In Taiwan’s indie music scene, women have been facing unequal treatment compared to their male peers. When public critique is discouraged, stories of harassment, exploitation, and exclusion by men often circulate through gossip about unequal romantic relationships. Within this context, the phrase “Beat the Long-haired Men!” is a popular expression on social media, used by women to describe experiences of being deceived or exploited in romantic relationships. The “long-haired man” emerged as a symbolic figure representing men perceived as talented and artistic yet unreliable and emotionally harmful. Asking “Is he a long-haired man?” and criticizing unfaithful romantic relationships provides women with a form of informal solidarity and protection to avoid misogyny. This presentation examines the figure of the “long-haired man” and how gossip among women reveals gender dynamics and forms of women’s agency. I trace the construction of this figure from the KMT dictatorship, when men, inspired by American rock stars, adopted long hair as a form of resistance to authoritarianism. This act symbolized rebellion amid state restrictions on men’s hair length (Huang 2025) and later transformed in the postcolonial and global capitalist context. I argue that the “long-haired man” now reflects a localized appropriation of Western artistic ideologies associated with the myth of rebellion and freedom in rock music, and that its underlying patriarchy has evolved into a cultural tendency to romanticize artistic men and excuse their misogynistic behavior in the name of freedom. Drawing on gossip (Atkins, 2017; Peters, 2020) and affect theory (Ahmed, 2014), and based on ethnography and interviews in the scene, this paper contributes to feminist ethnomusicology by showing how women’s anger, trauma, and frustration within a patriarchal, capital-driven indie music scene are mobilized through gossip and the symbolic figure of the “long-haired man” as forms of collective critique and resistance.