongside the band. The recording sessions for the album marked the introduction of new members, bassist Alessandro Venturella and drummer Jay Weinberg. "Custer" stands out on the album for its raw aggression and energy, which many critics compared to the band's earlier work on their self-titled album and Iowa. The song's composition began with percussionist Shawn "Clown" Crahan describing the desired tempo, leading into a forceful and chaotic track. Vocalist Corey Taylor stated that the song was about focusing the band's anger towards the outside world—the people and critics who simultaneously wanted to martyr and vilify them. It was conceived as a statement of resilience, proving that despite their hardships, Slipknot would continue to push forward without losing any ground.

The rhyme and rhythm of "Custer" are integral to its aggressive and driving force. The song largely operates in a free verse style, prioritizing raw expression and rhythmic impact over a strict, formal rhyme scheme. However, rhyming couplets and internal rhymes are used to create emphasis and lyrical cohesion.

For example, in the lines, "Because anything exceptional / Gets crushed by common people / With jealousy and ignorance / And all their common evils," the near rhyme of "people" and "evils" provides a sense of closure to the stanza. Similarly, "This planet isn't special, collections made of clay / I'm waiting for the punishment, I know it's on my way" uses the rhyme of "clay" and "way" to punctuate the thought.

Rhythmically, the song is defined by its relentless, driving tempo. The opening, with Shawn Crahan setting the beat verbally, immediately establishes rhythm as a central element. The drumming is characterized by fast-paced, powerful beats, including blast beats, which are typical of extreme metal genres and contribute to the song's intensity. The lyrical delivery is highly rhythmic, with Corey Taylor's vocals often syncing tightly with the staccato guitar riffs and percussive hits. The infamous chorus chant, "Cut, cut, cut me up and fuck, fuck, fuck me up," is a perfect example of the interplay between lyrical and musical rhythm. Its simple, percussive phrasing makes it an incredibly effective and brutal hook, designed for audience participation in a live setting. The rhythm throughout the track is propulsive and energetic, rarely letting up and contributing significantly to the song's overall feeling of urgent, chaotic defiance.

"Custer" employs a range of musical and literary techniques to create its aggressive and chaotic atmosphere.

Musical Techniques:

• Vocal Delivery: Corey Taylor's vocal performance is a key element. It shifts from a spoken-word, radio-announcer style in the intro to his signature aggressive screams and guttural growls. This dynamic range creates tension and emphasizes the raw emotion of the lyrics. His ability to blend his older, more aggressive style with a more experienced and controlled approach is notable.
• Instrumentation: The song features Slipknot's characteristic dense and percussive sound, with down-tuned guitars (Mick Thomson and Jim Root), complex and powerful drumming (Jay Weinberg), and two additional percussionists (Shawn Crahan and Chris Fehn) creating a tribal, clattering backdrop. Sid Wilson's scratching and Craig Jones's samples add layers of industrial and electronic noise, enhancing the feeling of chaos. The bass, played by Alessandro Venturella, is audibly prominent, providing a heavy, groovy foundation.
• Arrangement and Structure: The song opens with an unconventional intro where Shawn Crahan can be heard directing the tempo before it explodes into the main riff. This behind-the-scenes glimpse breaks the fourth wall and sets an unhinged tone. The structure relies heavily on repetition, especially the main chorus chant, which functions as a powerful, hypnotic hook.

Literary Techniques:

• Repetition: The most striking literary device is the intense repetition of the phrase "Cut, cut, cut me up and fuck, fuck, fuck me up." This repetition drills the song's central theme of defiant masochism into the listener's mind, making it both a memorable hook and a visceral expression of rage.
• Metaphor: The entire song is built around the central metaphor of "Custer's Last Stand," representing the band's fight against critics and adversity.
• Imagery: The lyrics use strong, often violent imagery, such as "angel eyes and demon seeds" and "collections made of clay," to paint a picture of a corrupt and fragile world.
• Direct Address: The song directly addresses an antagonist ("you") and the listener, posing rhetorical questions like "You want to win the war?" which creates a confrontational and engaging experience.

"Custer" made a significant cultural impact upon its release and has enjoyed a notable legacy since. The song was nominated for a Grammy Award for Best Metal Performance in 2016, a testament to its critical acclaim within the metal community. As a single from the commercially successful album .5: The Gray Chapter, which debuted at number one on the Billboard 200 and in several other countries, "Custer" was an integral part of a major comeback for Slipknot.

