The Royal We<\/a><\/em>, and the conversation touched on what it was like to exist inside what is often remembered as a peak moment of excess, aggression, and unchecked rock-star behavior.<\/p>\nRather than romanticizing the experience, Bottum<\/strong> was candid about how alienating it felt \u2014 especially given his identity and worldview at the time: “I think it was a challenge, but, honestly, only for me. I think it was very much the rock and roll norm at that point. Misogyny, male aggression, toxic masculinity was all just part of the equation in that time, and everyone was on board for it. I don’t know anyone that wasn’t, honestly.”<\/p>\nHe described a sharp divide within Faith No More<\/strong> itself. While guitarist Jim Martin<\/strong> fit comfortably into the traditional metal ecosystem \u2014 flying V guitar, long hair, tight bond with Metallica<\/strong> \u2014 the rest of the band felt completely out of step with the environment surrounding them.<\/p>\n“The rest of us were all sort of leftist-leaning, progressive, weird artists, liberal minded,” Bottum<\/strong> said. “Billy<\/strong> [Gould<\/strong>], Mike<\/strong> [Bordin<\/strong>], Mike<\/strong> [Patton<\/strong>] \u2014 we were all kind of blown away by the audacity of that environment. We couldn’t believe what we were seeing, but we were very much alone in that mindset.”<\/p>\nAccording to Bottum<\/strong>, most of the tour’s ecosystem \u2014 from Guns N’ Roses<\/strong> and Metallica<\/strong>‘s camps to sections of Faith No More<\/strong>‘s own crew \u2014 was fully immersed in the era’s hedonism.<\/p>\n“Everyone on that tour\u2026 they were down with the hedonism. They were okay with it. It was just an era in which people got on board,” he said. “Me being the gay man who sort of \u2014 I grew up with three sisters, basically \u2014 that was just offensive and wild and ‘what the fuck?’ to me, more than anyone else, for sure.”<\/p>\n
That discomfort ultimately became a turning point. Bottum<\/strong> explained that witnessing \u2014 and being associated with \u2014 that culture pushed him toward publicly coming out, something he had not previously done in the press.<\/p>\n“It reaches a point in my life where recognizing that and seeing the potential association of us as a band and me in that band being regarded as that was like, ‘No, no, no, no, no,'” he said. “So after that point\u2026 it kind of stirred me on to making that declaration in the press and talking about being gay. And that’s sort of when my story turns in the book.”<\/p>\n
Bottum<\/strong> also reflected on his complicated relationship with Guns N’ Roses<\/strong>‘ music itself. He admitted that he was a genuine fan when Appetite For Destruction<\/em> first dropped \u2014 but even then, there were warning signs he struggled to reconcile.<\/p>\n“When that first record came out, I bought it. As pop songs, they were so good. It was dynamic and it worked so well,” he said. “But there was this insert\u2026 a cartoon of an underage girl in a schoolgirl outfit, her underwear down to her ankles. The vibe is she’s been raped. I’m just gonna say that.”<\/p>\n
Looking back, Bottum<\/strong> acknowledged how normalized imagery like that was at the time \u2014 even among progressive listeners \u2014 and how unsettling that realization is now.<\/p>\n“Especially today, if we were to look at that and see it as an addendum in someone’s artwork, you’d just be like, ‘What the fuck? No,'” he said. “But for whatever reason, we as a people embraced Guns N’<\/strong> Roses<\/strong>. Even progressive and liberal people embraced them.”<\/p>\nIt took years, Bottum<\/strong> noted, for the discomfort to fully crystallize into clarity: “It took a long time for the distaste of what they were to settle in. It took a long time for me to be like, ‘Oh, wait\u2014hold on.'”\n\t\t\t<\/p>\n<\/div>\n\n
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