Wow, what a cowardly way to end the article, as Jon mentions below. And isn't a supposed bravery what your types espouse so much?—except, of course, you rely on other unremarkable specimens in order to feel any sense of pride.
But to add something else. You miss the entire point of music itself. It's the most fundamental—more than any other form—of art because it is not representational. It mirrors no object, no form, not even an idea. Its meaning is altogether emotional, entirely artistic, and of formless tones, existing temporally but not spatially. What it embodies is life's personality, flux, such that even when representation is applied, as in the lyrical form (your oh-so-precious masculinity, racism, and whatnot), it's carried on the wave of music, the power, the emotional meaning, rather than adding to it: it is used rather than produced. Music itself is not representation; it is will—it is life. And as such, I am able to take away diametrically opposed feelings from, say, Peste Noire than what Famine intended—and I do, as they are among my favorite bands while I myself am one of these scum leftists!
"Metal’s appeal is borne of its defense of masculinity, ancient European values, strength, violence and evil." For people who like that appeal, and either consume bands who aim at representing those values, or project them onto bands who do not. Its a plyable creative medium. Bands have directly aimed at that appeal, only certain aspects, or totally against all of that. Basically what you present is just your value projections shrouded in the "true essence of metal".
You had me with a view on metal being distinct from other forms of guitar music and conventional artworld pipieline and needing to be seen as such in exploring the genre. But what you just end that analysis with shoving in your views. Sure fine, your page, but written this way its all disguised opinion of what metal is, the very thing you say "black metal trannies" do. It's kinda, you know, gheyyyy? You're just on the opposite spectrum, as myopic as them. There's nothing really backing it up other than there being metal artists with right wing values. Like really what can you say makes metal inherently having white and european values, riffs are inherently European?
Watch me do the equivalent: "Metal’s appeal is borne of its subversion of traditional identity, subversive values, complex emotion, sense of comradery, and the light wrapped darkness". Your argument (assertions) has the same dialectical value as the people you hate!
I like hearing people analyze metal as an artform, but no one is getting closer in understanding metal more from this, just your values. RFI is cool, I love the contextualizing and passion, even though he's right wing and I find that silly. Zero mention of his use of edited kpop for visuals is telling when you're talking about WHITE EUROPEAN MASCUILNITY. Heavy blind spots you two.
Wow, what a cowardly way to end the article, as Jon mentions below. And isn't a supposed bravery what your types espouse so much?—except, of course, you rely on other unremarkable specimens in order to feel any sense of pride.
But to add something else. You miss the entire point of music itself. It's the most fundamental—more than any other form—of art because it is not representational. It mirrors no object, no form, not even an idea. Its meaning is altogether emotional, entirely artistic, and of formless tones, existing temporally but not spatially. What it embodies is life's personality, flux, such that even when representation is applied, as in the lyrical form (your oh-so-precious masculinity, racism, and whatnot), it's carried on the wave of music, the power, the emotional meaning, rather than adding to it: it is used rather than produced. Music itself is not representation; it is will—it is life. And as such, I am able to take away diametrically opposed feelings from, say, Peste Noire than what Famine intended—and I do, as they are among my favorite bands while I myself am one of these scum leftists!
blah blah blah
"Metal’s appeal is borne of its defense of masculinity, ancient European values, strength, violence and evil." For people who like that appeal, and either consume bands who aim at representing those values, or project them onto bands who do not. Its a plyable creative medium. Bands have directly aimed at that appeal, only certain aspects, or totally against all of that. Basically what you present is just your value projections shrouded in the "true essence of metal".
You had me with a view on metal being distinct from other forms of guitar music and conventional artworld pipieline and needing to be seen as such in exploring the genre. But what you just end that analysis with shoving in your views. Sure fine, your page, but written this way its all disguised opinion of what metal is, the very thing you say "black metal trannies" do. It's kinda, you know, gheyyyy? You're just on the opposite spectrum, as myopic as them. There's nothing really backing it up other than there being metal artists with right wing values. Like really what can you say makes metal inherently having white and european values, riffs are inherently European?
Watch me do the equivalent: "Metal’s appeal is borne of its subversion of traditional identity, subversive values, complex emotion, sense of comradery, and the light wrapped darkness". Your argument (assertions) has the same dialectical value as the people you hate!
I like hearing people analyze metal as an artform, but no one is getting closer in understanding metal more from this, just your values. RFI is cool, I love the contextualizing and passion, even though he's right wing and I find that silly. Zero mention of his use of edited kpop for visuals is telling when you're talking about WHITE EUROPEAN MASCUILNITY. Heavy blind spots you two.