The song is widely regarded by fans and critics as a standout track on the album, often praised for its return to the raw, aggressive sound of the band's earlier work. It quickly became a fan favorite and a staple in Slipknot's live shows, with its powerful, chant-along chorus creating an intense and unifying experience for audiences.

More recently and unexpectedly, "Custer" experienced a massive resurgence in popularity in 2023 due to a viral trend on the social media platform TikTok. Tens of thousands of videos, accumulating hundreds of millions of views, featured users from diverse backgrounds dancing to the song's intense chorus, often juxtaposing its aggressive sound with choreography from songs like "Macarena" or "Gangnam Style". This phenomenon introduced Slipknot and one of their heaviest songs to a new, younger, and more mainstream audience, breaking down barriers between musical cultures and demonstrating the song's infectious, powerful rhythm in a completely new context. This viral moment solidified "Custer's" place not just as a metal anthem, but as a unique cultural touchstone.

"Custer" is rich with symbolism and metaphors, primarily revolving around conflict, defiance, and the perception of the self against the world.

• General Custer and the Last Stand: The title itself is the most significant symbol, referencing George Armstrong Custer's last stand at the Battle of the Little Bighorn. This historical event serves as a metaphor for the band's own situation at the time—facing immense pressure and doubt from the outside world after significant lineup changes. They see themselves as making a defiant last stand, charging headfirst into conflict, knowing the odds are against them. The "irreverence" mentioned in the lyrics can be likened to Custer's own controversial and insubordinate nature.
• "Cut, cut, cut me up and fuck, fuck, fuck me up": This brutally repetitive chant is a metaphor for embracing pain and criticism as a source of power. It's a defiant roar that says, "Do your worst, it will only make us stronger." It can be interpreted as a form of masochistic empowerment, where the narrator dares their opponents to inflict harm, turning victimhood into a weapon.
• Guns and Pettiness: The opening line, "Whenever I see a gun, I think about just how petty you are," uses the image of a gun not just as a tool of violence, but as a symbol of the small-minded, trivial nature of their antagonists. The gun represents a destructive force born from pettiness, blowing the narrator's mind with its senselessness.
• "Collections made of clay": This phrase describes the planet and its people as unremarkable and fragile. It reflects a nihilistic viewpoint that nothing is inherently special, which fuels the narrator's anger and frustration with a world that crushes anything that tries to be exceptional.
• Toilet Wall Prophecy: The line, "Somewhere on a toilet wall, I read the words: 'You form a line to formalize the former lies,' and I finally saw the truth," uses a mundane setting to deliver a profound realization. The graffiti is a symbol of raw, uncensored truth found outside of conventional, controlled narratives. It represents the idea that society creates structures and systems to legitimize and perpetuate falsehoods.

The most prominent and significant recurring element in "Custer" is the chant: "Cut, cut, cut me up and fuck, fuck, fuck me up." This phrase is repeated extensively, forming the core of the song's chorus and its emotional climax. Its repetition serves several purposes:

• Catharsis and Aggression: The constant repetition acts as a primal scream, a release of pent-up anger and frustration. It's raw, visceral, and unapologetic.
• Memorability and Anthem: The simplicity and rhythmic nature of the chant make it an incredibly memorable and powerful hook. In live performances, it becomes an anthem for the audience to shout along with, creating a unified sense of defiance.
• Thematic Reinforcement: The phrase encapsulates the song's central theme of embracing attack as a form of empowerment. By repeatedly demanding to be harmed, the narrator strips the act of its power and turns it into a source of strength and identity.

Another recurring phrase is "Don't waste my fucking time." This line, appearing in the first verse, establishes the narrator's impatience and disgust with the pettiness they perceive in the world. It underscores the urgency and seriousness of their anger.

A key lyrical motif is the idea of the "last man standing gets no pity." This phrase appears as a grim warning, suggesting that mere survival is a hollow victory. It critiques the idea of fighting a battle without a purpose beyond self-preservation, adding a layer of philosophical depth to the song's raw aggression.

Musically, the song is built on a recurring, chugging guitar riff that is both heavy and groovy, providing the backbone for the track's relentless energy. This musical motif, combined with the recurring lyrical phrases, creates a powerful, cohesive, and unforgettable anthem of defiance.